secretmodigliani.com
Image Courtesy of the Barnes Foundation
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO? | Nº 360 | Nº 261 | YES | 42/1918 - WRONG | Nº 274 | ? | ? |
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Leopold Zborowski., Paris
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Paul Guillaume, Paris
Sold by Guillaume to Alfred Barnes in 1922 or 1923(?)
Barnes Foundation, Philadelphia, Pennsylvania, USA (Inv. Nº BF422)
In process
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Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 116
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 238 - dated 1918 - nº 261 - title Hébuterne seated in profile with white dress - dated 1918
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 360 - title Jeanne Hébuterne seated in profile - dated 1919
Sweeney, Johnson. "The Albert C. Barnes Collection." The Barnes Foundation Journal of the Art Department 3 - nº 2 (Autumn 1972), pl. 16
De Mazia, Violette, "Transferred Values: Part I--Introduction." The Barnes Foundation Journal of the Art Department 9 "- nº 2 (Autumn 1978) , pl. 18
Barnes Foundation, "Transferred Values: Part III." Vistas 1 - nº 2 (Autumn-Winter 1979-1980), pl. 11
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 42/1918 as Portrait de Jeanne Hébuterne, with mistake in the exhibitions, provenance, owners, mixed with the other similar Jeanne Hebuterne (see bellow)
Wattenmaker, Richard J., Distel. Great French Paintings from The Barnes Foundation: Impressionist, Post-Impressionist, and Early Modern. New York, Alfred A. Knopf in association with Lincoln University Press, 1993, 21, fig. 8
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Dolkart, Judith F., Martha Lucy, and Derek Gillman. The Barnes Foundation: Masterworks. New York, Skira Rizzoli, 2012, 296-297, 309, 315
In process
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Philadelphia, Catalogue of an Exhibition of Contemporary European Paintings and Sculpture, The Pennsylvania Academy of the Fine Arts, 1923
Since the 20's of past century the painting has never left the Barnes premises.
In process
Not in D' Atri papers
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This painting presents holes in the 4 corners
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Detail of signature in visible normal light:
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Detail of the ear where the drawing is clearly visible and is painted over the color (on top of the color)
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The painting framed in location at the Barnes:
Image Courtesy of the Barnes Foundation
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There is a very similar painting in size and composition
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The painting with the black & red dress is the one that Parisot mixed.
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This are the 2 paintings one on top of the other the changes can be easily seen:
