secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 263 | Nº 244 | Nº 193 | YES | 29/1917 | Nº 195 | YES | ? |
Léopold Zborowski, Paris
Carco Collection, Paris (1929 - ?)
?
Dutilleul Collection, Paris
Hessel Collection, Paris (in 1933?)
Sale: Hotel Drouot, Paris, 2/March/1939 - Liquidation of Galerie Druet - Lot 158
?
Private Collection?
In Process
Carco, L'Eventail, genoa 15-July-1919 ?
Carco, Le nu dans la peinture moderne, Paris, 1924
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1927, pl. 10 (located in F. Carco Collection, titled Nudo biondo)
Scheiwiller, Editions des Chroniques du jour, Paris, 1928, pl. 8
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 42
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932, pl. 20
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 21
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1942, pl. 21
Franchi, Modigliani, Arnaud, Firenze, 1944, pl. 41
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 41
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 33
Salvini, Guida dell'Arte Moderna, Milan, 1954, pl. 5
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 263 (dated 1918 - located in Hessel Collection, Paris)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 123
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 11
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 193
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 244
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 193
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 40
Mann, Modigliani, Thames and Hudson, London, 1980 - nº 108, p. 150
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980 - nº 42
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, pp. 24-27
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 155
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, p. 73
Orion Press, Tokyo, 1989 - nº 35
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 29/1917 (size 92 x 65 cm)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 197 (size 92 x 65 cm)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 (size 92 x 64.8) - nº 63, p. 300
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 , p. 61
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, pp. 44-45
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 143 (as oil on canvas)
In process
Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 66 (dated 1918 - as La môme Haricot rouge)
Basel, Amedeo Modigliani, Kunsthalle, 1934 -nº 57
Paris, Modigliani Peintures, Galerie de France, 1945-46 - nº 26 ( size 91 x 65)
Marseille, Modigliani, Musée Cantini, 1958 - nº 27 (probably not this work)
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 45
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 63
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 44
London, Modigliani, Tate Modern, 2017-2018
In process
Nº 66 in D' Atri papers dated 1919, size 91 x 65 and corrected to 116 x 73 in pencil- titled Nu debout, wrong size 100 x 65 - Bing 1929> Bernheim Jeune> Netter Collection
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Signature detail:
Signature black extraction:
The IR done in the 81 by the French Museums reflects that the dot of the second "i" is mixed with the l so it is absolutely normal
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The IR, X-ray and the pigments are absolutely coincidental with the known palette & methods of Modigliani, the body is constructed using strong dabs
like if it were a sculpture.
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Framed at the Tate Gallery Exhibit 2017:
The painting at the Tate Gallery exhibit in 2017:
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The same sitter can be recognized in this painting dated in 1918 by the experts (Ceroni nº 267):
