Jeanne Hébuterne frontal by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 299 / 252 Nº 332 Nº 223 YES 6/1918 Nº 233 YES ?
Date 1918 ?
Title Jeanne Hébuterne frontal - Head of Jeanne Hébuterne - Young woman - Head of Jeanne - Young girl - La Zborowska - Portrait of a lady
Materials Oil on canvas?
Size 44.8 x 27.5 cm (Pfannstiel, Patani 55 x 38 - Ceroni, Parisot 46 x 29 )
Signature: Signed "modigliani" top right
Actual Location Private Collection
Provenance -?-
?

Leopold Zborowski., Paris
Netter Collection, Paris
Bernheim Jeune, Paris
Unknown owner ( M. Léopold Dreyfus)?
------------------------------------
Berlin national gallery 1939?

Sale: Galerie Fischer, Luzern 1939, Lot 98 - Sold by Berlin, National Gallery (during the worst years of the IIww)
Name of the auction: Auction of paintings and sculptures by modern masters from German museums

Text in the auction catalogue:
Lot 98.. Portrait of a lady.
Slender girl's head on a slender neck with brown parted hair in face against gray-blue background, right light brown stripe.
Signed upper right: Modigliani.
Oil on canvas, 47 x 30 cm
See Fig. P. 53
Berlin, National Gallery
Exhibition: Esposizione Internazionale della Città di Venezia 1930.

-------------------------
R. Gualino Collection, Torino
Private Collection, Italy
Private Collection, Berna
?

In process

Bibliography -?-
?

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 49
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 29
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 31
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 31
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 299 - title young girl (Jeanne Hébuterne) 1918 duplicated with nº 252 as young girl

NOTE:
Pfannstiel who was a close collaborator, friend and purveyor of the Nazi looting forces mixed the provenance of this work in his catalogue duplicating the work with
nº 299 and nº 252 and to complete the mess used the provenance of nº 339 Hanka portrait to make it harder to trace.

----------------------------------------------------------------------------------------
Salmon, La vie passionnée de Modigliani, Vervier, Paris, 1957, p. 192
Salmon, Modigliani a memoir, Putnam's sons, New York, 1957
Roy , Modigliani, Skira, Lausanne, 1958, p. 88
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 87
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 41
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958 - nº 47
Modigliani J. , Modigliani senza leggenda, Vallecchi Editore, Firenze, 1958
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961
Gindertael, Shop libre diffusion, 1967, p. 52, pl. 26
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 41
Diehl, Modigliani, Ed. Flamarion, Paris, 1969
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 54
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 332 - title Jeanne Hébuterne or la Zborowska - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 238 - dated 1918 - nº 223 - title Jeanne Hébuterne looking front - dated 1918
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 238 - dated 1918 - nº 223 - dated 1918
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 85
Mann, Modigliani, Thames and Hudson, London, 1980, p. 170 - nº 124
Roy, Modigliani, Nathan, Paris, 1985, p. 142
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 156
Orion Press, Tokyo, 1989 - nº 63
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 6 /1918 as Portrait of Jeanne Hébuterne
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 233 - dated 1918 - as Head of Jeanne Hébuterne, frontal
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 77
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, mention in p. 336
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 32, 82, 155 - nº 26, p. 109 - dated 1918 - as Head of Jeanne
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, p. 145
Bezur, Campos, Centeno, Duvernois, Josenhans, Londero, Gonçalves, Rizzuto, Schwarz, The Modigliani Technical Research Styudy, Modigliani’s late portraits, The burlington Magazine, London, May 2018, p. 401 -404

In process

Exhibitions -?-
?

Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 6
Paris, Modigliani, Galerie de France, 1945-46 - nº 16 (not sure, it could be any of the other 2 options)
Milano, ?, 1946
Bern, Modigliani, Campigli, Sironi, Kunsthalle, 1955 - nº 12
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 69 as jeune fille?
Marseille, Modigliani, Musée Cantini, 1958
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 41
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 39
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 26
London, Modigliani, Tate Gallery, 2017


In process

Other
Probably Nº 90 in D' Atri papers - Jeune Fille - dated 1919 - Rothlin Collection, Basel 1934

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

This painting presents holes in the 4 corners

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

Detail of signature in visible normal light:

signature

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

The painting framed at Tate Gallery Exhibit in 2017:

framed at tate gallery exhibit



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

There are 3 paintings very similar in size and composition

Jeanne Hébuterne half turned to the right amedeo modiglianiJeanne Hébuterne looking front amedeo modiglianiJeanne Hébuterne in profile amedeo modigliani

And there is another painting formerly at the Knoedler Gallery art collection and actually at unknown location that seems to be the same painting in a larger scale:

unknown location - Jeanne HebuterneJeanne Hébuterne looking front amedeo modigliani

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

The painting was fully analyzed during the The Modigliani Technical Research Styudy, Modigliani’s late portraits, The burlington Magazine, London, May 2018 with the
companion of the other similar composition and the results showed varios corrections, the holes in the canvas, the paining method and the presence of pigments concordant
with the known Modigliani Palette.

Jeanne Hébuterne looking front amedeo modiglianiJeanne Hébuterne in profile amedeo modigliani
In resume the main identified colors/pigments in both portraits are:

1.- Lead White
2.- Zinc white
3.- Chrome orange
4.- Ochre (Brown Ochre / Yellow Ochre)
5.- Vermilion
6.- Bone black
7.- Cadmium yellow
8.- Calcite

This does not means that a painting has to present the 8/10 pigments, it was his palette at that time in 1918.
(the Zinc white for instance is only found in the preparation layer and the Ochres also the Calcite in the support)

General Museum technical studies have reached the conclussion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).

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

This is exactly the opposite to the opinion presented by Marc Restellini "as private expert" who in a private dossier presented the next conclussions:

Extract of one of his private dossier:

pigments on the opinion of Restellini
------------------------------------------------------
Translation:

What we can simply point out at the moment is that Modigliani's palette of authentic works rarely consists of less than 10 to 12 pigments, as shown in the following list of works that we have
had the opportunity of analyze over the last 20 years as part of the Wildenstein Institute and Restellini Institute.

The works he present are the next:
pigments presented by restellini
------------------------------------------------------------

He says the number of pigments, but do not identify them with names, he is the only person enought of trust as to have that information and he wants to keep it
that way to avoid dirty criminals to use it to create forgeries, he is the only expert who shall ever have this information.

This is important because the upper statement was presented to the Police requesting the immediate destruction of a work and the arrest of the owners and experts
who expertized it and using the same words that Marc Restellini sent in a letter to the Swiss prosecutor "give example to criminals".

(yes I am one of those nasty people he asked to be used as example...)

This report was presented to the police by the PRESIDENT OF THE RESTELLINI INSTITUTE in Paris who is also the PRESIDENT OF THE RESTELLINI INSTITUTE INVESTIGATION
in Geneva, and who curiously, what a nice coincidence was also the purported buyer for the work.

If his statement about the pigments is true, all the analyzed nudes of Modigliani and almost all the paintings analyzed in the Burlington research (done by the most reputed experts of the most
reputed museums all over the world) would become a "RARELY" exception or crude forgeries.

I would love to know the innovative and state of the art techniques he has developed in his own private laboratory at the Geneva Freeport to be able to detect what the main museums &
the most advanced labs across the world has not been able to find.

What an envy to have your own laboratory to assure your work.

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

So in his conclussions, this 2 portraits must be false (of course I dont agree I consider it a stupid idea)
Jeanne Hébuterne looking front amedeo modiglianiJeanne Hébuterne in profile amedeo modigliani

Both paintings only present 7 to 8 pigments (so using Restellini's words: "Modigliani's palette of authentic works rarely consists of less than 10 to 12 pigments"

For this work he say he has detected 12:
Jeanne Hébuterne half turned to the right amedeo modigliani
(This means in his words that this is original and the rest fakes or exceptions? then why did he published the others as original? they must be exceptions???, I´m full of doubts)

Or maybe the Burlington technical research study is wrong (they dont have his 20 years knowledge and his cute Lab at the Geneva Freeport) and he is correct.

This part of the Burlington technical research study was made by:

Aniko Bezur, - Wallace S. Wilson Director of Scientific Research of the Technical Studies Laboratory at the Yale Institute for the Preservation of Cultural Heritage.
Pedro H. O. V. de Campos - University of São Paulo | USP · Department of Nuclear Physics (FNC)
Silvia A. Centeno - Research Scientist Metropolitan Museum of Art, New York
Isabelle Duvernois - Conservator at The Metropolitan Museum of Art
Frauke V. Josenhans - Associate Curator and Lecturer at Rice University
Pablo Londero - Conservation Scientist at the Yale Institute for the Preservation of Cultural Heritage.
Ana Gonçalves Magalhães - Curator at the Museum of Contemporary Art of the University of São Paulo
Marcia de Almeida Rizzutto - University of São Paulo Physics Institute, Nuclear Physics Department
Cynthia Schwarz - Yale University Art Gallery Associate Conservator of Paintings


So the thing is:

Restellini investigation at the Geneva Freeport against Yale University / University of São Paulo / NY Metropolitan Museum of Art / Rice University
I´m full of doubts.


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