the two girls
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 130 Nº 292 Nº 242 YES 21/1918 Nº 254 YES? ?
Date 1918 ?
Title The two girls - Les deux filles - the two sisters - the sisters
Materials Oil on canvas
Size 100 x 65.1 cm (Christie’s 2009 - 100.2 x 65.1)
Signature: Unsigned (probably unfinished)
Actual Location Private Collection ?
Provenance -?-
?

Leopold Zborowski, Paris
Netter Collection, Paris (before 1926 to 2009)

Sale: Christie’s, London, 4 February 2009, Lot 10 / Sale 7701
Estimate: 4.987.500 - 7.837.500 USD - Sold: 9.400.566 USD

Private Collection, Europe

Sale: Christie’s, London, 4 February 2015, Lot 15 / Sale 10378
Estimate: 9.500.000 - 13.000.000 USD
Sold: 11.493.548 USD

Private Collection?
(Nahmad Collection? not confirmed)

In process

Bibliography -?-
?

Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926, pl. 13 - dated 1917
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 20 - dated 1917
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 14
Franchi, Modigliani, Arnaud, Firenze, 1944, pl. 10
Apra, Tormento di Modigliani, Bietti, Milano 1945
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 17 - dated 1917
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1947, pl. 6
Cocteau, Modigliani, Hazan, Paris, 1950, pl. 7 - titled the two sisters
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, pl. 6
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 130 as the two girls dated 1917 - 100 x 65 - Netter Collection
Borchert, Modigliani, Faber and Faber, London, 1960, pl. 5
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 212 - dated 1918
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 292
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 242 - dated 1918
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 242
Roy, Modigliani, Nathan, Paris, 1985, p. 109
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 254
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 21/1918
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 51, pp. 120 - 198
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-
?

Zurich, Amedeo Modigliani, Kunsthaus Zurich, 1930 (Curated by Arthut Pfannstiel) - nº 138
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 28
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 20
Paris, Modigliani, Galerie de France, 1945-46 - nº 7 (dated 1917)
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 56 (dated 1917 as the two young girls)
Marseille, Modigliani, Musée Cantini, 1958 - nº 15
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 67
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 67
Chiba, Modigliani et son époque, Paris 1910-1920, Kawamura Memorial Museum of Art, 1997 - nº 3
Osaka, Modigliani et son époque, Paris 1910-1920, Kintetsu Museum of Art, 1997 - nº 3
Yamagata, Modigliani et son époque, Paris 1910-1920, Museum of Art, 1997 - nº 3
Niigata,Modigliani et son époque, Paris 1910-1920, Museum of Art, 1997 - nº 3
Miyazaki, Modigliani et son époque, Paris 1910-1920, Museum of Art, November, 1997 - nº 3
Kitakyushu, Modigliani et son époque, Paris 1910-1920, Municipal Museum, 1997- 1998 and - nº 3
Tokyo, Modigliani et son époque, Paris 1910-1920, Daimaru Museum of Art, 1998 - nº 3
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 51

In process

Other
Nº 28 in D' Atri papers, as les deux soeurs (les deux filles - unsigned - 1917 - 100 x 65 - Netter Collection.
repeated as Nº 206 title les deux soeurs with no more data.

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The lack of signature maybe because it was not considered as unfinished by the artist?

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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)

ears

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.

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" well...

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The same sitter can be seen in another painting:


Girl standing in black pinafore amedeo modigliani



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