the beautiful confectioner
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 194 Nº 173 NO YES ? NO YES ?
Date 1917 (other sources say 1916-1917 even 1918)
Title The beautiful confectioner - the beautiful chocolate maker - The Chocolatiere - Seated woman with hands crossed
Materials Oil on canvas
Size 99 x 65 cm (In exhib. 1935 = 100.3 x 64.7 - Restellini 100 x 75)
Signature: Signed "modigliani" top right
Actual Location Marina Picasso Collection ?
Provenance -?-

Henri Galilee, Paris ?
Reid & Lefevre Galleries, 1929
Mc Donald Collection, London (in 1933-34)
London, Alex. reid & Lefevre, Ltd., June 1938
Bignou Gallery, New York (from 1938 to ?)
Vladimir Horowitz Collection, New York
Paul Rosenberg & Co
Bright Collection, Los Angeles (in 1961)

Marina Picasso Collection, Switzerland
For sale at XXV Biennale des Antiquaires, Paris 2010
( no sale results given or unsold?)


Bibliography -?-

Dale, Modigliani, Knopf, New York, 1929 - nº 41 dated 1917 and as Chanteuse de Café-Concert , pl. 16
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932, pl. 9
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 11
Newspaper - New York Telegram - 19th February 1938
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 194 (dated 1917)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 174 (dated 1916)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 47, pp. 242- 243 (Marc Restellini dates in 1916)

In process

Exhibitions -?-

London, Paintings by Amedeo Modigliani, Reid & Lefevre Galleries, 1929 - nº 7
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 27
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 19
Montreal, The School of Paris, Unknown venue, 1936 - nº 20
New York, Bignou Gallery - February March 1938 - nº 4
London, The Tragic Painters, Alex. reid & Lefevre, Ltd., June 1938 - nº 5 (size in catalogue 100.3 x 64.7) and signature located in lower right??
Long time lent to Los Angeles County Museum of Art
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 23 (dated 1917)
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 23 (dated 1917)
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 47 (dates in 1916)
XXV Biennale des Antiquaires, Paris 2010, Galerie Jan Krugier Ditesheim & Cie, Geneva
Genova, Modigliani, Palazzo Duccale, 2017

In process

Nº 27 in D'Atri papers following the Brussels exhibition numbers and located in Macdonald collection but the numer then was crossed and give to a Zborowska portrait from the Netter Collection and later appears again as
Nº 145 title "La Chocolatiere" size 100 x 65 painted in Paris 1917 but very near to 1916 named as a "badly done example" with provenance:
Gallilée, Paris 1929
Macdonald, London 1929
Hatfield, California USA Collection
Property of the Image Bignou, Paris


This painting has been restored/cleaned in excess loosing the original colors making the skin look too pale.


The signature of the painting is absolutely anomalous, it is made in black oil, the "m" is joint to the "o", the "d" is closed and the upper line is lost , the "i" is smaller and the dot is displaced,
the "g"lower circle its bigger than the rest and extremely close to the upper circle, absolutely non compensated to the upper one , the "l" is very thin and large the dot is small, "l" is thin and smaller
than usual, the "a" is rare, and very big and the lower part of the "a" is joint to the superior part of the "n", the final "i" presents a minuscule dot.
The linearity of the signature is almost complete with a distorted design to the right, many anomalies rarely seen in Modigliani, but of course this does not means nothing, only old fashion art
historians/connoisseurs would dare to say it's fake based on that stupid and pointless dissertation, a total nonsense.

Signatures in Modigliani have no rules and to say that there are is like saying he signed with a stamp...

Detail of signature in visible normal light:


The eyes / eyebrows of this painting are absolutely unique but matches perfectly the style used by Modigliani from 1916 to 1917 production, the use of
patches of color to contour is classical in this period.

This painting has been extremely cleaned loosing a good part of the red crimson veil Modigliani loved to apply at the final stages and when a non informed
restorer cleans a painting to retire old oxidated varnishes it is very common to retire also the veils done using varnish that is why the blue areas are present
it is not blue, it is the gray preparation of the canvas than once was dark orange (the preparation covered by the red crimson veil).

Does this one's have too much makeup MR?



Detail of the ear where the drawing with colors and black detail is visible and is painted over the color (on top of the color) very strongly applied.

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


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 nose or the mouth and much more than the hands for example


The painting framed at the XXV Biennale des Antiquaires, Paris 2010, Galerie Jan Krugier Ditesheim & Cie, Geneva:

The painting framed at theXXV Biennale des Antiquaires, Paris 2010, Galerie Jan Krugier Ditesheim & Cie, Geneva


The painting seems to have the same model as the next:
chocolatieramedeo modigliani
bust of woman
Woman seated in front of door amedeo modigliani

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