girl with beret by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 214 Nº 329 Nº 244 YES ? Nº 256 YES ?
Date 1918 ?
Title Girl with beret - Girl with hat - Jeune fille au béret - Little girl with black cap - Peasant in black hat
Materials Oil on canvas
Size 65.4 x 46.3 cm
Signature: Signed "modigliani" top right
Actual Location Private Collection ?
Provenance -?-
?

Leopold Zborowski, Paris
Roger Dutilleul, Paris
Netter Collection, Paris (until 2007)

Sale: Christie’s, London, 6 February 2007, Lot 15 / Sale 7353
Estimate: 5.883.000 - 7.844.000 USD - Sold: 11.899.348 USD

Lot Condition Report:
Oil on canvas. Not lined. Examined under ultra-violet light. Two spots of in-painting at the extreme edge in the upper left corner.
A further short line of cosmetic retouching at the extreme left edge.
Subject to the foregoing it is our opinion that the present work appears to be in very good condition.

Saleroom Notice
Please note that the Wildenstein Institute has kindly suggested that this lot may have been purchased directly from Leopold Zborowski by Jonas Netter,
and therefore did not pass through the collection of Roger Dutilleul before its acquisition by Mr. Netter.

Marc Restellini informed the auction house it was never in the possesion of Dutilleul, even so, the auction house keep the provenance as they decided.
They informed about the opinion but did not give it credit as to change it.


Private Collection?

In process

Bibliography -?-
?

Basler, Deutsche Kunst und Dekoration, Kunst und Künstler, Modigliani, Print. Bruno Cassirer, Berlin, 1929-1930, p. 357
Unesco, Paris, 1949 - nº 229, p. 120, pl. 3
Cocteau, Modigliani, Hazan, Paris, 1950, pl. 13
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, pl. 3
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 23
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 214 - dated 1917 - Dutilleul Collection
Crespelle. Modigliani, les femmes, les amis, l’oeuvre, Presses de la Cité, Paris, 1969
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 329 - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 244 - dated 1918
Dalevèze, Modigliani, Lausanne, 1971, p. 49
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 244
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981 - nº 59, p. 140
Roy, Modigliani, Nathan, Paris, 1985, p. 114
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 256 - dated 1918
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 52, p. 100
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 77, pp. 332-333
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-
?

Paris, Modigliani, Galerie de France, 1945-46 - nº 10 (dated 1917)
Nice, Grands peintres contemporains, Musée de la Ville de Nice, 1946 - nº 47 - titled: Paysanne au chapeau noir
Paris, L'enfance, Galerie Charpentier, 1949
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 59
Chiba, Modigliani et son époque, Paris 1910-1920, Kawamura Memorial Museum of Art, 1997
Osaka, Modigliani et son époque, Paris 1910-1920, Kintetsu Museum of Art, 1997
Yamagata, Modigliani et son époque, Paris 1910-1920, Museum of Art, 1997
Niigata,Modigliani et son époque, Paris 1910-1920, Museum of Art, 1997
Miyazaki, Modigliani et son époque, Paris 1910-1920, Museum of Art, November, 1997
Kitakyushu, Modigliani et son époque, Paris 1910-1920, Municipal Museum, 1997- 1998 and
Tokyo, Modigliani et son époque, Paris 1910-1920, Daimaru Museum of Art, 1998
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 52
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 77, pp. (with almost exactly the same text as in 1999 above exhibition)

In process

Other
Not in D' Atri papers?

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is joint to the "o" that is closed, the "d " is not closed, the "i" is joint to the "g" that makes
a very triangular shape non compensed, the "l" is irregular, "liani" is all together in one unbroken trace. The linearity of the signature is complete in design, 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.

In this particular case a trace of what seems to be a previous signature, but probably is just a bristle of the brush out of place, under the "o,d,i, g" the lower trace
is clearly visible, it is a regular thing to find similar signatures in Modigliani and in many other artists as well.

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

Detail of signature in black and white with black enhaced method:

signature black and white

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

This painting presents holes in the 4 corners, two covered.

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

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...

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The painting framed for auction in 2007:

framed

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The same sitter can be seen in various paintings:


Girl with Pigtails amedeo modigliani - Girl with cap amedeo modigliani
Jeanne Modigliani, Parisot & Lanthemann and the widow of Ceroni presented option dated 1917:
Girl amedeo modigliani
/Pfannstiel option dated 1917:
little maudamedeo modigliani



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