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| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 117 | Nº 178 | Nº 157 | YES | 32/1916 | Nº 160 | YES | ? |
L. Zborowski, Paris
?
Georg Guggenheim-Strauss Collection, Zurich
Permanent Loan from Georg and Josi Guggenheim Foundation through Schweizer Vereinigung der Freunde des Israel Museum in Jerusalem to
Israel Museum, Jerusalem, Israel (Inv. Nº L-B04.008)
In process
Catalogue Museum "Utrillo, Modigliani, Valadon" Jenisch, Vevey, Switzerland, 1955, pl. 13
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 (size 65 x 42, Guggenheim-Strauss Collection)
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 117
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 72
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958 - nº 6
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 10
Russoli, Amedeo Modigliani, Fratelli Fabbri, Milano, 1963 nº 5
Geza, Modigliani, Tchekoslovakia, 1969 - nº 17
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 23
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 178
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 157
Warnod, La ruche et Montparnasse, 1978 , p. 81
Lanthemann-Parisot. MODIGLIANI INCONNU: suivi de précisions et documents inédits. Brescia, Shakespeare and Company, 1978, p. 55
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980 - nº 16
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 209
Roy, Modigliani, Nathan, Paris, 1985, p. 86
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 98 - nº 48
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 32/1916
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 160
Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, p. 62
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 23
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp 284-285
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 93 - nº 16
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008
In process
Vevey, Utrillo, Modigliani, Valadon, Museum Jenisch, Vevey, 1955- nº 59
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 33
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 19
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 26
London, Modigliani, Tate Gallery, 1963 - nº 26
Paris, Paris, Orangerie des Tuileries, 1967 - nº 17
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 52 (size in cat. 63.5 x 41 cm)
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 46
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 46
Lausanne, Modigliani, Utrillo, Soutine, Les peintres de Zborowski et leurs amis - Fondation de L'Hérmitage, 1994 - nº 1
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 23
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 55
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 38
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 16
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 69
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum Art Museum, 2016-2017
In process
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All the experts agree this is the first painting of Zborowski.
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This painting presents holes in the 4 corners (2 of them covered by restoration)
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Signature:
( possible double 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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Changes of the painting once the oxidated varnish layer was cleaned:
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Image of the painting framed at the Budapest, Modigliani, Hungarian National Gallery, 2016
