Identification

Published titles

English: Young girl with a sailor blouse.
French: La fille au col marin; La femme en blouse marin

Date

1916

Medium

Oil on canvas

Dimensions

55 × 35 cm.

Signature

Signed modiglian at Bottom left in white.

Present location

Loan to Peggy Guggenheim Museum, Venezia (2016-7), Peggy Guggenheim Museum, Venezia
Bequest of Luisa Toso, 2016- Nº 2016.45 - Upon request no answer fromt he museum, so actual location unknown in this investigation.

Catalogue numbers

Legal note on MR: This investigation has not had access to MR’s catalogue raisonné; all research here is based on open sources, publications and exhibitions. By no means has that catalogue been copied at any point. Modigliani Project and Modigliani Initiative are marked YES when the work is published or otherwise recorded by those projects, even if no catalogue number is assigned; otherwise the field is marked ?.

Provenance

1. Berthe Weill, 1917
2. Leopold Zborowski, Paris
   
3. Paul Guillaume, Paris
   
4. Bernheim Jeune Gallery (1929)
   
5. Georges Benard (Bernard Freres et Cie), Paris
   
6. Sale: Drouot, Paris - Collection G. B. Sale (Gerorges Bernanrd - Bernard Freres et Cie), 9 / June / 1933- Lot 65
   Sold 4.100 FF (a similar Matisse in same auction 26.500 FF) - as La fillette au col marin /toile 55 x 35. Signe en bas, à gauche.
   
7. Bianchi Collection, Paris (acquired from above)
   
8. ?
   
9. Toso Collection, Venezia (1952)
10. Loan to Peggy Guggenheim Museum, Venezia
    Bequest of Luisa Toso, 2016
    Nº 2016.45

The sequence follows the published museum, sale, and catalogue record in this investigation. Gaps and uncertain transfers are marked as such.

Selected bibliography

Book-length publications are marked with a footnote giving a full citation. Exhibition catalogues appear in both this list and the exhibition list when this investigation recorded them in both places. Where this investigation listed a long run of secondary mentions, only the principal catalogues and museum or sale references are retained here.

• Berthe Weill sale brochure as nº 20 "la femme en blouse marine"
  
• Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 19 - nº 1
  
• Apra, Tormento di Modigliani, Bietti, Milano 1945, p. 129
  
• Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 39
  
• Carli, Amedeo Modigliani, De Luca, Roma 1952, pl. 12
  
• Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 30
  
• Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 124
  
• Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958 - nº 38
  
• Modigliani J. , Modigliani senza leggenda, Vallecchi Editore, Firenze, 1958
  
• Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958 - nº 8
  
• Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 71
  
• Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961 - nº 39
  
• Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 121
  
• Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 125
  
• Patani, Modigliani. Dipinti e disegni. Incontri Italiani 1900-1920, Mazzotta, 1984-85 - nº 48
  
• Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 128
  
• Parisot, Catalogue Raisonné Modigliani, Graphis Arte, 1991 nº 13/1916 (Parisot say signed top right, size 55 x 35 cm)
  
• Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

Exhibitions

• Paris, Modigliani , Berthe Weill Gallery, 1917 - nº 20 - titled "la femme en blouse marine"
  
• Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 21 as "Le col marin"
  
• Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 13
  
• Roma, Modigliani, Quadriennale, 1952 - nº 20
  
• Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 22
  
• Roma, Modigliani, Galleria Nazionale d'Arte Moderna,  1959 - nº 15
  
• Torino, Incontri Italiani, Galleria dello Scudo, 1984 - nº 48
  
• Verona, Incontri Italiani, Galleria dello Scudo, 1984-1985
  
• Bari, Amedeo Modigliani, Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Castello Svevo, 2003 (curated by Christian Parisot)
  
• Caserta, A. Modigliani Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Belvedere Reale di San Leucio, 2003
  
• Venezia, Cagliari, Domodossola, "Modigliani a Venezia, tra Livorno e Parigi", Biblioteca Nazionale Marciana, 2005
  
• Padova, da Canova a Modigliani, Palazzo Zabarella, 2010-2011.

Notes

This investigation marks the work as no. 314 in the D’Atri papers, dated 1917 - size 65 x 46cm and located in Bernheim Jeune Gallery in 1929.

Canvas with holes in the corners (some of them half restored / covered with later varnish and paint )
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
Restoration intervention carried out by the chief conservator of the Peggy Guggenheim Collection, Luciano Pensabene Buemi, with funding from global private banking group EFG.
During the restoration a thick layer of non-original varnish that had been applied during a previous intervention was removed to reveal the original cold blue and gray tones as well
as the peach-colored face, which had deteriorated to beige.

In addition, the oxidation and whitening visible on several parts of the canvas were removed.

The importance of this restoration is the discovery of the real Modigliani.

Colors totally changed and brights (as master touches) make the composition alive.
The background is now visible and is now much more similar to Little Lucienne and shows a total advance/spoiler of his later paintings.

Use of impasto & diluted paint layers can be seen in this zoom images:








Recently I read a report from an "expert" saying that a painting was fake because the eyes had too much make up
(he wanted to say that the eyelid was too much over painted, French experts tend to use that type of expressions)

This painting when dirty was much more in similar tones, the yellow varnish made the white touches and colors to be seen like under dark sunglasses
so the unexpected details like the eyelid colors or the peach/orange touches were not visible.

This is a very common problem with the experts "connoisseur style" they are used to create their own artist based on what they have previously seen, mainly color reproductions in books with a strong illumination change.

What would this expert say about this painting now that real color are visible??
The painting framed in Venice Peggy Guggenheim museum:


Same sitter can be located in at least 5 paintings.

This investigation marked several fields as still being checked. The facts above are those already published; where sources disagree, both readings are given.