Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 98 Nº 274 Nº 226 YES ? Nº 236 ? ?
Date 1918
Title Bust of Girl - Girl - Girl in blue
Materials Oil on cardboard (Pfannstiel, Patani, Lanthemann, Ceroni: oil on canvas)
Size 48 x 31 cm (Patani 60 x 50 - Pfannstiel 91 x 60)
Signature: Signed "modigliani" top right
Actual Location Private Collection?
Provenance -?-
Bernheim Jeune, Paris

Gallery Paquerau, Paris (1934)

Private Collection, Basel

Patani :
Eugene Descaves, Paris
Private Collection, Paris
Private Collection, Switzerland (Basel?)

In process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 15
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 98 (dated 1916)
Russoli, Amedeo Modigliani, Silvana Editoriale d'Arte, Milano, 1958, pl. 16
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 226 (dated 1918)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 274 (dated 1918)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 236 (dated 1918)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

Roma, Modigliani, VI Quadriennale, Palazzo delle Exposizioni, 1952 - nº 20

In process

Nº 120 t in D' Atri papers (with doubts) Jeune Fille assise - 48.5 x 32 cm - 1918 - Gallery Paquerau, Paris (1934)


The painting orinally presented holes in the 4 corners but it was cut in circular shape in the corners in unknown date


The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is in one stroke and joint to the "o" that is open, the "d " is open, the "i" is alone,
and in double body, the "g" makes a very thin lower shape non compensed, like the ones Marc Restellini say he has never seen in a Modigliani work, the "l" is rare and
"liani" is all together in one unbroken trace except the final "i" that looks like cut, The linearity of the signature is none, it forms an ascending/descending design, more
similar to an open S, 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:

signature in visible light
Only the black:


Eyes show slight traces of the style of 1917 but the coloring and the incarnation is definitely from the period of 1918-1919 the eyelashes
are a novel element in their application format (there are many other eyelashes in Modigliani's oeuvre, but this style is new).



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.

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