Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 142 Nº 232 Nº 319 YES 17/1919 Nº 230 ? ?
Date 1918
Title Lunia left hand on her cheek - The beautiful polish woman - Lunia in white
Materials Oil on cardboard (Pfannstiel, Patani, Lanthemann, Ceroni: oil on canvas)
Size 54.9 x 45.7 cm ( Ceroni, Patani 55 x 46 - Pfannstiel 55 x 44.5)
Signature: Signed "modigliani" bottom right
Actual Location Private Collection?
Provenance -?-

Léopold Zborowski, Paris
Paul Guillaume Collection, Paris
Private Collection, Paris
Dudensing Collection

Ruth Maitland, Los Angeles
Walter Maitland Collection, Colorado (Inheritance by 1955)

Sale: Christie's News York - 14/November/1988 - Lot 22
Sold: 3.800.000 USD

Private Collection?

In process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 23
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 8
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 22
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 49
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº142 (dated 1917)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 142
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 319 (dated 1919)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 232 (dated 1917)
Mann, Modigliani, Thames and Hudson, London, 1980, p. 164 - nº 120
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 330 (dated 1919)
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 17/1919
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-


In process

Not in D' Atri papers?


The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is in two strokes and joint to the "o" that is closed, the "d " is closed, the "i" is joint
to the d and g and the dot is very far from the line , the "g" makes a very triangular shape non compensed, like the ones Marc Restellini say he has never seen in a Modigliani work,
the "l" is rare and the curve that joints the L to the G is very strange, the "i" is alone and the dot is even more far than previous dot, "ani" is all together in one unbroken trace,
The linearity of the signature is complete in design with a light ascending line , 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:



Eyes, nose and the facial oval of this painting are an absolute mistero, of course they are absolutely embedded in the Modigliani production without a doubt but they are
in a certain way a compendium of his work, that may be the reason why the Market historians have never agreed with its dating from 1916 to 1919.
the eyes are clearly in his drawing of the end of 18 or the 19, in his coloring they are a combination of 17-18-19 the nose is more of the 19 than of the 18 and the incarnation
of the face is perfectly assumable without the production of the 18, macchioli type finishes are throughout the work.
It seems that in the cartons, Modigliani let his artistic impetus fly because surely, being a less commercial work, it would be freer to experiment.



Detail of the ears 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...

It is interesting to note the combination of color and line and to this must be added the inside of the ear with a black line, of course not a straight line, a broken line,
is curious to see something that according to Marc Restellini is not important getting so much attention, in this particular case he has never noticed the pointy and
detailed ears?, he says "he has never seen pointy ears in a work by Modigliani"


Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake, therefore in his opinion this work done in textured
cardboard in 1918-1919 should be fake?, a nonsense.

This extract from a report by him will give deeper comprehension of the private expert way of working:

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.


Detail of the loose hair that Modigliani liked so much:

hair details

Detail of the jewelry on the fingers of Lunia, it is two wedding rings, could be yours and your husband's (a personal indication to your state of possible widowhood ??)
or maybe it is just an ornamental detail unimportant.

rings in the finger

Detail of the brushwork near the shoulder, ther eis no zig zag brushplay, just plain brushstrokes


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