secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 115 | Nº 116 | Nº 161 | YES | 27/1917 | Nº 166 | ? | YES |
Amedeo Modigliani
Jacques Lipchitz, Paris, acquired directly from the artist, 1916 (Based on Lipchitz remebrance, but recent studies date this painting in 1917)
exchange to Léonce Rosenberg, Paris (c. 1921–1922)
Frederick C. and Helen Birch Bartlett, Chicago, 1922–1926 (acquired from above)
Gift to the Art Institute of Chicago, 1926
Art Institute Chicago, Chicago, USA (Inv. Nº 1926.221)
Helen Birch Bartlett Memorial Collection
Galerie Montaigne, Exposition rétrospective des oeuvres de Modigliani exh. cat. (Paris: Galerie Montaigne, 1920), n.p., cat. 14, as Portrait du sculpteur L. et de sa femme
Art Institute of Chicago, A Guide to Paintings in the Permanent Collection (Chicago: Art Institute, 1925), p. 169, cat. 2294, as Double Portrait
“The Birch-Bartlett Loan Collection,” Bulletin of the Art Institute of Chicago, XIX, no. 7 (October 1925), p. 82
Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection, (Chicago: Art Institute, 1926), pp. 44. 45 (ill.), 59, as Double Portrait
Zabel, Dauwen, “An American Gallery of Modern Painting,” Art and Archaeology 26, no. 6 (December 1928), p. 235, as Double Portrait
Sherwood, “The Famous Birsh Bartlett Collection,” The Chicago Visitor (October, 1932), p. 40, as Double Portrait
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections (Chicago: Art Institute, 1933), p. 79, cat. 702, as Double Portrait (Jacques Lipchitz and his Wife)
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture (Chicago: Art Institute, 1934), p. 53, cat. 356, as Double Portrait (Jacques Lipchitz and his Wife)
Wheeler, Twentieth-Century Portraits exh. cat. (New York: Museum of Modern Art, 1942), pp. 16, 140, pl. 66 (ill.), as Double Portrait (M. and Mme. Jacques Lipchitz), 1916–17
Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial, from the Birch Bartlett Collection (Chicago: Art Institute, 1946), pp. 36, 37 (ill.), 58, as Double Portrait (Jacques Lipchitz and His Wife)
Soby, Barr, Twentieth-Century Italian Art exh. cat. (New York: Museum of Modern Art, 1949), pp. 24, pl. 52 (ill.), as Jacques Lipchitz and His Wife
Lipchitz, “I Remember Modigliani,” Art News 49 (February 1951), pp. 27 (ill.), 28–29, 64–65
Sixth Quadrennial National Art Exhibition of Rome [VI Quadriennale nazionale d’arte di Roma] (Rome: Palazzo delle Exposizioni, 1951), p. 175, cat. 9, as Jacques Lipchitz e sua moglie, 1917
Soby, Barr, Modigliani: Paintings, Drawings, Sculpture exh. cat. (New York: Museum of Modern Art, 1951), p. 51, as Jacques Lipchitz and his Wife, 1916–17
Bucci, “Modigliani—Nach Dem Leben,” Das Kunstwerk 6, no. 5 (1952), p. 28 (ill.), as Jacques Lipchitz und seine Frau
Carli, Amedeo Modigliani (Rome: De Luca Editore, 1952), pp. 21-22, 30–31, pl. 8 (ill.), cat. 8, as Jacques Lipchitz e sua moglie
Lombardo, “20th Century Italian Art,” Art Education 5, no. 6 (December, 1952), p. 2 (ill.), 7, as Jacques Lipchitz and Wife
Tate Gallery, Twentieth-Century Masterpieces: An Exhibition of Paintings and Sculpture exh. cat. (London: Tate Gallery, 1952), p. 14, cat. 66, pl. III (ill.), as Portrait of Jacques Lipchitz and His Wife, 1917
Lipchitz, Amedeo Modigliani 1884-1920 (New York: Harry N. Abrams, 1954), n.p., pl. 45 (ill.), pl. 46 (ill.), as Jacques Lipchitz and his Wife, 1916–17
Taillander, “Modigliani,” Connaissance des arts 38 (April 15, 1955), p. 65 (ill.), as Le sculpteur Lipchitz et sa femme
Fels, L’Art vivant de 1900 á nos jours (Geneva: 1956), pl. 8 (ill.)
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 115, dated in 1916
Lipchitz, Modigliani (London: Beaverbrook Newspapers Ltd., 1958), pp. 4–5, 6
Modigliani, Jeanne, Modigliani: Man and Myth, translated by Esther Rowland Clifford (New York: Orion Press, 1958), p. 81
Russoli, Modigliani, translated by Isabel Quigly (London: Thames and Hudson, 1959), n.p., pl. 13 (ill.), as Jacques Lipchitz and his Wife, 1916
Schulze, “Chicago: Portraiture at the Institute,” Art News 57, no. 9 (January 1959), p. 49 (ill.), as M. and Mme. Lipchitz
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute, 1961), p. 315–16, as Jacques Lipchitz and His Wife, 1916
Patai, , Encounters: The Life of Jacques Lipchitz (New York: Funk & Wagnalls Company, 1961), pp. 165–166.
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965, pl. 189, as Le sculpteur Jacques Lipchitz et sa femme, 1917
Pavolini, Modigliani (New York: UNESCO, 1966), p. 10
Werner, Amedeo Modigliani (New York: Harry N. Abrahams, 1966), pp. 108, 109 (ill.), as Portrait of Jacques Lipchitz and his Wife, 1916–17
El Mundo de los Museos, Instituto de arte de Chicago (Madrid: Editorial Codex, 1967), pp. 13 (ill.), 67 (ill.), fig. 5, as Jacques Lipchitz y su esposo
Sichel, Modigliani: A Biography of Amedeo Modigliani (New York: E. P. Dutton & Co., Inc., 1967), p. 336–337, 368–369
Gindertael, Modigliani e Montparnasse (Milan: Fratelli Fabbri Editori, 1969), p. 15, 43 (ill.), pl. XVII, as Jacques Lipchitz e sua moglie, 1916
Ceroni, Piccioni, I dipinti di Modigliani, Classici dell’arte 40 (Milan: Rizzoli, 1970), p. 96 - nº 161, as Jacques Lipchitz e la moglie, 1917
Lanthemann, J, Modigliani 1884-1920: Catalogue raisonné (Barcelona: Gráficas Condal, 1970), p. 115, 189 (ill.) - nº 116, as Portrait du couple Jacques Lipchitz, dated 1916
Lipchitz, Arnason, My Life in Sculpture (New York: The Viking Press, 1972), pp. 28 (ill.), 30, fig. 21, as Portrait of Jacques Lipchitz and His Wife, 1916
Fifield, Modigliani (New York: William Morrow and Company, 1976), pp. 199, n.p. (ill.), as Jacques Lipchitz and his Wife, 1916
Warnod, La Ruche & Montparnasse (Geneva: Weber, 1978), p. 121 (ill.), as Jacques Lipchitz et sa femme, 1917
Hall, Modigliani (Oxford: Phaidon, 1979), pp. 16, pl. 29 (ill.), as The Sculptor Lipchitz and his Wife, 1916
Mann, Modigliani (London: Thames and Hudson, 1980), pp. 104, 106, 107 (ill.), 212, fig. 73, as Jacques and Bertha Lipchitz, 1917
Musée Saint-Georges, Modigliani exh. cat. (Liege, Belgium, 1980), p. 36 (ill.), fig. 26, as Portrait Jacques Lipchitz et sa femme, 1917
Speyer, Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 57, cat. 3A1, as Jacques Lipchitz and His Wife, 1916
Zurcher, Modigliani (Paris: Fernand Hazan, 1980), p. 17, as Lipchitz
Pelayo, “’Modigliani sin leyenda,’ en París,” Ya (Madrid), (April 12, 1981), Culture section (ill.), as Jacques Lipchitz y su esposa
Modigliani, Jeanne, Raconnta Modigliani (Livorno: Edizioni Graphis Arte, 1984), p. 119, n.p. (ill.), as Jacques Lipchitz e la moglie, 1917
Roy, Modigliani, trans. by James Emmons and Stuart Gilbert (New York: Skira, 1985), pp. 39, 68–69 (ill.), 156, as Jacques Lipchitz and His Wife, 1916
Silver, Golan, The Circle of Montparnasse: Jewish Artists in Paris 1905–1945 (New York: The Jewish Museum, 1985), pp. 22–23, 24, fig. 14, as Portrait of Jacques Lipchitz and His Wife, 1916–17
Benezra, “A Study in Irony: Modigliani’s Jacques and Berthe Lipchitz,” Museum Studies 12, no, 2 (Art Institute of Chicago: 1986), pp. 188 (ill.), 189-99, 223
