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Burlington Magazine, XXXV, 1919, p.121
Colour, XI, December 1919, p.94
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, pp. 30 , c.p. 18
Hamnett, Laughing Torso, London,1932, p.116
Venturi, Pittura Contemporanea, Milan 1948, pl. 1498
Unesco, La peinture de 1860 à 1949, Unesco Paris, 1951, p. 120 - nº 230
Descargues, Amedeo Modigliani, Braun, Paris, 1954 (cover)
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, p. 81 - titled The peasant boy - dated 1917
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 121 - titled The little peasant - dated 1917 - Tate Gallery, London
NOTE: Pfannstiel mentions the provenance as follows: Zborowski sold to Netter who sold to Blaker (??? a mistake also repeated by D'Atri)

San Lazzaro, Modigliani-Portraits, Hazan, Paris, 1957, pl. 9
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 104
Roy , Modigliani, Skira, Lausanne, 1958, p. 81
The Blaker Diary: some Extracts with a Memoir by Murray Urquhart' in Apollo, LXXVIII, 1963, pp. 293-8, p.298
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 138
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 146
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 36
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 49
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 373 - titled Young man (named as the young peasant) - dated Nice 1919
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 257 - titled The young peasant - dated 1918
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 257 - titled The young peasant - dated 1918
Clark, Another Part of the Wood , London 1974, pp.78-9
Mann, Modigliani, Thames and Hudson, London, 1980, p. 187
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, pp.529-31, rep. p.529
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 41
Roy, Modigliani, Nathan, Paris, 1985, p. 115
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 162
Parisot, Modigliani, Graphis Arte, 1988, p. 187
Orion Press, Tokyo, 1989 - nº 52
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 137 - nº 85
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 187
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 270 - titled Peasant - dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 39 /1918 - titled The young peasant - dated 1918
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 140
Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, p. 77
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 87
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 111 - nº 34 - titled the little peasant - dated circa 1918
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p. 51 - dated 1918
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 47, fig. 4
López Blázquez, Modigliani, Polìgrafía, Barcelona, 2005, p. 48
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 117 - nº 33
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 159
King, Centeno, Duvernois, Fronek, Townsend, The Modigliani Technical Research Styudy, Modigliani in the South of France, The Burlington Magazine, CLX, London, May 2018, pp. 394-399



In process

Hugh Blaker, its first owner, recorded in his diary on 31 March 1932, after learning of Zborowski death: 'I was a friend in 1919 when he hawked Modigliani in vain in London.
My purchase alone enabled him to pay his rent of the first floor room. He brought over Modigliani stripped of stretchers and frames. He rolled them in bundles to dodge freightage.
He laid them on the floor. I bought four of them. So far as I know, I was the only man in London to care a tuppenny damn about 'em.'

Zborowski visit to London was made in connection with the exhibition French Art 1914-19 at the Mansard Gallery, which he helped to organize in association with Sir Osbert
and Sir Sacheverell Sitwell. Sir Osbert's account of the exhibition in Laughter in the Next Room (London 1949), pp.148-66 makes it clear that Modigliani's paintings, which had
never been seen in England before, were not quite as unfavorably received as Hugh Blaker suggests; indeed pictures were also purchased by Arnold Bennett, by Sir Osbert and
Sir Sacheverell Sitwell jointly, and by at least one other collector. 'The Little Peasant' was even reproduced in 1919 both in the Burlington Magazine and in the magazine Colour.

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This painting presents holes in the 4 corners

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Signature of the painting:



Text in the bottom right:




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Detail of the ears where the drawing is clearly visible and is painted in color



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This painting was part of the Modigliani technical research study in 2018

Extract from:
The Modigliani technical research study "Modigliani in the South of France"
King, Duvernois, Fronek, Towsend, Centeno
Burlington Magazine CLX - May 2018, pp. 394-399

Modigliani returns to Cezanne palette, oranges and blues return strongly. The painting layer becomes thin and the lack of materials make him change his painting methods.
War is in the worst moment therefore he employed a consistent and limited range of pigments.

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In this painting the identification of the pigments are:

1.- Yellow (zinc chromate)
2.- Lead and Zinc white
3.- Vermelion
4.- Ochre
5.- Organic red lake
6.- Bone black
7.- Viridian green
8.- Prussian blue (synthetic ultramarine)

General Museum technical studies have reached the conclusion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).

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The painting has been recently cleaned and the restoration is in my opinion magnificent since it respected all the reds/oranges of the skin tones and
at the same time recovered the blues and reddish browns so similar to Cezanne present all over the Modigliani production.



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The painting framed at the Tate Liverpool Gallery:




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The same sitter can be seen in another painting with different position: