Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Date 1917 ?
Title Chaim Soutine - Soutine
Materials Oil on canvas
Size 55.5 x 35 cm (in Prof.ssa Isabella Quattrocchi dossier)
Signature: Signed "modigliani" top right and the text "SOUTINE" center left
Actual Location Private Collection?
Provenance -?-

Private Collection?

In process

Bibliography -?-


In process

Exhibitions -?-

Pisa, Amedeo Modigliani et ses amis, BLU | Palazzo d’arte e cultura, 2014- 2015
Seoul, Amadeo Modigliani: Legend of Montparnasse, Hangaram Museum of Seoul Art Center, 2015
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015
Genova, Modigliani, Palazzo Duccale, 2017 - nº 19

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)

Oil on canvas, summarily recalls the authentic portrait of Soutine from 1915 (reference Art Dossier Giunti edition, attached to n. 30 of December 1988 - pag. 33).
In the seized work, the pigment is heavily textured, distributed in a disorderly fashion, the painting makes the complexion purple, the hair is engraved with a tip
on the fresh color (as can be seen from the photographic documentation attached). The face of the character, slightly tilted to the left compared to the viewer, it
is cropped with the same black color that frames the door and highlights its own mirrors.
The Modigliani signature, top right, is false: it has a discontinuous pattern and a heaviness of the line of the brush.
On the reverse, the canvas was stiffened and aged by a coat of shellac and fixed to the frame with sellerine, and it has been spotted here and there with clumsy
color, which spills out onto the frame.
The frame has the crossbars recovered and reassembled, the tensioning keys have been treated with a mordant.
In order to write on the canvas (treated and stiffened with shellac) an alcohol marker was used. The tensioning keys and the parts of the frame are fixed together
with vinyl glue. Al towards a label in paper shows with a black felt-tip pen that the work was lined and restored in 1963, with a signature illegible and dated Ascona, 15. X. 63.

Given the above, the painting is not attributable to the artist.

In the dossier of Dr. Marie-Pierre Etcheverry e by Dr. Tiziana Mazzoni it is confirmed that the pigments they are not compatible with the Modigliani palette but can be dated
after the Second World War and therefore the falsity of the work is confirmed.


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 that 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...
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.