Pierre-Edouard Baranowski by Amedeo Modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 276 Nº 286 Nº 280 YES 37/1918 Nº 291 YES YES
Date 1918
Title Seated Man - Pierre-Edouard Baranowski - Baranowski
Materials Oil on canvas
Size 112 x 56 cm
Signature: Signed "Modigliani" bottom left (part of the signature is not visible)
Actual Location Private Collection
Provenance -?-
?
Leopold Zborowski, Paris
Bing Collection, Paris (by 1925)
Mare Collection, Paris
Ollivert Collection, Paris (1929)
Galerie Zak, Paris (by 1929)
Michaux Collection, Paris (by 1925)
Storran Gallery, London
Lord Sainsbury Collection, London (acquired from above 20 / February/ 1937)
Robert & Lisa Sainsbury Charitable Trust, Sainsbury Centre for the Visual Arts, Norwich

Sale Sotheby's, London, Sale LN8385 - 30 / June/1998 - Lot 17
Sold: 3.900.000 GBP

Private Collection

Sale: Christie's, New York - Sale 2788 - 5 /November / 2013 - Lot 19
estimate: - Unsold - Passed at 19.000.000 USD

Private Collection

Sale Sotheby's, London, Sale LN8385 - 1 / March/ 2017 - Lot 10
Estimate: 10.000.000 - 15.000.000 GBP - Sold: 16.021.250 GBP

Private Collection

In process

Bibliography -?-
?

George, Modigliani, lamour de lart, Paris, 1925, p. 387
Coquiot, Kunst und Kunstler, Modigliani, Bruno Cassirer, Berlin, 1926, p. 470
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 45
Basler, Kunst und Kunstler, Print. Bruno Cassirer, Berlin, October 1929, p. 361
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932, pl. 26
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1935-XIV, pl. 27
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 28
Ramsden, An Introduction to Modern Art,London, New York & Toronto, 1940, pl. 21
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1942, pl. 42
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 26
Carli, Amedeo Modigliani, De Luca, Roma 1952, pl. 23
Rivista di Livorno, Omaggio a Amedeo Modigliani, Livorno, 1954, pl. 13
Newton, 'Unbeaten Tracks', in Time and Tide,London, 2nd April 1955 
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956- nº 276 - title Baranowski - dated 1917-1918
Newspaper - The Times, London, 21st April 1958, p. 3
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 26
Russoli, Amedeo Modigliani, Silvana Editoriale d'Arte, Milano, 1958
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 125
Magazine - Connaissance des Arts - nº 106, Paris, December 1960, p. 146
Magazine - The Tatler, London, 17th April 1963, p. 155
Newspaper - The Times, London, 18th April 1963
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965, p. 19
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, pl. 23
Werner, Amedeo Modigliani , H. Abrams, New York 1966
Newspaper - Epoca, Milan, 10th September 1967, p. 145
Sichel, A Biography of Amedeo Modigliani, Dutton, New York 1967, p. 469
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 145
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 145
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 43
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 286 - title Mbaranowski - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 280 - title Monsieur Baranowski - dated 1918
Mann, Modigliani, Thames and Hudson, London, 1980 - nº 123, p. 169
Werner, Amedeo Modigliani, Harry N. Abrams, New York, 1985, p. 117
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 190
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 291 - title Monsieur Baranowski - dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 37 /1918 - title Monsieur Baranowski - dated 1918
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002
Klein, Modigliani: Beyond the Myth, The Jewish Museum / Braun, "The Faces of Modigliani: Identity Politics Under Fascism" 2004-2005, p. 41
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - nº 31
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, p. 113
Ireson/ Lewis, Modigliani, London, Tate Gallery, 2017


In process

Exhibitions -?-
?

Paris, Modigliani, Galerie Bing et Cie, 1925 - nº 3
Zurich, Italienische Maler, Kunsthaus, 1927, no. 101 
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 24 (as portrait of a man)
London, Modigliani, The Storran Gallery,  1937- nº 3
London, A. Modigliani, Gimpel Fils, 1948 - nº 1
London,Famous Jewish Artists of the Past, Ben Uri Art Gallery, 1949 - nº 20
London, Modern Italian Art, Tate Gallery, 1950 - nº 68
Leicester, Modern Italian Art, City Art Gallery, 1950 - nº 68
Manchester, Modern Italian Art, City Art Gallery, 1950 - nº 68
Glasgow, Festival of Jewish Arts, McLellan Galleries, 1951 - nº 90
Roma, Modigliani, VI Quadriennale, Palazzo delle Exposizioni, 1951-1952 - nº 14
London, 20th Century Form. Painting, Sculpture and Architecture, Whitechapel Art Gallery, 1953 - nº 33
London,Modigliani, Roland, Browse & Delbanco, 1955 - nº 21
Bern, Modigliani, Campigli, Sironi, Kunsthalle, 1955 - nº 20
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 65
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 65
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 31
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 27
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 27
London, Private Views. Works from the Collections of Twenty Friends of the Tate Gallery, Tate Gallery, 1963 - nº 167
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 43
London, Modigliani, Tate Gallery, 1963 - nº 43
Otterlo,Collectie Robert & Lisa Sainsbury, Rijksmuseum Kröller-Müller, 1966 - nº 34
Tokyo, Amedeo Modigliani et l'Ecole de Paris, Museum of Art,  1991
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 59
Paris, L'Ecole de Paris, Musée d'Art Moderne de la Ville de Paris, 2000-01
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 71
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 48
Rome, Modigliani, Complesso del Vittoriano, 2006 - nº 31
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 - n° 42
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 - n° 42
London, Modigliani, Tate Gallery, 2017


In process

Other
Nº 317 in D'Atri papers - as Portrait of Baranowski - dated 1917 and provenance in Zborowski > Bing > Mare > Ollivert > Zak

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This painting presents holes in the 4 corners

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Signature of the painting (previous to restoration the signature was much more visible):

signature

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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)

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 ear is full in details, as detailed as the eyes or the hair...

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The painting present clear finger prints in left and right side:

fingerprints

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The painting present the typical spots of color used by Modigliani to create shadow and light:

detail of baranowski

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The painting at the Bing galley in 1925:

bing 1925

The painting framed for auction in 2017:
framed for auction

The painting in a new frame at the Tate Gallery in 2017:
framed at the Tate

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Based on the images, the painting has been strongly cleaned between the last auction in 2017 to the Tate exhibit in 2017 but I have no clear data.

changes

The signature was much more visible (complete) previous to restoration/cleaning


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There is a face portrait of the same subject with a few changes in position as usual that is made in cardboard and dated 1917-1918, it was for a
long time considered a copy until recent studies showed clear and far beyond any doubt the authorship of Modigliani.

(The work done over this piece conducted by Prof. Effmann of the de Young Museum was absolutely solid demonstrating the authenticity of the piece and forcing the
two experts who practically only agree on pieces of absolute clarity to give a positive opinion about it.)

Louise amedeo modigliani

The differences between both works are more than evident, the head is clearly in another position, the posture is not the same,the figure is more
in profile than in the final work and the brushwork is done with more "impasto", etc. but as in the same case of another known paintings it is
undeniable they were made by the same hand

This image show both paintings one on top of the other in the same size, showing the changes Modigliani did from the sketch to the final work:

differences

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Another two portraits of the same sitter (of a total of 4 known) have surfaced each one at his level of trust based in the experts who support them:

Parisot /unknown data:
baranovski amedeo modigliani
Restellini / dated in 1917:
baranovski amedeo modigliani

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