secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 276 | Nº 286 | Nº 280 | YES | 37/1918 | Nº 291 | YES | YES |
?
Leopold Zborowski, Paris
Bing Collection, Paris (by 1925)
Mare Collection, Paris
Ollivert Collection, Paris (1929)
Galerie Zak, Paris (by 1929)
Michaux Collection, Paris (by 1925)
Storran Gallery, London
Lord Sainsbury Collection, London (acquired from above 20 / February/ 1937)
Robert & Lisa Sainsbury Charitable Trust, Sainsbury Centre for the Visual Arts, Norwich
Sale Sotheby's, London, Sale LN8385 - 30 / June/1998 - Lot 17
Sold: 3.900.000 GBP
Private Collection
Sale: Christie's, New York - Sale 2788 - 5 /November / 2013 - Lot 19
estimate: - Unsold - Passed at 19.000.000 USD
Private Collection
Sale Sotheby's, London, Sale LN8385 - 1 / March/ 2017 - Lot 10
Estimate: 10.000.000 - 15.000.000 GBP - Sold: 16.021.250 GBP
Private Collection
In process
?
George, Modigliani, l’amour de l’art, Paris, 1925, p. 387
Coquiot, Kunst und Kunstler, Modigliani, Bruno Cassirer, Berlin, 1926, p. 470
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 45
Basler, Kunst und Kunstler, Print. Bruno Cassirer, Berlin, October 1929, p. 361
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932, pl. 26
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1935-XIV, pl. 27
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 28
Ramsden, An Introduction to Modern Art,London, New York & Toronto, 1940, pl. 21
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1942, pl. 42
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 26
Carli, Amedeo Modigliani, De Luca, Roma 1952, pl. 23
Rivista di Livorno, Omaggio a Amedeo Modigliani, Livorno, 1954, pl. 13
Newton, 'Unbeaten Tracks', in Time and Tide,London, 2nd April 1955
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956- nº 276 - title Baranowski - dated 1917-1918
Newspaper - The Times, London, 21st April 1958, p. 3
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 26
Russoli, Amedeo Modigliani, Silvana Editoriale d'Arte, Milano, 1958
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 125
Magazine - Connaissance des Arts - nº 106, Paris, December 1960, p. 146
Magazine - The Tatler, London, 17th April 1963, p. 155
Newspaper - The Times, London, 18th April 1963
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965, p. 19
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, pl. 23
Werner, Amedeo Modigliani , H. Abrams, New York 1966
Newspaper - Epoca, Milan, 10th September 1967, p. 145
Sichel, A Biography of Amedeo Modigliani, Dutton, New York 1967, p. 469
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 145
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 145
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 43
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 286 - title Mbaranowski - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 280 - title Monsieur Baranowski - dated 1918
Mann, Modigliani, Thames and Hudson, London, 1980 - nº 123, p. 169
Werner, Amedeo Modigliani, Harry N. Abrams, New York, 1985, p. 117
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 190
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 291 - title Monsieur Baranowski - dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 37 /1918 - title Monsieur Baranowski - dated 1918
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 144
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 320-321
Klein, Modigliani: Beyond the Myth, The Jewish Museum / Braun, "The Faces of Modigliani: Identity Politics Under Fascism" 2004-2005, p. 41
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - nº 31
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, p. 113
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 119
In process
?
Paris, Modigliani, Galerie Bing et Cie, 1925 - nº 3
Zurich, Italienische Maler, Kunsthaus, 1927, no. 101
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 24 (as portrait of a man)
London, Modigliani, The Storran Gallery, 1937- nº 3
London, A. Modigliani, Gimpel Fils, 1948 - nº 1
London,Famous Jewish Artists of the Past, Ben Uri Art Gallery, 1949 - nº 20
London, Modern Italian Art, Tate Gallery, 1950 - nº 68
Leicester, Modern Italian Art, City Art Gallery, 1950 - nº 68
Manchester, Modern Italian Art, City Art Gallery, 1950 - nº 68
Glasgow, Festival of Jewish Arts, McLellan Galleries, 1951 - nº 90
Roma, Modigliani, VI Quadriennale, Palazzo delle Exposizioni, 1951-1952 - nº 14
London, 20th Century Form. Painting, Sculpture and Architecture, Whitechapel Art Gallery, 1953 - nº 33
London,Modigliani, Roland, Browse & Delbanco, 1955 - nº 21
Bern, Modigliani, Campigli, Sironi, Kunsthalle, 1955 - nº 20
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 65
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 42
Marseille, Modigliani, Musée Cantini, 1958??? ( as present but not in my edition of the catalogue)
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 31
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 27
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 27
London, Private Views. Works from the Collections of Twenty Friends of the Tate Gallery, Tate Gallery, 1963 - nº 167
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 43
London, Modigliani, Tate Gallery, 1963 - nº 43
Otterlo,Collectie Robert & Lisa Sainsbury, Rijksmuseum Kröller-Müller, 1966 - nº 34
Tokyo, Amedeo Modigliani et l'Ecole de Paris, Museum of Art, 1991
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 59
Paris, L'Ecole de Paris, Musée d'Art Moderne de la Ville de Paris, 2000-01
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 71
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 48
Rome, Modigliani, Complesso del Vittoriano, 2006 - nº 31
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 - n° 42
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 - n° 42
London, Modigliani, Tate Modern, 2017-2018
In process
Nº 317 in D'Atri papers - as Portrait of Baranowski - dated 1917 and provenance in Zborowski > Bing > Mare > Ollivert > Zak
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
This painting presents holes in the 4 corners
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Signature of the painting (previous to restoration the signature was much more visible):
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
Detail of the ear where the drawing is clearly visible and is painted over the color (on top of the color)
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting present clear finger prints in left and right side:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting present the typical spots of color used by Modigliani to create shadow and light:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting at the Bing galley in 1925:
The painting framed for auction in 2017:
The painting in a new frame at the Tate Gallery in 2017:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Based on the images, the painting has been strongly cleaned between the last auction in 2017 to the Tate exhibit in 2017 but I have no clear data.
The signature was much more visible (complete) previous to restoration/cleaning
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
There is a face portrait of the same subject with a few changes in position as usual that is made in cardboard and dated 1917-1918, it was for a
long time considered a copy until recent studies showed clear and far beyond any doubt the authorship of Modigliani.
(The work done over this piece conducted by Prof. Effmann of the de Young Museum was absolutely solid demonstrating the authenticity of the piece and forcing the
two experts who practically only agree on pieces of absolute clarity to give a positive opinion about it.)
The differences between both works are more than evident, the head is clearly in another position, the posture is not the same,the figure is more
in profile than in the final work and the brushwork is done with more "impasto", etc. but as in the same case of another known paintings it is
undeniable they were made by the same hand
This image show both paintings one on top of the other in the same size, showing the changes Modigliani did from the sketch to the final work:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Another two portraits of the same sitter (of a total of 4 known) have surfaced each one at his level of trust based in the experts who support them:
Parisot /unknown data:
Restellini / dated in 1917:
