secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO | Nº 118 | Nº 252 | YES | 31/1918 | Nº 265 | YES | YES |
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R. Dutilleul Collection, Paris
Stettiner Collection, Paris (acquired ca.1930)
Stolen by nazi occupation forces (with Arthur Pfannstiel intervention)
John Van der Klip (acquired at an unknown sale in Paris 1940-1945 ?)
John Livengood , Paris (inheritance from above)
Sale: Christie's - London, 25/June/ 1996 - Sale 5619- Lot 15
Estimated: 2.000.000 - 3.000.000 GBP - Sold: 2.091.500 GBP
In this sale Christie's did not mention to Stettiner provenance, even in the work has a sticker in the back making clear the provenance:
David Nahmad Collection (or Nahmad enterprises?)
Sale: Sotheby's -New York, 3/November/ 20086 - Sale N08485 - Lot 26
Estimated: 18.000.000 - 25.000.000 USD- Unsold
In this sale Sotheby's mentioned the Stettiner provenance as (possibly) but did not mentioned the painting had a war plundered issue
David Nahmad Collection (or Nahmad enterprises?)
In process
?
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 113
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 118 - titled Seated man / Paul Guillaume? - dated 1916
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 252 - titled Seated man with a cane - dated 1918 and as lost
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 265 - titled Seated man with a cane- dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 31/1918 titled Seated man with a cane - dated 1918
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 50
- in the catalogue of paintings for this exhibition made by Decrooq usual collaborator of Restellini she say that is nº 16 in Venezia exhibit, a rare mistake because
it is named in the catalogue in Venezia as nº 35 easy to identify thanks to the stettiner property - nº 16 is Portrait of doctor X
- in the exhibition curatorial staff nobody noticed the sticker on the back of the canvas?
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 142, pl. 58
- in the exhibition at the curatorial staff nobody noticed the sticker on the back of the canvas?
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 114 - nº 30
- in the exhibition curatorial staff nobody noticed the sticker on the back of the canvas?
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
?
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 35 (property of Stettiner, Paris)
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 50
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
New York, Amedeo Modigliani: A Bohemian Myth, Helly Nahmad Gallery, 2005
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 30
In process
Not in D' Atri papers ?
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This painting presents holes in the corners
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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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The painting at the Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930
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Extract from Le Monde newspaper 27th May 2016
The Institut Restellini, undertaking a catalogue raisonné of the painter’s works, has given its verdict: the sitter in the painting is Georges Menier. This famous manufacturer,
the eldest of the fourth generation of well-known chocolate makers, mayor of Lognes (Seine-et-Marne) for thirty years and acknowledged composer, frequented the artistic elite in Paris.
Art historian Marc Restellini confirms that he found traces related to the painting in the Menier Archive in the Musée d’Orsay and according to the memories of the wife of Modigliani’s last dealer,
Anna Zborowska.
James Palmer, the famous investigator of looted artworks behind the legal proceedings, specifies “Philippe Maestracci confirmed to us that his grandfather Oscar Stettiner was friends with Georges Menier”.
A further point is that Modigliani painted a portrait of Simonne Menier, Georges’ wife, in 1919. It is therefore highly likely that the two paintings, of Georges, believed to date back to 1918, and of Simonne,
were painted around the same time.
Based on this this are the Mother, ather and child:
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But is something that I have to search deeper...