secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO? | Nº 148 | NO | YES | YES | NO? | YES | ? |
Paul Guillaume, Paris (?)
?
Private Collection, Switzerland?
In process
-, Modigliani, l’amour de l’art, Paris, 1922
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 149 (as Madame L., dated 1916)
Parisot, Amedeo Modigliani, 1884-1920 : itinéraire anecdotique entre France et Italie, ACR edition, 1996, p.147
Parisot, Modigliani e i suoi, Fondazione Cini, 1999- nº 138
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 150, pl. 66 - dated 1918 (not in exhibition, just in catalogue in same conditions as the rest exhibited)
Restellini, Modigliani et le primitivisme, The National Art Center, Tokyo, 2008 - n° 39 (dated 1917 as young Lolotte)
?
In process
?
Venezia, Modigliani e i suoi, Fondazione Cini, 1999 (curated by Christian Parisot) - nº 138
Bari, A. 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
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 - nº 67 (dated circa 1918) ????
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 (curated by Marc Restellini)- n° 39
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 (curated by Marc Restellini)- n° 39
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 106
Genova, Modigliani, Palazzo Duccale, 2017
In process
Not in D'Atri papers? but this could also be Madame Lederlin portrait? (actually lost during the war, last time seen in a private Zurich art collection in 1934?, then it will be nº 93 and also nº 323 dated 1918 in Pfannstiel)
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Detail of signature in visible normal light & negative:
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The eyes / eyebrows:
The hair color and the gradations done with the use of light is also classical in Modigliani and a total sign of his style:
The two little spots of light in the mouth and the round spot of light in the nose is another classical sign, they are totally unique, there is no other Modigliani painting with the same
light spots configuration, but it is a classical Modigliani method, they are much more common in 1918-1919 but similar ( not the same, but similar) use of light can be seen even in
1914, 1915, 1916, 1917 portraits.
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There is another portrait with the same sitter known as Elena Picard:
