secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO | Nº130 | Nº122 | YES | YES | Nº 125 | YES | ? |
Dorival Collection, Paris (the portrayed) ?
Georges Chéron Gallery, Paris
Bing gallery, Paris (1946)
Private Collection, Geneva in 1955
?
Karl Im Obersteg Collection, Basel, Switzerland?
Kunstmuseum Basel, Switzerland ( Inv. Nº IM1361) in permanent loan since 2004
In process
(Probably Nº 168 in Pfannstiel, size does not match but the rest would be possible, but there is no way to be sure)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970, nº 130
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 , nº 122 ( wrong measures and location)
Lanthemann-Parisot. MODIGLIANI INCONNU: suivi de précisions et documents inédits. Brescia, Shakespeare and Company, 1978, p. 50
Goldwater, Primitivism in Modern Art, Cambridge Mass./London 1986, pp. 125–130.
Patani, Catalogo Generale, Leonardo, Milano, 1991-94, nº 125
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 pp. 205-251
Martigny, Fondation Pierre Gianadda, Modigliani et l'Ecole de Paris, June-November 2013, pp. 44-45
In process
Bern, Modigliani Campigli Sironi, Kunsthalle Bern, 1955 - nº 16
-
Verona, Modigliani a Montparnasse, Palazzo Forti, 1988 ?
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002, nº 51
Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013 - nº 10
Madrid, Collectionism and Modernity - Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections, Museo Nacional de Arte Reina Sofía, 2015
Washington D.C., GAUGUIN TO PICASSO: MASTERWORKS FROM SWITZERLAND - The Staechelin & Im Obersteg Collections, The Phillips Collection, 2015-2016
In process
Nº 73 in D'Atri papers - size 115 x 72 - dated 1920 - provenance in Zborowski
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Signature:
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Ceroni in his text mentions that the portrayed was the wife of a famous actor and collector named Dorival (Georges Edouard Lemarchand, 1871-1939)
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All the historians reflect the amazing yellows and oranges of the face, this work has a totally undoubted origin, I have read reports with similar colors of works called forgery for bearing exactly the same features.
The original colors of the painting are the ones at top image, usually the photographers tend to dilute the aggressive colors with extra light or less contrast.
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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)
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Canvas presents holes in the 4 corners, so it must have been painted against a wall or wood instead of in an easel:
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Image of the painting framed at Basel Kunstmuseum
Actual frame:
Previous frame at Basel Museum:
