the italian womanl by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 297 Nº 336 Nº 268 YES 23/1918 Nº 281 YES YES
Date 1917-1918? (The museum dates 1918- 1919 - Wayne 1917 - Restellini 1918)
Title The Italian woman - Woman with a black bow - La Brune - Seated woman - Woman - Italian girl
Materials Oil on canvas
Size 102.6 x 67 cm
Signature: Signed "modigliani" top right
Actual Location Metropolitan Museum of Art, New York, USA (Inv. Nº 56.4)
Provenance -?-
Leopold Zborowski, Paris
Bradly Collection , Paris
Galerie Georges Petit, Paris (in 1930-1931)
Chester Dale, New York (Acquired from the above in 1931)

Metropolitan Museum of Art, New York, USA (Inv. Nº 56.4)
Gift of The Chester Dale Collection, 1956

In process

Bibliography -?-

Alden Jewell, "New Season Opens in Local Galleries" New York Times (October 6, 1929), p. X12 [possibly this picture], describes "L'Italienne" in Exh. New York 1929
NOTE: this entry is probably a mistake mixed with the other painting titled the italian at New York, Paintings by Amedeo Modigliani 1884-1920, De Hauke & Co. Inc., 1929

Dale, Modigliani,  Formes no. 18 (October 1931), pp. 122-123 - titled Italian woman
Apollonio, Amedeo Modigliani, 1884–1920,  Cahiers d'art 25 (1950), p. 173 - titled "La Brune"
Rousseau, Jr., New Accessions of Paintings,  Metropolitan Museum of Art Bulletin 14 (April 1956), p. 198, ill. p. 203
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 297 - titled The Italian - dated 1918
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 110 - titled Seated woman (The Italian) - dated 1918
Hellman, Profiles: Custodian,  New Yorker (October 25, 1958), p. 52
Sterling / Salinger,  French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 241–42
Ponente, Modigliani, Ed. Toray, Barcelona, 1969, p. 34, pl. 47 - titled Portrait of a woman - dated 1917- 1918
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 85 - titled The Italian woman - dated 1918
Clark. Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, pp. 323, 326 - nº 394 - dated 1917
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 336 - titled Seated woman (The Italian) - dated 1918-1919
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 268 - titled The Italian - dated 1918 (erroneously locates it in the National Gallery of Art, Washington)
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 268 - titled The Italian - dated 1918 (erroneously locates it in the National Gallery of Art, Washington)
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 148 - nº 71
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 41, fig. 35 - titled The Italian girl - dated 1918
Sims, Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. Tokyo, 1989, p. 202 - nº 164 - dated 1917
Diehl, Modigliani, Crown Publishers, New York, 1989 - titled The Italian woman - dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 23/1918 - title The Italian - dated 1918
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 281 - titled Seated woman (The Italian) - dated 1918

Restellini,  Exposition Amedeo Modigliani au Japon. Exh. cat., Tobu Museum of Art. Tokyo, 1992, pp. 124–25, 204 - nº 36- dated 1918
NOTE: inform that it was painted in Nice, as a pendant to a portrait of a man called "Le Niçois" (the painting is dated in 1919 and was stolen during the war and is actually at unknown location/private collection)
citing the sitters' similar composure, black clothing, and the green band along the right side of both pictures; surmises that the sitters were connected in some way, similar to Italian pendant portraits of the sixteenth century

Pissarro,  Les Peintres de Zborowski: Modigliani, Utrillo, Soutine et leurs amis. Exh. cat., Fondation de l'Hermitage. Lausanne, 1994, p. 165 - nº 16 - dated 1918
Parisot, Amedeo Modigliani, 1884-1920 : itinéraire anecdotique entre France et Italie, ACR edition, 1996, p. 164
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999, pp. 123, 198- nº 56
NOTE: Decroocq, Amedeo Modigliani. Exh. cat., Museo d'Arte Moderna, Lugano. Milan, 1999, dated 1918, executed during Modigliani's 1918–19 stay in Nice; surmises that it relates to two male portraits of similar format:
"The Notary of Nice" ("Le Niçois" - dated in 1919 and stolen during the war and actually at unknown location/private collection, they just change the name of the painting) and "Seated Man with Orange Background", both in
private collections; suggests that these three portraits of unknown sitters were executed in sequence; believes that the title "L'Italienne" refers to the traditional hairstyle with a knotted black ribbon.

Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 97- nº 20 - titled The Italian woman - dated 1917
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, pp. 6, 27, 205 pl. 68 - dated 1917
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 102-103 - nº 22 - dated 1917
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006, p. 286
James. "Modigliani: London." Burlington Magazine 148 (October 2006), p. 703
Klein,  Modigliani. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2006, p. 80, fig. 2
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 168 (dated in 1917)
King, Centeno, Duvernois, Fronek, Townsend, The Modigliani Technical Research Styudy, Modigliani in the South of France, The burlington Magazine, CLX, London, May 2018, pp. 394-399

In process

Exhibitions -?-

Paris, Cent ans de peinture française, Galerie Georges Petit, 1930 -nº 52
New York, Amedeo Modigliani: Retrospective Exhibition of Paintings, Demotte, Inc., 1931 - nº 20
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 76
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 66
Philadelphia, Paintings from the Chester Dale Collection, Philadelphia Museum of Art, 1943
Brussels, 50 ans d'art moderne: Exposition universelle et internationale, Palais international des beaux-arts, 1958 - nº 226
New York, Masterpieces of Fifty Centuries, The Metropolitan Museum of Art, 1970-1971 - nº 394
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 71
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 92
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 92
Yokohama, Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century, Yokohama Museum of Art, 1989 - nº 164
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 93
Madrid, Memoria del futuro: Arte Italiano desde las primeras vanguardias a la posguerra, Centro de Arte Reina Sofía, 1990-1991
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93 - nº 36
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93 - nº 36
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93 - nº 36
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93 - nº 36
Lausanne, Modigliani, Utrillo, Soutine, Les peintres de Zborowski et leurs amis, Fondation de L'Hérmitage, 1994 - nº 16
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 56
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 20
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 20
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 20
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 22
London, Modigliani, Tate Modern, 2017-2018

In process


Nº 76 in D'Atri papers as "the young italian" saying it is a "mediocre" painting and located at Dale Collection with provenance in Bradly, 1931 > G. Petit


This painting presents holes in the 4 corners all covered by restoration


The black bow of the painting is usually missed:

1.- Image of the black bow

2.- Image of the bow in red to make it more visible:
bow in red


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 ear is full in details, as detailed as the eyes or the hair...


The painting framed at London, Modigliani, Tate Gallery, 2017-2018:

framed at London, Modigliani, Tate Gallery, 2017-2018


The painting framed at Dale's New York residence in the early 40's:

framed at dale home in the 40's

This painting was part of the Modigliani technical research study in 2018

Extract from:
The Modigliani technical research study "Modigliani in the South of France"
King, Duvernois, Fronek, Towsend, Centeno
Burlington Magazine CLX - May 2018, pp. 394-399

Modigliani returns to Cezanne palette, oranges and blues return strongly. The painting layer becomes thin and the lack of materials make him change his painting methods.
War is in the worst moment therefore he employed a consistent and limited range of pigments.


In this painting the identification of the pigments is:

1.- Chrome yellow
2.- Lead and Zinc white
3.- Vermilion
4.- Ocher
5.- Organic red lake
6.- Bone black
7.- Viridian green

General Museum technical studies have reached the conclusion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).


This is exactly the opposite to the opinion presented by Marc Restellini "as private expert" who in a private dossier presented the next conclusions:

Extract of one of his private dossier:

pigments on the opinion of Restellini


What we can simply point out at the moment is that Modigliani's palette of authentic works rarely consists of less than 10 to 12 pigments, as shown in the following list of works that we have
had the opportunity of analyze over the last 20 years as part of the Wildenstein Institute and Restellini Institute.

The works he present are the next:
pigments presented by restellini

He says the number of pigments, but do not identify them with names, he is the only person enough of trust as to have that information and he wants to keep it
that way to avoid dirty criminals to use it to create forgeries, he is the only expert who shall ever have this information.

This is important because the upper statement was presented to the Police requesting the immediate destruction of a work and the arrest of the owners and experts
who expertized it and using the same words that Marc Restellini sent in a letter to the Swiss prosecutor "give example to criminals".

(yes I am one of the people he asked to... )

in Geneva, and who curiously, what a nice coincidence was also the purported buyer for the work.

If his statement about the pigments is true, all the analyzed south of France paintings by Modigliani and almost all the paintings analyzed in the Burlington research (done by the most reputed experts of the most
reputed museums all over the world) would become a "RARELY" exception or crude forgeries.

I would love to know the innovative and state of the art techniques he has developed in his own private laboratory at the Geneva Freeport to be able to detect what the main museums &
the most advanced labs across the world has not been able to find.

What an envy to have your own laboratory to assure your work.


Therefore and after reading the above this painting should be considered as a fake by Marc Restellini but he has published and hang it in several of his exhibitions, so we must assume that he
considered this painting and all the others from the south of France as "rarely exceptions"...

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