Wood, “Preface,” Museum Studies 12, no. 2 (Chicago: Art Institute, 1986), pp.82, 83, 223, cat. 18, as Jacques and Berthe Lipchitz, 1916
Castieau-Barreille, La Vie et l’oeuvre de Amedeo Modigliani (Paris: Vilo, ACR Édition, 1987), pp. 166, 167 (ill.), as Jacques Lipchitz et sa femme, 1917
Wood, Lee, Master Paintings in the Art Institute of Chicago (Chicago: Art Institute, 1988), p. 123 (ill.), as Jacques and Berthe Lipchitz, 1916
Galleria d’Arte Moderna e Contemporanea, Modigliani a Montparnasse (Milan: Arnoldo Mondadori Editore, 1988), p. 21 (ill.) as Jacques Lipchitz e la moglie, 1917
Parisot, Modigliani (Livorno: Edizioni Graphis Arte, 1988), pp., 138–139 (ill.), as Lipchitz e la moglie, 1917
Buisson, La Scuola di Parigi e Modigliani (Livorno: Cassa di Risparmi di Livorno/Graphis Arte, 1989), pp. 104, 105 (ill.), as Lipchitz e la moglie, 1917
Szabo, “A Study in Jealousy: A Drawing by Amedeo Modigliani,” Drawing 10, no. 5 (January–February 1989), pp. 105 (ill.), 106, fig. 1, as Jacques and Berthe Lipchitz, 1916
Parisot, Modigliani: Catalogue raisonné: Dessins, aquarelles, 1 (Livorno:Edizioni Graphis Arte, 1990), pp. 138, 139 (ill.), as Jacques Lipchitz et sa femme, 1917
Rose, Modigliani: The Pure Bohemian (London: Constable, 1990), pp. 7, 33, as Jacques and Berthe Lipchitz, 1917
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 pp. 163 310, 311 - nº 27/1917, as Jacques Lipchitz et sa femme, 1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 166, as Jacques Lipchitz e la moglie, 1917
Schmalenbach, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen exh. cat. (Munich: Prestel Verlag, 1991), p. 95 - nº 45
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 99
Butler, Modigliani (London: Studio Editions, 1994), pp. 80, 81 (ill.), 143, cat. 81, as Jacques and Bertha Lipchitz, 1916–17
Shiff, “A Line as Clear and Tensile as a Lightning Flash,” Smithsonian 24, no. 10 (January 1994), pp. 68 (ill.), 70, 72
Wood, Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: The Art Institute, 1996), p. 38 (ill.), as Jacques and Berthe Lipchitz, 1916
Kruszynski, Amedeo Modigliani: Portraits and Nudes (Munich: Prestel, 1996), pp., 60–61 (ill.), 119, as Jacques and Bertha Lipchitz, 1917
Krystof medeo Modigliani 1884–1920: The Poetry of Seeing (New York: Taschen, 1996), pp. 46 (ill.), 47, as Jacques and Berthe Lipchitz, 1916
Sotheby’s, Impressionist and Modern Art Part I (November 9, 2000), p. 124 (ill.), 126, fig. 1, as Jacques et Berthe Lipchitz, 1917
Wayne, Modigliani and the Artists of Montparnasse exh. cat. (New York/Buffalo: Harry H. Abrams/Albright-Knox Art Gallery, 2002), pp. 32, 86 (ill., cat. 9), as Jacques and Berthe Lipchitz, 1916
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pl. 20
Klein, Mason, ed., Modigliani: Beyond the Myth exh. cat. (Jewish Museum/Yale University Press, 2004), pp. 11, fig 10 (color ill.); 79
Chiappini, ed., Modigliani (Milan: Skira, 2006), pp. 24, 25 (ill.), fig. 4, as Jacques Lipchitz e la moglie, 1917
Stephanie D’Alessandro, with contributions from Renée Devoe Mertz, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimball Art Museum, 2013), p. 69
Stephanie D’Alessandro, with contributions from Renée Devoe Mertz, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Art Institute of Chicago, 2014), p. 69
Biusson, “Russian artists in Paris,” in Modigliani, exh. cat. (Moscow: Red Square Publishing, 2007), pp. 54 (cat. 30), 55 (ill.), 90, as Portrait of Jacques and Berthe Lipchitz, 1917
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Cuno, Master Paintings in the Art Institute of Chicago, Chicago, 2009, p.115
D'Alessandro, The age of Picasso and Matisse : modern art at the Art Institute of Chicago, Art Institute of Chicago, Chicago, 2014, pp. 10, 69
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 115
In process
Paris, Exposition rétrospective des oeuvres de Modigliani, Galerie Montaigne, 1920 - nº 14
Chicago, Birch-Bartlett Collection of Modern European Paintings, Art Institute of Chicago, 1925
Boston, Birch-Bartlett Collection of Modern European Paintings, Boston Art Club, 1925 - nº 40
Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, Art Institute of Chicago. 1933 - nº 702
Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, Art Institute of Chicago. 1934 - nº 356
New York, Twentieth-Century Portraits, Museum of Modern Art, 1942 -1943, pp. 16, 140, pl. 66 as Double Portrait (M. and Mme. Jacques Lipchitz), 1916–17
Baltimore, Twentieth-Century Portraits, Museum of Art, 1943
Worchester, Twentieth-Century Portraits, Art Museum, 1943
New York, Twentieth-Century Italian Art, Museum of Modern Art, 1949, pp. 24, pl. 52
Cleveland, Modigliani: Paintings, Drawings, Sculpture, Cleveland Museum of Art,1951, p. 51, as Jacques Lipchitz and his Wife, 1916–17;
New York, Modigliani: Paintings, Drawings, Sculpture, The Museum of Modern Art, 1951
Roma, Modigliani, VI Quadriennale, Palazzo delle Exposizioni, 1952, cat. 9, as Jacques Lipchitz e sua moglie, 1917, p. 175
Paris, Twentieth-Century Masterpieces: An Exhibition of Paintings and Sculpture, Musée national d’arte moderne, 1952 - nº 72
London, Twentieth-Century Masterpieces: An Exhibition of Paintings and Sculpture, Tate Gallery, Arts Council of Great Britain, 1952, p. 14 - nº 66, as Portrait of Jacques Lipchitz and His Wife, 1917
Chicago, The Artist Looks at People, Art Institute of Chicago, 1958-1959
Czechoslovakia, Modigliani, 1969 - nº 12
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 49, as Jacques Lipchitz und seine Frau, 1917
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº as Jacques and Berthe Lipchitz, 1916 - nº 49
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 9
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 9
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 9
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007 - nº 90, as Portrait of Jacques and Berthe Lipchitz
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 85
Fort Worth, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Kimball Art Museum, 2013– 2014
London, Modigliani, Tate Modern, 2017-2018
In process
Nº 205 in D'Atri papers as Portrait de sculpteur Lipchitz et sa femmee - no size or date - provenance in Collection Lipchitz, Paris 1931
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Detail of signature in visible normal light:
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The eyes of this painting reflect a style Modigliani used from the end of 1915 to the first months of 1918, very similar eye construction can be
seen in many Modigliani works from this period:
In fact Lipchitz eyes are more cubist style while Berthe's eyes are more in the style of the 1917-18 period.
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Detail of the ears where the drawing with colors and black detail is visible and is painted over the color (on top of the color)
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The painting framed in Chicago, 2017:
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this painting was made in a reused canvas.
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