secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 142 | Nº 232 | Nº 319 | YES | 17/1919 | Nº 230 | ? | ? |
Léopold Zborowski, Paris
?
Paul Guillaume Collection, Paris
Private Collection, Paris
Dudensing Collection
Ruth Maitland, Los Angeles
Walter Maitland Collection, Colorado (Inheritance by 1955)
?
Sale: Christie's News York - 14/November/1988 - Lot 22
Sold: 3.800.000 USD
Private Collection?
In process
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 23
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 8
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 22
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 49
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº142 (dated 1917)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 142
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 319 (dated 1919)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 232 (dated 1917)
Mann, Modigliani, Thames and Hudson, London, 1980, p. 164 - nº 120
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 218 (size: 38 x 46)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 330 (dated 1919)
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 17/1919
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
?
In process
Not in D' Atri papers?
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Detail of signature in visible normal light:
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Eyes, nose and the facial oval of this painting are an absolute mistero, of course they are absolutely embedded in the Modigliani production without a doubt but they are
in a certain way a compendium of his work, that may be the reason why the Market historians have never agreed with its dating from 1916 to 1919.
the eyes are clearly in his drawing of the end of 18 or the 19, in his coloring they are a combination of 17-18-19 the nose is more of the 19 than of the 18 and the incarnation
of the face is perfectly assumable without the production of the 18, macchioli type finishes are throughout the work.
It seems that in the cartons, Modigliani let his artistic impetus fly because surely, being a less commercial work, it would be freer to experiment.
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Detail of the ears where the drawing is clearly visible and is painted over the color (on top of the color)
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Detail of the loose hair that Modigliani liked so much:
Detail of the jewelry on the fingers of Lunia, it is two wedding rings, could be yours and your husband's (a personal indication to your state of possible widowhood ??)
or maybe it is just an ornamental detail unimportant.
Detail of the brushwork near the shoulder, ther eis no zig zag brushplay, just plain brushstrokes
