BOY IN A BLUE JACKET BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 279 Nº 368 Nº 259 YES 19/1918 Nº 272 ? ?
Date 1918
Title Boy in a blue jacket - Garçon à la veste bleue - Boy With a Blue Shirt - young man in blue shirt
Materials Oil on canvas
Size 92.5 x 61 cm (Patani 92 x 73 - Parisot 92 x 63)
Signature: Signed "modigliani" top right
Actual Location Private Collection ?
Provenance -?-
?
Léopold Zborowski, Paris
Netter Collection, Paris
Galerie Bing et Cie., Paris (by 1927)
George Colelction, Paris
Schweiller Collection, Paris or Milano ?
Félix Fénéon Collection, Paris
Salomon R Guggenheim Collection, New York (acquired from above in 1932 until 1937)

Guggenheim Museum, New York (1937 - 1990)
Gift from Salomon Guggenheim in 1937
Deacesioned in 1990 to acquire the Panza Minimal art collection

Sale: Sotheby's New York, 17/May/1990 - Lot 39
Estimate: 6.000.000 - 8.000.000 USD - Sold: 11.550.000 USD

Klaus Perls, New York (1990-2004)

Sale: Sotheby's London - Impressionist and Modern Art Evening Sale - 21/June/2004 - Lot nº 6
Estimate: 3.500.000 - 4.500.000 GBP - Sold: 6.165.600 GBP

Note:
Auction text makes mention to Pfannstiel, Lanthemann, Ceroni, Patani and Wayne (sotheby's made a mistake, is not this work the one he published is the other) catalogue notes, there is no mention to Parisot or Restellini

Private Collection ?


