Leopold Zborowski with a cane  by Amedeo Modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 219 Nº 287 Nº 251 YES 11/1918 Nº 263 YES ?
Date 1918
Title Leopold Zborowski with a cane - Zborowski with joint hands
Materials Oil on canvas
Size 73 x 50 cm ?
Signature: Signed "modigliani" bottom right
Actual Location Private Collection?
Provenance -?-

Leopold Zborowski, Paris
(Restellini: Acquired by Dutilleul in 1922 and until 1954)
Bernheim Jeune, Paris
Gouthier Collection, Paris
Marlborough Fine Arts, London
Samir Traboulsi Collection, France (by 1990)

In process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 36
Cocteau, Modigliani, Hazan, Paris, 1950, p. 18
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 30
Cocteau, Modigliani, Paris et Feldafing, 1952, p. 18
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 219 - title Zborowski resting on a cane - dated 1917
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 287 - title Zborowski - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 251 - title Red necklace (Mme. Verdou) - dated 1918
Modigliani J., Racconta Modigliani, Ed. Graphis. 1984, p. 144
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 11/1918- title Zborowski with a cane - dated 1918
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 263 - title Leopold Zborowski with a cane - dated 1918
Parisot, Amedeo Modigliani, 1884-1920 : itinéraire anecdotique entre France et Italie, ACR edition, 1996, p. 155
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 344-345 - nº 83 - title Leopold Zborowski with a cane - dated 1918
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 112-113- nº 29 (dated 1917-18)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, pp. 132,133
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 189

In process

Exhibitions -?-

Tokyo, Modigliani, Grand Magazin Seibu, 1968 - nº 35?
Kyoto,Modigliani, National Museum of Art , 1968 - nº 35?
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 65
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 105
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 105
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 89
Tokyo, Amedeo Modigliani et l'Ecole de Paris, Museum of Art,  1991 (curated by Christian Parisot)
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 44
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 83
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 59
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 29
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Pisa, Amedeo Modigliani et ses amis, BLU | Palazzo d’arte e cultura, 2014- 2015
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum Art Museum, 2016-2017
London, Modigliani, Tate Modern, 2017-2018

In process

Nº 226 in D'Atri papers as Zborowski - 73 x 50 - dated 1917 - provenance in Zborowski > Bernheim Jeune 1929


Signature of the painting:



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


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 ears are full in details, as detailed as the eyes or the hair...


The painting was cleaned with a quality restoration, the strong oranges of the skin tone and the main colors are well preserved but I have
no certain information about this intervention.



The painting framed at Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016:


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