hanka zborowska
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 203 NO YES YES Nº 185 NO ?
Date 1917 ?
Title Mme Zborowska
Materials Oil on canvas ?
Size 54.5 x 37 cm
Signature: Signed "modigliani" bottom left / in the back: "Modigliani. / 3. Joseph Bara. / Paris."
Actual Location Private Collection?
Provenance -?-

Leopold Zborowski, Paris
Sale Hotel Drouot, 6 may 1932 lot 104
Pospisil Collection, Firenze
Renzo Camerino, Venezia
?
Pasquinelli Collection ?
?

In process

Bibliography -?-

Franchi, Modigliani, Arnaud, Firenze, 1944 , pl. 20
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 20
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 203
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 185
Parisot, A. Modigliani Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Maiocchi Edizioni, Milano, 2003, pp. 114-115 , pp. 148-149
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - nº 28

In process

Exhibitions -?-

Firenze,Mostra della pittura francese, 1945 - nº 150
Milano, Associazione fra gli amatori e i cultori delle arti figurative contemporanee, 1946 - nº 12
Roma, 1950 - nº 22
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 30
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 17
Barcelona, Modigliani, Centro Cultural de la Caixa de pensiones,Curated by Christian Parisot, 1983
Madrid, Modigliani, Sala de exposiciones la caja de pensiones, Curated by Christian Parisot, 1983
Barcelona, 2002
Caserta, A. Modigliani Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Belvedere Reale di San Leucio, 2003
Genova, Modigliani, Palazzo Duccale, 2017 - nº 45

In process

Other Not in D' Atri papers

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The painting was seized by the police after a report by C. Pepi an italian connossieur and finally this was the conclusions of the investigation:

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Text in the Prof.ssa Isabella Quattrocchi report to the police (note this is a copy /paste no addition or change of nothing):

Original text:

Nonostante la lunga e articolata storia espositiva e la notifica richiesta ad arte dal Ministero della Pubblica Istruzione del 30 marzo 1972 a firma del Ministro dell’epoca, si ritiene l’opera
grossolanamente falsa. Il dipinto è ad olio su tela presenta le seguenti incongruenze:
1) il ritratto in primo piano sul supporto ha un inspiegabile andamento diagonale;
2) il rigido ed inespressivo disegno dei lineamenti del viso, del collo, della scollatura, delle spalle e della capigliatura emerge graficamente perché realizzato con il pigmento nero avorio e nero di carbone
utilizzati fino alla fine dell’800 e non più utilizzati successivamente con l’avvento degli impressionisti;
3) la cromia dell’incarnato del viso, dell’orecchio e del collo è di un inusuale color terracotta con minimi accenni di rosso cadmio e vermiglio;
4) la superficie di fondo divisa senza una logica pittorica, sulla destra presenta una riquadratura a base sbieca pigmentata in nero e terra d’ombra bruciata, sulla sinistra una miscellanea di colori che sfumano
dalla terra rossa lungo il profilo sinistro del ritratto verso il cromo al lato sinistro del supporto, mentre nella parte inferiore di contorno della scollatura dell’abito si vivacizza mescolando alla terra rossa, il
rosso cadmio;
5) nella trama della tela si è rilevata la presenza di fili di rame;
6) la firma informe in basso a sinistra è falsa
L’opera è grossolanamente falsa.

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Translation:


Despite the long and articulated history of the exhibition and the artfully requested notification by the Ministry of Public Education of 30 March 1972 signed by the Minister of the time, it is considered the work
grossly false. The painting is oil on canvas has the following inconsistencies:

1) the portrait in the foreground on the support has an inexplicable diagonal pattern;
2) the rigid and inexpressive design of the features of the face, the neck, the neckline, the shoulders and the hair emerges graphically because it is made with the black ivory and carbon black pigment
used until the end of the 800 and no longer used later with the advent of the Impressionists;
3) the color of the complexion of the face, ear and neck is an unusual terracotta color with minimal hints of cadmium and vermilion red;
4) the bottom surface divided without a pictorial logic, on the right presents a squaring frame with a bias base pigmented in black and burnt umber, on the left a miscellany of colors that fade
from the red earth along the left profile of the portrait towards the chrome on the left side of the support, while in the lower part of the contour of the neckline of the dress is enlivened by mixing with the red earth, the
cadmium red;
5) the presence of copper wires has been detected in the weft;
6) the formless signature on the bottom left is false
The work is grossly false.

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Later in a second stage the Judicial authorities determined the report was unconsistent, and the work was returned to the owner.

I would only add this 3 points:

1.- A legal report should be consistent and bullet proof, this is mere opinions, maybe the work is false or not, I am not the person to decide it but definitively this report is not consistent or bullet proof.

2.- Art even if false is not forged NIKE sport shoes, so to destroy it is an absurd mistake that place art even if original at the same level of value as a nike sport shoes.

3.- The damage that art MARKET experts claim to solve by destroying works is in terms of market not of Knowledge, stamp it in the back as false and do not destroy nothing, just in case we are wrong.





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