In process

Bibliography -?-

George, Modigliani, lamour de lart, Paris, 1925 , p. 385, pl. 7
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1927, pl. 7
Scheiwiller, Editions des Chroniques du jour, Paris, 1928 , pl. 4
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 45
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV , pl. 18
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 3
Franchi, Modigliani, Arnaud, Firenze, 1944, pl. 14
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 25
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 34
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 279
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 100
Russell. Modigliani. Exh. cat., Royal Scottish Academy, Edinburgh. 1963, p. 9
Gindertael, Shop libre diffusion, 1967, pl. 39, p. 65
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 73
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 259
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 368 (dated in 1919)
Rudenstine, New York, 1976 - nº 97
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990 - nº 82, p. 134, Kat. 75
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 19/1918
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 272
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-
-
Paris, Modigliani, Galerie Bing et Cie, 1925 (nº 25 or nº 28 ?)
Zurich, Italienische Maler, Kunsthaus,1927 - nº 103
Charleston, Solomon R. Guggenheim Collection of Non-Objective Paintings, Carolina Art Association, Gibbes Memorial Art Gallery, 1936 - nº 118
Philadelphia, Solomon R. Guggenheim Collection of Non-Objective Paintings, Philadelphia Art Alliance, 1937- nº 183
Charleston, Solomon R. Guggenheim Collection of Non-Objective Paintings, Gibbes Memorial Art Gallery, 1938 - nº 257
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art,1951
New York,Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
New York, Selection II, The Solomon R. Guggenheim Museum, 1953
New York, Interim Exhibition of Museum Collection, The Solomon R. Guggenheim Museum,1954
New York, Selection IV, The Solomon R. Guggenheim Museum,1954
New York, Interim Exhibition of Museum Collection, The Solomon R. Guggenheim Museum,1955
Montreal, A Selection from the Solomon R. Guggenheim Museum, New York, Montreal Museum of Fine Arts, 1955 - nº 42
New York, Selection V, The Solomon R. Guggenheim Museum, 1955
Hartford, Twentieth Century Paintings from Three Cities: New York, New Haven, Hartford, Wadsworth Atheneum, 1955 - nº 38
New York, Recent Acquisitions and Loans II, The Solomon R. Guggenheim Museum, 1957
San Antonio, Modigliani, Marion Koogler McNay Art Institute, 1957 - nº 2
New York, Recent Accessions, The Solomon R. Guggenheim Museum, 1958
New York, Inaugural Selection, The Solomon R. Guggenheim Museum,1959
New York, Acquisitions, The Solomon R. Guggenheim Museum, 1953-1961, 1961
Vienna, Kunst von 1900 bis heute, Museum des 20. Jahrhunderts, 1962- nº 147
Worcester, Aspects of Twentieth Century Painting Lent by The Solomon R. Guggenheim Museum, New York,Worcester Art Museum, 1963 - nº 30
Frankfurt, Amedeo Modigliani, Steinernes Haus, 1963 - nº 23
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 38
London, Modigliani, Tate Gallery, 1963 - nº 38
New York, Paintings from the Collection of The Solomon R. Guggenheim Museum, The Solomon R. Guggenheim Museum, 1965 - nº 47
Baltimore, Twentieth Century Italian Art, The Baltimore Museum of Art,1966
Providence, Seven Centuries of Italian Art, Museum of Art, Rhode Island School of Design, 1967
New York, Acquisitions of the 1930's and 1940's. A Selection of Paintings, Watercolors and Drawings in Tribute to Baroness Hilla von Rebay, 1890-1967, The Solomon R. Guggenheim Museum, 1968, p. 26
New York, Amedeo Modigliani; loan exhibition, Acquavella Galleries, Inc. 1971 - nº 40
New York, Classics in the Collection, The Solomon R. Guggenheim Museum, 1972
New York, Selections, The Solomon R. Guggenheim Museum, 1972-1973, 1973
New York, The Guggenheim Museum Collection: Paintings 1880-1945., The Solomon R. Guggenheim Museum, 1976
New York, School of Paris: The Solomon R. Guggenheim Museum Collection, The Solomon R. Guggenheim Museum, 1978
Tokyo ,Love and Nostalgia for Montparnasse, Daimaru, 1979
Osaka,Love and Nostalgia for Montparnasse , Daimaru, 1979
Venice, A Half Century of European Paintings 1910-1960 from the Guggenheim Museum, Peggy Guggenheim Collection, 1986
Stuttgart, A Half Century of European Paintings 1910-1960 from the Guggenheim Museum, Schirn Kunsthalle, 1986
Prague, Modern Treasures from the Solomon R. Guggenheim Foundation, Národní Galerie, 1989
Berlin, Modern Treasures from the Solomon R. Guggenheim Foundation, Nationalgalerie, 1989
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 82
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 82
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93 - nº 34
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93 - nº 34
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93 - nº 34
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93 - nº 34


In process

Other
Not in D' Atri papers

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The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is made in 2 traces, the "o" is closed, the "a" is joint in the upper side to the "n".
The "g" makes a very cursive curve, "gliani" is all together in one unbroken trace, The linearity of the signature is complete in design with a little upper curve in the center; 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 normal light



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The eyes and nose of this painting reflect a style Modigliani used from the end of 1917 to the first months of 1919, very similar eye and nose construction can be
seen in many Modigliani works from this period, the line lies under the color and the color degradation is made using color not shadow.


eyes and nose

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This painting presents holes in 4 corners

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I have no information of any cleaning procedure in this case, but the surface seems to be clean and the contrast between before & after 2004 auction make clear
that the painting was cleaned for auction.
cleaning

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



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

marcrestellini

Translation:
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.

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Exactly the opposite to this case, the ears are full in details, as detailed as the eyes and even more than the hands...

It is interesting to note the combination of color and line and to this must be added the inside of the ears with a color degradation and line made in little spots of color,
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 ears?
since as he says "he has never seen pointy ears in a work by Modigliani"

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Detail of the brushwork of the hair:

hair

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There is a very similar painting with the boy in another position but with the same customs, the experts date it in 1919 based on the Cagnes text
near the signature:


Boy leaned at a table amedeo modigliani



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