woman portrait
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Date 1917 ?
Title Woman with hair bows- La femme aux macarons
Materials Oil on canvas
Size 60.4 x 46 cm (in Prof.ssa Isabella Quattrocchi dossier)
Signature: Signed "modigliani" in white top center left
Actual Location Private Collection?
Provenance -?-

Private Collection?

In process

Bibliography -?-

Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 208

In process

Exhibitions -?-

Genova, Modigliani, Palazzo Duccale, 2017 - nº 56

In process

Not in D'Atri papers




The painting framed at the scandalous Genoa Exhibition in 2017:

framed at genova 2017


The painting was seized by the police after a report by C. Pepi an Italian connoisseur and finally this is the conclusions of the investigation:


Conclusion of the Prof. Isabella Quattrocchi (- JUST A COPY- TRANSLATE - PASTE of her report)

The oil painting on a canvas support depicts a female portrait. The face lacks mobility expressive, the features show a rigid symmetry in the arches of the eyebrows, in the almond-shaped eyes,
in the nose drawn without volume, in the mouth defined by the black contour, in the hairstyle of the hair collection on the sides and tied behind that does not appear in any of the female portraits
attributed to Modigliani who always depict real people whose knowledge deepens with the spirit of the anthroposophic & esoteric. For example, in the case of the faces generically referred to as
"Head of a woman" the source of inspiration is Hanka Zborowaska.
The oval of the face ends in a point, resting on the neck, on one side more straight on the other slightly curvilinear. The almost non-existent shadows of the face are not calibrated. The black hair is
lightened by very fine graffiti realized on the still fresh color, with a sharp point, the preparation of the bottom and the clothing is artificially cracked, using different pigments.
In the complexion, with the charming brushstroke, the cadmium red color dominates.
It is believed that to speed up the execution of the painting a type of pre-prepared cloth was used commercial with a thin weave, on which a second preparation of titanium white was given
Modigliani's palette is clear and definite and the shadows were obtained with complementary ones in this on the other hand the colors are dirty and messy, the shadows are made with the black pigment
also used for define the contours.
The signature, underlined in the upper left corner and made with a brush with the white color and defined in a way not clear, it is false.
The frame has a crossbar and the canvas is clumsily cut and fixed to the frame with nails (sellerine).
The conclusions of the micro-sampling analyzes of the Lamoa Expert Analysis Laboratory are reported (LAMOA1710-96 56 OA):

- The first white pigments of titanium - rutile appear in the world at the time of the 2nd War World: consequently it can not be here a work of Amedeo Modigliani (1884-1920).
- The set of characteristics highlighted makes it possible to conclude that this table has very probably been painted after the 1960s.

Given the above, the work is false.


I am not the person to say if this work is original or fake, but this report is absolutely naive, but in this case it presents a good final conclussion.

With this I do not say the work is genuine or fake, I personally don't like not even a single brush, but it does not mean that my taste make the difference.

All the experts claiming to destroy this or other works should be aware that under the same rules many of the works they
present at many exhibits should also be in the same position in a future.


I would only add this 3 points:

1.- Art even if false is not forged NIKE sport shoes, so to destroy it is an absurd mistake that place art even if original at the same level of value as a NIKE sport shoes.

2.- The damage to the art experts claim to solve by destroying works is in terms of market not of Knowledge, stamp it in the back as false and do not destroy nothing, just in case we are wrong.

3.- I hope the painting is finally returned to the owners, even if fake, stamp it and return it.


The main problem here is that all the people involved are completely toxic, so fake news come and go, geven them more time and it will say that Al Capone was involved...
they are all using the press as a weapon one to one, so nobody cares for Modigliani in this market issue.

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