secretmodigliani.com
Image courtesy of MIA
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 321 | NO | NO | NO? | YES | NO | YES | ? |
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Gaston Bernheim Collection, Paris
Galerie Bernheim-Jeune, Paris
André Lefevre Gallery, Paris
Hessel Collection, Paris
Sale: Paris, Hotel Drouot, June 1, 1932 - nº 39 (size in auction 91 x 53) - sale: 29.000 FF
Lefevre Gallery, London
James Archdale Collection, England
Duncan MacDonald Collection, London, England
Sale, Dalzell Hatfield Gallery, Los Angeles, July 7, 1948
Fanny Brice Collection, Los Angeles
Temporary loan to Museum of Modern Art, New York
Samuel Maslon Collection, Palm Springs
Minneapolis Institute of Art, Minneapolis, USA
Gift to MIA in 1959 by Mr. and Mrs. Samuel Maslon
In process
T. Soby, Modigliani: Paintings, Drawings, Sculpture. Exh. cat., The Cleveland Museum of Art, New York, 1951, p. 51
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 321 (91 x 54 -dated end of 1917 - Hessel collection, Paris)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 390-391 - nº 104 - dated 1919
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - (mention in nº 33 - the face portrait)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
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Paris, Modigliani, Galerie Bernheim-Jeune, 1922 - nº 30 as La petite bonne ?
Venezia, Modigliani retrospective, XIII Biennale di Venezia, 1922 - nº 12 - as La Giovane Fantesca (nº 163673)
(Source from Restellini at "le silence eternel" not sure, he say is nº 11 but based on the numbers of the exhibition the nº 11 would be a young boy)
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Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 85
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 70
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art,1951
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 104 - dated 1919
In process
Nº 85 in D' Atri papers as La Jeune servante -91 x 54 - Mediocre painting - "Jessel" Collection, Paris
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The painting presents holes in 3 corners, probably the fourth is covered by a restoration, the three
visible holes, present painting on them, which makes it more possible that it is a reused canvas.
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it seems to be by simple visual inspection that the painting presents a previous work, since in the zones without pictorial layer another different composition is appreciated,
I do not have clear data since I do not have X-rays for its verification, this information comes from Marc Restellini so it will go against his own information saying that Modigliani
was supported by Guillaume/Zborowski so he had plenty of canvases and did not need to use poor media or reuse canvases since 1915.
Detail of the visible painting under the actual one:
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The painting presents a large number of corrections and changes, something very little seen in modigliani, since the structure of the work and the changes
it undergoes are clearly visible as can be seen in these details at a glance:
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The eyes and nose of this painting reflect a style Modigliani used from the end of 1918 to 1919, very similar eye and nose construction can be
seen in many Modigliani works from this period, the line lies under the color and the color degradation is made using color not shadow.
Nose is completely unique, there is no other similar perfect softer nose all over Modigliani production.
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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 at MIA in 2016:
:
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The painting was probably restored or cleaned in an aggressive way since in the image of the auction catalog of 1932 is visible
a detail that does not exist anymore, what appears to be a white or gray belt.
It is not visible but maybe there was a signature in the upper right corner that is now lost because of that hard cleaning?
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The bust sketch for the unsigned three-quarter painting present strong differences more than obvious.
This image shows both works mounted one on the other in the same size.
Hair, position of the eyes, width of the neck and volume of the head are clearly different.
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The painting presents some of the typical and classic examples or tricks of the handling of oil by Modigliani,
from the dislocated hair to the left of the head to the detail of a thread coming out of the dress, something
absolutely classic in Modigliani and his way of pushing the figure the viewer.
Hair dislocated:
Thread coming out of the dress:
Chair painting:
Detail of the zig zag brush stroke around the figure, something unusual in other works but demonstrative of the Modigliani painting system,
probably needed to cover more densely that area to hide the background image.
Detail of the lower left corner where you can see the use of white to delimit and give light to the figure against the background.
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The painting while in the ownership of the actress Fanny Brice c. 1948
(there is no visible trace or the lost belt)
