secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 136 | Nº 170 | Nº 118 | YES? | 17/1916 | Nº 121 | YES | ? |
Léopold Zborowski, Paris
James N. Rosenberg, New York (Acquired from above in 1921-22?)
New Gallery, New York, 1922
Paul Reinhardt, New York
Netter Collection, Paris (based on Pfannstiel provenance) ?
Paul Guillaume, Paris ?
Bignou Gallery, Paris
Reid and Lefevre, London (1927)
C. Frank Stoop Collection, London (Acquired 1928 - until 1933)
Tate Gallery, London, United Kingdom, Inv. Nº N04723
Bequeathed by C. Frank Stoop 1933
In process
McBride, 'Modigliani' in Arts, III, 1923, p.53, repr. p.54 as 'Portrait'
Schwarz, Modigliani, Paris, 1927, pl. 4
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 21
Rothenstein, Modern foreign pictures in the Tate Gallery, London, 1947, pl. 74
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 136 (dated 1917 )
Rosenberg, Painter's Self-Portrait, New York, 1958, pp.54-8
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 178
Alley, 1959, p. 164 - pl 41
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 178 (dated 1917 )
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966 , pl. 15
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 45
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 170 (dated in 1916)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 118 (dated in 1916 )
Hall, Modigliani, Phaidon, Oxford, 1979 - nº 30
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 121
Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.528
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 30
Roy, Modigliani, Nathan, Paris, 1985, p. 83
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 17/1916 (dated in 1916 )
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 121 (dated in 1916)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 244-245 (dated 1916)
NOTE:
Restellini mentions in his Guillaume as the first owner of this painting but the acquisition to Zborowski directly from James N. Rosenberg in 1922 is undoubted,
Guillaume was only an intermediary at one of the multiple sales.
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 125, pl. 40 - dated c. 1917
López Blázquez, Modigliani, Polìgrafía, Barcelona, 2005, p. 37
Restellini, Modigliani et le primitivisme, The National Art Center, Tokyo, 2008 - n° 33 (dated in 1917)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
New York, Paintings by Derain, Modigliani, Matisse and Others, New Gallery, 1922 as 'Tête de Femme'
New York, Modern Italian Art, Grand Central Art Galleries, 1926 as 'Portrait', lent by Paul Reinhardt - nº 70
London, Paintings by Modigliani, Lefevre Galleries, 1929 as Mademoiselle Victoria - nº 2
London, Modern Italian Art, Tate Gallery, 1950
Tokyo ,Love and Nostalgia for Montparnasse, Daimaru, 1979 - nº 8
Osaka,Love and Nostalgia for Montparnasse , Daimaru, 1979
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 34
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 64
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 53
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 48 (dated in 1916)
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 35
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 - n° 33 (dated in 1917)
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 - n° 21
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 86 (dated c. 1917 as young woman)
London, Modigliani, Tate Gallery, 2017
?
In process
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This painting presents holes in the 4 corners, but since it is painted in a reused canvas, probably the holes are from the previous painting and Victoria was painted already
in the stretcher.
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The signature of the painting:
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Detail of the ears where the contour is clearly visible and is painted over the color (on top of the color)
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The painting has been in my opinion excessively cleaned a yellow varnish layer (or layers?) have been retired and with that part of the orange magic used by Modigliani is lost.
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For the Tate Gallery exhibition studies were made and the X ray showed another Modigliani painting under Victoria:
The portrait under Victoria is another version of Beatrice Hastings in front of the fireplace (dated in 1915), the position, size and perspective fits perfect:
So we have a 1915 Modigliani under a 1916 or 1917 modigliani, a very common re use of a canvas, but having in mind that some experts say that Modigliani
from 1916 is supported by the merchants like Paul Guillaume and Leopold Zborowski and supplied in canvases by these merchants and therefore no longer
needs to use poor media such as cardboard or reuse canvases, then we have to rethink all over many commonly accepted opinions.
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The painting framed while at London, Modigliani, Tate, 2017:
