Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
? NO? NO NO? ? NO YES ?
Date 1919 ?
Title Portrait of a woman - Woman with white collar
Materials oil on canvas ?
Size 81 x 54 cm ?
Signature: Signed "modigliani" top right?
Actual Location Private Collection?
Provenance -?-

Leopold Zborowski, Paris?
Bernheim Jeune, Paris?
Edward Robinson Collection,
Private Collection?

In process

Bibliography -?-


Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 35 ?
(the above line is a mention by Restellini, not sure about it)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 92, p. 362-363 - dated 1919, executed in nice

In process

Exhibitions -?-

Los Angeles, The Gladys Lloyd Robinson and Edward G. Robinson collection, Los Angeles County Museum of Art, 1956 - nº 31
San Francisco, The Gladys Lloyd Robinson and Edward G. Robinson collection, California Palace of the Legion of Honor, 1956-57 - nº 31
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 (curated by Marc Restellini) - nº 92

In process

Other Not in D'Atri papers

Restellini mentions there is a smaller version of the same painting size 62 x 45, in the Guillaume files that is actually lost

But he forgets to mention there is another painting recorded in Pfannstiel as nº 193 with the same sitter / titled young woman on blue background / size 63 x 50 dated in 1917
published in page 32 of the 1929 catalogue presume with a provenance in Zborowski > Guillaume:

Woman amedeo modigliani = Woman amedeo modigliani
Base on the size, and subject it could also be perfectly nº 203 in Pfannstiel 1954 catalogue but then it will be in presume page 33 not in 35 as Restellini informs.


Detail of the ear where the drawing in orange is clearly visible and is detailed in color



Detail of possible area of the lost signature?:

If an infrared image shows traces of the signature then it can be nº 203 in Pfannstiel and all the provenance given by Restellini must be put in doubt?


Detail of the chair that can be seen in many other similar paintings, in a second stage I will enter in this matter:


  This page is a work on progress, nothing in this page should be considered as final or definitive.