young lolotte
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Date 1917 ? (Parisot dates in 1918, Lanthemann 1916, Restellini 1917i )
Title The young Lolotte - Madame L. (Lost Mme. Lederlin?) - Suzzane Valadon?
Materials Oil on canvas
Size 92 x 60 cm ?
Signature: Signed "modigliani" top left
Actual Location Private Collection ?
Provenance -?-

Paul Guillaume, Paris (?)
Private Collection?

In process

Bibliography -?-

?, Modigliani, lamour de lart, Paris, 1922 (not seen)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 149 (as Madame L., dated 1916)
Parisot, Amedeo Modigliani, 1884-1920 : itinéraire anecdotique entre France et Italie, ACR edition, 1996, p.147
Parisot, Modigliani e i suoi, Fondazione Cini, 1999- nº 138
Restellini, Modigliani et le primitivisme, The National Art Center, Tokyo, 2008 - n° 39 (dated 1917 as young Lolotte)

In process

Exhibitions -?-
Venezia, Modigliani e i suoi, Fondazione Cini, 1999 (curated by Christian Parisot) - nº 138
Caserta, A. Modigliani Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Belvedere Reale di San Leucio, 2003 (curated by Christian Parisot), p. 153
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 (curated by Marc Restellini)- n° 39
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 (curated by Marc Restellini)- n° 39
Bonn, Modigliani, Bundeskunsthalle, 2009
Genova, Modigliani, Palazzo Duccale, 2017

In process

Not in D'Atri papers? but this could also be Madame Lederlin portrait? (actually lost during the war, last time seen in a private Zurich art collection in 1934?, then it will be nº 93 and also nº 323 dated 1918 in Pfannstiel)


The signature of the painting is absolutely anomalous, it is made in black oil, the "m" is not joint to the "o" that is open in the upper side and joint to the "d" that is closed, the "i" isjoint to the "d",
the "g"lower circleis almost closed itself, lower body is absolutely non compensed to the upper one , the "l" is large and with no turning back curve, the "a" is rare and joint to a rare "n", the final "i" presents a
big dot
The linearity of the signature is almost complete with an ascending design to the right, many anomalies rarely seen in Modigliani, but of course this does not means nothing, only old fashion art
historians/connosieurs 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 & negative:


The eyes / eyebrows and even the eyelashes 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.

Does this one's have too much makeup MR?


The hair color and the gradations done with the use of light is also classical in Modigliani and a total sign of his style:

The two little spots of light in the mouth and the round spot of light in the nose is another classical sign, they are totally unique, there is no other Modigliani painting with the same
light spots configuration, but it is a classical Modigliani method, they are much more common in 1918-1919 but similar ( not the same, but similar) use of light can be seen even in
1914, 1915, 1916, 1917 portraits.

spots of light

There is another portrait with the same sitter known as Elena Picard:

Elena Picard amedeo modigliani

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