Lunia Czechowska by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 185 Nº 234 Nº 172 YES 23/1917 YES YES ?
Date 1917 (1918?)
Title Lunia Czechowska
Materials Oil on cardboard (Parisot say oil on paper- Pfannstiel Oil on canvas - Restellini ???)
Size 46 x 38 cm (Pfannstiel say 55 x 46)
Signature: Signed "modigliani" top right
Actual Location Private Collection?
Provenance -?-
Leopold Zborowski, Paris
Galerie Bing, Paris
Lepoutre Collection, Paris
Bernheim Jeune Gallery, Paris (1952)
Bourdon Collection, Paris (1952 - 1990)

Sale: Hotel Drouot. Paintings & Watercolours from Madame Bourdon's Collection, 25 march, 1990 auction by Guy Loudmer - Lot 35
Sold for: 22.500.000 French francs

Private Collection?

In process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 30 - nº 4
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 185 (incorrectly as oil on canvas and wrong size, dated 1917)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 140
Russoli, Amedeo Modigliani, Fratelli Fabbri, Milano, 1963 - nº 7
Gindertael, Shop libre diffusion, 1967, pl. 37
Miensili d'Arte, Modigliani and the painters of Montparnasse, Fratelli Fabbri, Milano, 1967 - nº 27
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 234 (incorrectly as oil on canvas, dated 1917)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 172 (incorrectly as oil on canvas, dated 1917)
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, pl. 27
Parisot, Modigliani, Graphis Arte, 1988, p. 159
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 23/1917 (incorrectly as oil on paper)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 (mention to this work as an original Modiglini, mentioned as Ceroni nº 172 in p. 296)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

Paris, Bernheim Jeune, 1952
Bern, Modigliani, Campigli, Sironi, Kunsthalle, 1955- nº 19
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 67
Frankfurt, Steinernes Haus, 1963 - nº 21
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 73 (dated 1917-1918, as oil on cardboard)
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008 (dated 1917-1918, incorrectly as oil on wood)

In process

Other Not in D' Atri papers

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This work was part of a huge scandal that reflected clearly the dark side of the art market , you can read in this link >

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Curiosity:
This work should be rejected by Marc Restellini as an original by Modigliani (of course this is not my opinion, it´s just a "presume" I think it's a stupid idea)
Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake, a total nonsense.

But he publish this work in his text at L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p. 297 with the next words:
"The biggest one of a series of 3 canvases representing Lunia Czechowska with a cameo (see Ceroni nº 171 and 172)..."

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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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Lunia Czechowska amedeo modigliani Lunia Czechowska amedeo modigliani Lunia Czechowska amedeo modigliani
Ceroni nº 170 - 1917
Restellini exhibited in 2002 /dated 1917
Lunia Czechowska
81 x 45 cm
Oil on canvas
Ceroni nº 171 - 1917
Restellini exhibited in 2008 /dated 1917
Lunia Czechowska
72.8 x 45 cm
Oil on canvas
Ceroni nº 172 - 1917
Restellini published /dated 1917
Lunia Czechowska
46 x 38 cm
Oil on cardboard
This work is Ceroni nº 172 and is made in cardboard and following Restellini text is part of a series of 3 works made by Modigliani in 1917.

So therefore is authentic upon his opinion and since he dates it in 1917 and the work is made in cardboard, there is something rare...
The conclussion is he gives false opinions to the police or he is been misunderstood???
Who can explain me this?
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So the statement by Restellini is false or he was not aware it is in cardboard? what kind of expert gives such black and white opinions without real knowledge?

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

lunia ears
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 visible ear is full in details, and it will be the "RARE" example, the ear is as detailed as the eyes or the hair...

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