Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 143 Nº 215 Nº 185 YES 44/1917 Nº 199 ? YES
Date 1917
Title Reclining nude with coral necklace- Nu couche - Nude with coral necklace - Nude with necklace (one eye closed)
Materials Oil on canvas
Size 66.5 x 101.1 cm (size changed after restoration / Wayne 65.4 x 99.4 - Klein 64.4 x 99.4)
Signature: Signed "modigliani" top right in white / Text in the back of the painting in black oil: "Modigliani. / 3 Joseph Bara. / Paris. / 1917"
Actual Location Allen Memorial Art Museum, Oberlin College Ohio, USA ( Inv. Nº AMAM 1955.59)
Provenance -?-

Léopold Zborowski, Paris
Carco Collection, Paris
Sale: Hotel Drouot, Paris, 2.3.1925 (Carco collection sale) - Lot 64
Galerie Bing, Paris (1925)
Fénéon Collection, Paris
Sale: Hotel Drouot, Paris, 30.3.1947 (Fénéon collection sale) - Lot 95
Pierre Matisse Gallery, New York
Joseph Bissett Collection, New York (acquired from above 1950)

Allen Memorial Art Museum, Oberlin College Ohio, USA ( Inv. Nº AMAM 1955.59)
Gift from Joseph and Enid Bissett in 1955.

In Process

Bibliography -?-
Carco, L'Eventail, genoa 15-July-1919 ?
Carco, Le nu dans la peinture moderne, Paris, 1924, pl. 19
George, Modigliani, lamour de lart, Paris, 1925, p. 388
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 23
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 22-23
T. Soby, Modigliani: Paintings, Drawings, Sculpture. Exh. cat., The Cleveland Museum of Art, New York, 1951, p. 52
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 37
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 22-23
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 143 (dated 1917)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 119
Russell,  Modigliani. Exh. cat., Royal Scottish Academy, Edinburgh, 1963, p. 19
Werner, "Nudest of Nudes." Arts Magazine 41- nº 1, November 1966, p. 36
Stechow,  Catalogue of European and American Paintings in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, p. 109, fig. 126
Spencer, "The Bissett Collection." Allen Memorial Art Museum Bulletin 26 - nº 1, 1968, p. 5, ill. p. 9
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 215
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 185
Spencer, "The University Museum: Accidental Past, Purposeful Future?" Art in America 59 - nº 4, 1971, p. 87
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 185
Rudenstine, Zander. The Guggenheim Museum Collection: Paintings 1880-1945. Vol. 2. New York, 1976, p. 530
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981 - nº 46, p. 130
Halperin,  Félix Fénéon: Aesthete and Anarchist in Fin-de Siècle Paris. New Haven, 1988, pp. 361, 363
Hobhouse, The Bride Stripped Bare: The Artist and the Nude in the Twentieth Century. London, 1988, p. 139
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989,  p. 60 - nº 12
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 44/1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 199
Stuckey, French Painting. New York, 1991, p. 241
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 66
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 99 - nº 22
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 132, pl. 47
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 56, pl. 31
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Paris, Modigliani, Galerie Bing et Cie, 1925 (unknown number)
Zurich, Italienische Maler, Kunsthaus, 1927 - nº 99
Cleveland, Modigliani: Paintings, Drawings, Sculpture, Cleveland Museum of Art, 1951
New York, Modigliani: Paintings, Drawings, Sculpture, The Museum of Modern Art, 1951
New York, Modigliani, Fine Arts Associates, 1954 - nº 10
Cincinnati, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Contemporary Arts Center, 1959 - nº 16
Chicago, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Arts Club, 1959 - nº 16
Milwaukee, Amedeo Modigliani: Paintings, Sculpture and Drawings, Milwaukee Art Center, 1959 - nº 16
Atlanta, The Art of Amedeo Modigliani, Atlanta Art Association,  1960 - nº 16
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 36
London, Modigliani, Tate Gallery, 1963 - nº 36
New York, The Nudes of Modigliani, Perls Galleries,1966 - nº 3
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 46
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 22
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005

In process

Other Nº 239 in D' Atri papers dated 1917, size 65 x 100, titled Nu au collier ( un oeil clos)- Zborowski > Fénéon


Note in the Curatorial file of the museum:

The painting is in excellent condition. The original canvas, of inexpensive, coarsely woven linen and jute, was
lined in 1960 and mounted on an ICA-type spring stretcher; at that time the dimensions of the canvas were
enlarged slightly to fit more securely in the existing frame. Written in black paint on the back of the original
canvas at upper left (now obscured by the lining fabric) is: Modigliani. / 3 Joseph Bara. / Paris. / 1917.11 A
thin, dark grey ground was applied to the face of the canvas, apparently an oil paint. The paint surface has a
markedly rough texture, with sharp ridges and points of impasto, suggesting that the paint may have been
applied with a stippled touch instead of strokes. The dark grey ground is exposed between forms in the lower
portion of the picture. In 1983, discolored varnish and overpaint (primarily in the area of the model's left
wrist and belly) were removed, and minor losses (associated with a small puncture in the area of the model's
wrist) were inpainted.

The vertical dimensions of the stretcher were increased by 7/16 in. (1.1 cm) when the painting was lined
in 1960; the original height was 25 3/4 in. (64.4 cm).


Detail of signature in visible normal light:
signature under visible light


The painting at the Galerie Bing et Cie, 1925 exhibition:

The painting at the Galerie Bing et Cie, 1925 exhibition


The painting framed at theAllen Memorial Art Museum:

The painting framed at theAllen Memorial Art Museum


The same sitter can be recognized in other paintings by Modigliani, with an undoubted match in the Guggenheim & private collection paintings:

similar or the same model

Detail of the ear where the drawing is visible and is painted over the color (on top of the color)


  This page is a work on progress, nothing in this page should be considered as final or definitive.