Woman red hair by  amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 167 Nº 182 NO YES NO? NO YES ?
Date 1917
Title Woman with red hair - Femme aux cheveux rouges
Materials Oil on cardboard
Size 35 x 27 cm
Signature: Signed"modigliani / 1917" bottom right in white and the text "ELENA" in black on top right (reverse not seen)
Actual Location Private Collection?
Provenance -?-

Paul Guillaume, Paris (illustrated in his photo-archives)?
Léopold Zborowski, Paris
Alden Brooks, Paris (acquired from the above on November 19, 1928)
Esther Robles Gallery, Los Angeles (on consignment from the above in 1964)
Valerie Neel, Malibu (by inheritance from Alden Brooks in 1965)
Sale: Christie's, London, July 9, 1965, lot 88
Wilkinsen (acquired at the above sale)
Arthur Tooth & Sons, Ltd., London
Private Collection, Toronto (Acquired October 30, 1965)

Sale:Sotheby's - New York, Sale N08485 - Impressionist & Modern Art Evening Sale - 03 Nov 2008 - Lot 44
Estimate:1.500.000 - 2.000.000 USD - Sold: 1.874.500 USD

Lot Notes
This work will be included in the forthcoming catalogue raisonné of Amedeo Modigliani being prepared by Marc Restellini under the sponsorship of the Wildenstein Institute.
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Curiosity:
Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake but again he
informs that he will include this work in his CR even if its made in cardboard and dated by him in 1917?, a nonsense.

This extract from a report by him will give deeper comprehension of the private expert way of working:
restellini-nonsense
Translation:
4 / Study of support and technique
a) The cardboard as a support for the works of Amedeo Modigliani
Modigliani used cardboard as a medium for thirty works. In 1915, he made 14 works of this type, and this is the last year in which he uses this medium.
From 1916, Modigliani never uses this medium because it is supported by the merchants Paul Guillaume (whose personal collection was given to the French
State and is exposed at the Musée de l'Orangerie in Paris) and Leopold Zborowski. It is thus supplied in canvases by these merchants and therefore no longer
needs to use poor media such as cardboard.

This support does not exist at Modigliani after 1915.
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Private Collection?

In process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 27 -(titled Tête de femme and catalogued as oil on canvas)
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 167 (titled Tête de femme and catalogued as oil on canvas)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 182 (as dating from 1917 and catalogued as oil on canvas)

In process

Exhibitions -?-

Pasadena, A View of the Century, Pasadena Art Museum, 1964, nº 24 (as dating from circa 1916)

In process

Other Not in D' Atri papers

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This painting present holes in the 4 corners, two of them half covered by restoration

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Detail of the ear where the contour is clearly visible and is painted over the color (on top of the color)

DETAIL OF THE CONSTRUCTION OF THE EARS OF LEON BAKST BY AMEDEO MODIGLIANI

Curiosity:
Marc Restellini extract from a report by him will give deeper comprehension of the private expert way of working:
marcrestellini

Translation:
The ears: When they are left exposed in female portraits (rare), they are not detailed. Even in the portraits of men, they are not the object of so much detail.

Exactly the opposite to this case, the ear is full in details, as detailed as the eyes or the hair...

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