girl in pink
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 222 Nº 328 Nº 243 YES YES Nº 255 YES YES
Date 1918 ?
Title Girl with pigtails - Girl with braids - Girl - Jeune fille - Young girl - The pink blouse - Girl in pink
Materials Oil on canvas
Size 60.1 x 45.4 cm? (in 1928 auction: 60 x 46)
Signature: Signed "modigliani" top right
Actual Location Nagoya City Art Museum, Nagoya, Japan
Provenance -?-

Georges Chéron, Paris
Terisse Collection, Paris
Dr. Devraigne Collection, Paris

Sale: Hotel Drouot, Paris, Collection du Docteur Devraigne - 24.11.1928 - Lot 67 as "young girl" size in auction: 60 x 46 cm
Lewisohn Collection, New York (from 1928-29 - not/sold in 1961)
Perls Galleries, New York (in 1985)
Kahn Collection, Massachussets
Nagoya City Art Museum, Nagoya, Japan

In process

Bibliography -?-

Hotel Drouot, Paris, Collection du Docteur Devraigne - 24.11.1928 - Lot 67 as "young girl" size in auction: 60 x 46 cm, pp. 28,29
New York, Paintings by Amedeo Modigliani 1884-1920, De Hauke & Co. Inc., 1929 - nº 10
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 36 -108
Unesco, Paris, 1949 - nº 232, p. 120, pl. 22
T. Soby, Modigliani: Paintings, Drawings, Sculpture. Exh. cat., The Cleveland Museum of Art, New York, 1951
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1952
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1953
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 222 - dated 1917 as little girl with pigtails
Werner, Amedeo Modigliani , H. Abrams, New York 1966
Lipchitz, Modigliani, 1966
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 104
Crespelle. Modigliani, les femmes, les amis, l’oeuvre, Presses de la Cité, Paris, 1969, pp. 128-129
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 328 - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 243 - dated 1918
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 243
Werner, Amedeo Modigliani, Harry N. Abrams, New York, 1985, p. 84 dated 1917
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 116 - nº 65
Parisot, Amedeo Modigliani, 1884-1920 : itinéraire anecdotique entre France et Italie, ACR edition, 1996, p.146
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 54, pp. 100-101
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 255 - dated 1918
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, mention in p. 332
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 110 - nº 33
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

New York, Paintings by Amedeo Modigliani 1884-1920, De Hauke & Co. Inc., 1929 - nº 10, titled girl in pink
Paris, Modigliani retrospective, Marcel Bernheim (Galerie Bernheim-Jeune), 1931 - nº 9 - dated 1917
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art, 1951 - nº 54 as girl with braids (the pink blouse) dated 1917
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951 - nº 54
New York, The Lewisohn Collection, The Metropolitan Museum of Art, 1951
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 19
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 19 - dated 1917
Edinburgh, Modigliani, Royal Scottish Academy, 1963
London, Modigliani, Tate Gallery, 1963
Frankfurt, Amedeo Modigliani, Steinernes Haus, 1963
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 98 - dated 1918
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 98
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93 - nº 30
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 54 (dated by Decrooq/Restellini in 1918)
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 68
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 68
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 33

In process

Nº 166 in D' Atri papers - as Jeune fille en rose - San Lewisohn - 1929


The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is not 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, "ani" is all together in one unbroken trace. The linearity of the signature is complete in design with a little bump 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:



This painting presents holes in the 4 corners


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" well...


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.