Beatrice Hastings by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 63 Nº 85 Nº 79 YES 22/1915 Nº 80 ? YES
Date 1915
Title Beatrice Hastings
Materials Oil on cardboard (Ceroni - Pfannstiel- Parisot: oil on canvas)
Size 55.5 x 45.4 cm (Ceroni, Parisot: 55 x 46)
Signature: Signed "modigliani / 1915" bottom center (possible remains of the text Hastings in bottom right)
Actual Location Art Gallery of Ontario, Canada (Inv. Nº71/260)
  • -?-

    Patani provenance:

    Georges Cheron, Paris
    Zacks collection, Toronto


    Paul Guillaume Collection, Paris
    Private Collection, Paris
    Henry Pearlman, New York
    Fine arts Associates, New York (1954)
    Zacks collection, Toronto (1955)

    Art Gallery of Ontario, Gift of Sam and Ayala Zacks, 1970
    (Inv. Nº 71/260)

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 10
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 63 ( with incorrect signature position and support)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 nº 35
Roy , Modigliani, Skira, Lausanne, 1958, p. 57
Geza, Modigliani, Tchekoslovakia, 1969, nº 19
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 85
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 79
Roy, Modigliani, Nathan, Paris, 1985, p. 5
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 120
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 82 - nº 34
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 22/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 80
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 83
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

in process

Exhibitions -?-

New York, Amedeo Modigliani, Fine arts Associates, 1954
Toronto, Zacks collection, Art gallery of Toronto, 1956
Winnipeg, Zacks collection, Winnipeg Art Gallery, 1957
Walker arts Center, Zacks collection 1957
Minneapolis, Zacks collection 1957
vancouver, Zacks collection, Vancouver Art Gallery, 1957
San Francisco, Zacks collection, San Francisco Museum of Art, 1957
Santa Barbara, Zacks collection, Santa Barbara Museum of Art, 1957
Pasadena, Zacks collection, Pasadena Art Museum, 1957
Montreal, Zacks collection, Montreal Museum of Fine Arts, 1957
Queens University, Zacks collection, 1957
Kingston, Zacks collection, 1957
Cincinnati, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Contemporary Arts Center, 1959 - nº 5
Chicago, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Arts Club, 1959
Milwaukee, Amedeo Modigliani: Paintings, Sculpture and Drawings, Milwaukee Art Center, 1959
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 4
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 4
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 5
London, Modigliani, Tate Gallery, 1963 - nº 5
Czechoslovakia, Modigliani, 1969
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 24
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 24
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 6
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 6
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 6

in process

Not in D'Atri papers?


Signature of the painting:



This painting have clear 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...


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