Chaim Soutine
Oil on canvas, 1917?
Identification
- Published titles
- English: Chaim Soutine / Soutine.
- Date
- 1917?
- Medium
- Oil on canvas.
- Dimensions
- 55.5 × 35 cm (size given in the Quattrocchi dossier).
- Signature
- Signed modigliani at top right, with the inscription SOUTINE at centre left.
- Present location
- Private collection?
Catalogue numbers
| Compiler | Number |
|---|---|
| Arthur Pfannstiel | NO |
| Joseph Lanthemann | ? |
| Ambrogio Ceroni | NO |
| Jeanne Modigliani | ? |
| Christian Parisot | YES |
| Osvaldo Patani | NO |
| Modigliani Project | ? |
| MR | NO |
| Modigliani Initiative | ? |
Legal note on MR: This investigation has not had access to MR’s catalogue raisonné; all research here is based on open sources, publications and exhibitions. By no means has that catalogue been copied at any point. Modigliani Project and Modigliani Initiative are marked YES when the work is published or otherwise recorded by those projects, even if no catalogue number is assigned; otherwise the field is marked ?.
Provenance
- Private collection?
The sequence follows the published museum, sale, and catalogue record in this investigation. Gaps and uncertain transfers are marked as such.
Selected bibliography
Book-length publications are marked with a footnote giving a full citation. Exhibition catalogues appear in both this list and the exhibition list when this investigation recorded them in both places. Where this investigation listed a long run of secondary mentions, only the principal catalogues and museum or sale references are retained here.
- No book-length catalogue entry is recorded in this investigation.
Exhibitions
- Pisa, BLU Palazzo d’arte e cultura, Amedeo Modigliani et ses amis, 2014–15.
- Seoul, Hangaram Museum, Amadeo Modigliani: Legend of Montparnasse, 2015.
- Turin, Galleria d’Arte Moderna, Modigliani e la Bohème di Parigi, 2015.
- Genoa, Palazzo Ducale, Modigliani, 2017, no. 19.
Notes
This investigation marks the work as not located in the D’Atri papers.
The painting was among works shown at Genoa, Palazzo Ducale, 2017. It was seized by the police after a report by C. Pepi.
Published conclusion of Prof. Isabella Quattrocchi (as printed in this investigation): the canvas “summarily recalls” the authentic 1915 portrait of Soutine; the pigment is heavily textured and “distributed in a disorderly fashion”; the hair is engraved with a point in the fresh colour; the signature at top right is described as false, with a discontinuous pattern and a heavy brush line; the reverse was stiffened with shellac and spotted with colour; a paper label records a lining and restoration at Ascona, 15 October 1963. Quattrocchi concluded that the painting is not attributable to the artist.
The dossier of Marie-Pierre Etcheverry and Tiziana Mazzoni, as cited in this investigation, states that the pigments are not compatible with Modigliani’s palette and can be dated after the Second World War, and that the falsity of the work is thereby confirmed.
These statements are reported as published facts from the investigation file. No independent conclusion is added here.
Published documentation for this file is thin. Catalogue numbers, exhibitions and bibliography are given only where this investigation recorded them.
The original documentation assembled for this investigation marked several fields as still being checked. The facts above are those already published; where sources disagree, both readings are given.
