burgundian woman - sketch or bust
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO? Nº 228 NO YES YES NO YES ?
Date 1918 ? (Restellini dates 1919 recently)
Title Bust sketch of Burgundian woman - Chubby girl - The good Burgundian - young girl
Materials Oil on canvas? (the borders of the canvas show that it may be a textured cardboard of paper?)
Size 54.8 x 37.8 cm (Restellini 55 x 38)
Signature: Signed "modigliani" top right
Actual Location Private Collection, Switzerland?
Provenance -?-
?
Leopold Zborowski, Paris ?
Dutilleil Collection, Paris
Gerard Masurel Collection, Paris
Private Collection, Switzerland
?
For Sale at:
David Lévy Fine Art Stand at Masterpiece London 2019

In process

Bibliography -?-

?
Watt, Notes from Paris, Apollo Magazine, Vol XXIII, nº 134, February 1936, p. 108
Unesco, Peinture 1860 à 1949, Unesco, Paris, 1949
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 308 - titled The burgundian woman - dated 1918
San Lazzaro, Modigliani-Portraits, Hazan, Paris, 1957, pl. 13 (dated in 1917)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 228 (dated 1917 with size 12M= 61 x 38 cm))
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 392-393
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - nº 33
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

?
Paris, Exposition rétrospective des oeuvres de Modigliani, Galerie Montaigne, 1920 - nº 27
Paris, Peintures Instinctifs, naissance de l'expresionnisme, Galerie des Beaux-Arts, 1935-1936 - nº 78
Paris, Modigliani, Galerie de France, 1945-46 - nº 38 (dated in 1919)
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 105
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 70
New York, Modigliani, a bohemian myth, Helly Nahmad Gallery, 2005 - nº 12
Rome, Modigliani, Complesso del Vittoriano, 2006 - nº 33
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 - n° 51
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 - n° 51
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008
Bonn, Modigliani, Bundeskunsthalle, 2009
Hong Kong, Fine Art Asia, 2010 (dated in 1919?)
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum , 2016-2017
London, Devid Lévy Fine Art, Masterpiece London, 2019

Text in the catalogue:

The authenticity of this work has been confirmed by Marc Restellini and it will be included in the forthcoming Modigliani's Catalogue Raisonne being prepared by Institut Restellini.
This work has been requested for the exhibition organized by the Albertina Museum in Vienna for the centenary of Modigliani's death: "Modigliani and Picasso - the Primitivist Revolution"
(18 September 2020-10 January 2021, curator Marc Restellini).

In process

Other
Not in D' Atri papers

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Restellini in private Dossier for Levy Gallery dates this work in 1918 (David Lévy Fine Art Stand at Masterpiece London 2019)

Apparently the X-ray showed under the actual image a reused canvas with a portrait of Jeanne Hebuterne's face, this information comes from Marc Restellini so it will go against his
own information saying that Modigliani was supported by Guillaume/Zborowski so he had plenty of canvases and didnt had to use poor media or reuse canvases since 1915.

Xray presented by Restellini:
xray

this would be a sketch for the composition dated 1919 in Jerusalem Museum:

Jeanne Hébuterne seated in bed  amedeo modigliani

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xray of the burgundian woman

The only issue here is that the Burgundian is dated by Restellini in 1918 and the actual painting is dated by the main experts in 1919.

Restellini itself iin Le silence éternel, Pinacotheque de Paris, 2008, p. 171 dates in 1919 so it is impossible to have the sketch of a painting not done in 1919 under a painting of 1918
unless the Burgundian is from 1919 or Jeanne in bed from 1918...

But and here comes the magic:

Text in Restellini, Le silence éternel, Pinacotheque de Paris, 2008, p. 171

Sur cette toile, Modigliani représente Jeanne dans le décor de sa chambre.
La présence du lit et de la table de chevet apporte une note d'intimité à la scéne.
Jeanne, enceinte, adpte une pose révélatrice de cette période: Les bras autour du ventre, position d'attente et de protection.
Elle porte une robe qu'elle a probablement confectionnée, faite de bandes colorées juxtaposées, un modèle original pour l' époque.
Le visage a perdu de sa douceur, l'expression est grave, celle d'une attitude passive et résignée.
------------------------- translation-------------------------------------------------
On this painting, Modigliani represents Jeanne in the intimacy/decorum of her bedroom.
The presence of the bed and the bedside table brings a note of intimacy to the scene.
Jeanne, pregnant, adopts a revealing pose of this period: The arms around the belly, waiting position and protection.
She is wearing a dress that she probably made, made of colored strips juxtaposed, an original model for the time.
The face has lost its softness, the expression is serious, that of a passive and resigned attitude.


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So this means that Restellini say that Jeanne was pregnant, in the actual painting , so I guess Modigliani was a medium or the painting is in fact from 1918?
(Jeanne Modigliani was born in November 1918, so the sketch should be previous to that date, then the other painting is badly dated)

Restellini say this painting was acquired in December 1918 by Dutilleul for 250 FF so dates would mean the other painting is from 1918 instead of 1919...
But again in Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 , p. 388 dates this painting in the winter of 1919 talking of the 2nd
pregnancy of Hébuterne...


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The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is alone, the "o", the "o" is closed and alone, the "d" is alone, the "i " is alone, "glia" is joint;
The "g" makes a very cursive curve with a lower body closed in black, totally unique, "ni" 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.

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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Nose is completely unique, there is no other similar perfect nose all over Modigliani production.


eyes and nose


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Detail of the ear 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 ear is full in details, as detailed as the eyes and even more than the hair

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image of the painting at the Dutilleul Collection circa 1953:

image of the painting at the Dutilleul Collection circa 1953

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The painting framed in Helsinki, Modigliani, Ateneum , 2016-2017:

:The painting framed in Budapest, Modigliani, Hungarian National Gallery, 2016

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The painting probably was restored or cleaned since the image visible after the Bonn exhibit show much more the black bow (but I dont have trustable information):
The painting probably was restored or cleaned since the image visible after the Bonn exhibit show much more the black bow (but I dont have trustable information

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The painting is supposedly the bust sketch for the unsigned three-quarter painting.
Differences between both works are more than obvious.

This image shows both works mounted one on the other in the same size.
Hair, position of the eyes, width of the neck and volume of the head are clearly different.

The painting is supposedly the bust sketch for the unsigned three-quarter painting.




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