secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº135 | Nº 176 | Nº 136 | YES | 6/1916 | Nº 137 | YES | ? |
Leopold Zborowski, Paris (in 1928)
Netter Collection, Paris (until 1933)
Girard, Paris
Bignou, Paris;
Reid & Lefevre, London (1930 -1948)
Felton Bequest on the advice of A.J.L. McDonnell, 1949
National Gallery of Victoria, Melbourne
Felton Bequest, 1948 - Inv. Nº 1854-4
In process
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 21
New York, Paintings by Amedeo Modigliani 1884-1920, Dehauke & Co. Inc., 1929 - nº 24, pl. 18
International Studio, New York, 1930
Wheeler, 20th century portraits, The Museum of Modern Art, New York, 1942, p. 140
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 135 (dated 1917)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 67
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 176
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 136
Museum of Modern Art, Modern masters, Manet to Matisse, Lieberman, Museum of Modern Art, New York, 1975
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 55
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 6/1916
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 137
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 252-253
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 128, pl. 43 - dated 1916
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008
In process
New York, Paintings by Amedeo Modigliani 1884-1920, Dehauke & Co. Inc., 1929 - nº 24
London, Paintings by Amedeo Modigliani, Reid & Lefevre Galleries, 1929 - nº 8
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 36
Amsterdam, L' Ecole de Paris, Steedelijk Museum, 1932 - nº 172
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 37
Basel, Amedeo Modigliani, Kunsthalle, 1934 -nº 29
London, Modern French Classics, Reid & Lefevre Galleries, 1935 - nº 6
Glasgow, French Art of the 19th and 20th Centuries, 1937- nº 37
Montreal, French Art of the 19th and 20th Centuries, 1937- nº 31
London, The Tragic Painters, Alex Reid & Lefevre, 1938 - nº 6
New York, 20th century portraits, The Museum of Modern Art, 1942, The Painter Hubert, 1917. Oil on canvas, 39 3/8 x x 255/8"
Bignou Gallery, New York. (not reproduced in catalogue), p. 140
New York, Modern masters, Manet to Matisse, Museum of Modern Art, 1975, p. 219
Sydney, Modern masters, Manet to Matisse, Art Gallery of New South Wales, 1975, p. 219
Melbourne, Modern masters, Manet to Matisse, National Gallery of Victoria, 1975, p. 219
Denver, European masterpieces : six centuries of painting from the NG of Victoria, Denver Museum of Art, 2001
Ft. Worth, European masterpieces : six centuries of painting from the NG of Victoria, Kimbell Art Museum, 2001
Cincinnati, European masterpieces : six centuries of painting from the NG of Victoria, Cincinnati Art Museum, 2001
Portland, European masterpieces : six centuries of painting from the NG of Victoria, Portland Art Museum, 2001
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 52
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 36
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 - n° 30
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 - n° 30
Seoul, Amadeo Modigliani: Legend of Montparnasse, Hangaram Museum of Seoul Art Center, 2015
In process
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Signature:
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Detail of the ears where the drawing is clearly visible and is painted over the color (on top of the color)
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This painting presented a very thick and glossy oxidated varnish layer that changed totally the colors so in 2017-18 the National Gallery trusted the work in the hands of
Dr. Raye Collins to clean and restore the painting to it's original bright colors.
Probably one of the best restorations I have seen, the colors returned without loosing their strong presence.
Restoration on process:
Link with a video of the work, a very interesting LINK
The restoration respected perfectly the oranges that made the composition alive, while in the case of the other Humbert portrait the cleaning in
excess of the varnish layer made it lost all the oranges becoming a pink face.
This is an example of the refined and marvelous work done by Dr. Collins.
The work was so refined that she avoided the intent of covering the craquelure respecting the surface, age and story of the painting instead of what has become so usual in
many restorations made by the auction houses that recreate the colors to fit in "a perfect nice look".
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This painting presents holes in the 4 corners (half covered by restoration)
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There is another painting with the same subject in the Bruce and Robbi Toll Collection
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The painting framed at the NGA in 2019
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The painting at the Venice Bienale in 1930 (third from right):
