secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 345 | Nº 406 | Nº 301 | YES | 36/1919 | Nº 312 | YES | YES |
Paul Guillaume, Paris
Kraushaar Galleries, New York (1927)
Ralph M. Coe Collection, Cleveland (1929)
Sale: Sotheby - London - 23 / November / 1960 - Lot 39
Arthur Tooth & Sons, Ltd., London (acquired above sale)
Cummings Collection, Los Angeles
Private collection, Switzerland
Sale: Christie's - New York - 13 / November / 1984 - Lot 136
Robert C. Guccione Collection, New York (acquired above sale)
Sale Guccione Collection: Sotheby's - New York, Sale 7838- 5 / November / 2002 - Lot 59
Sold:8.479.500 USD
Kimmel Collection, New York (acquired above sale?)
Sale Kimmel Collection: Christie's - New York, Sale 2844 - 6/ May / 2014- Lot 5
Estimate: 8.000.000 - 12.000.000 USD - Sold: 17.637.000 USD
Private Collection ?
?
In process
Dale, Modigliani, Knopf, New York, 1929 - nº 4
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 35 - dated 1919
T. Soby, Modigliani, Museum of Modern art, New York, catalogue exp. 1954, p. 47 - dated 1919
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 345 - titled Boy with red hair seated frontal- dated 1919 - size 100 x 65
Werner, Amedeo Modigliani , H. Abrams, New York 1966, p. 38 - nº 47
Werner, Amedeo Modigliani, Garzanti, Milano 1967 - nº 47
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 406 - titled Portrait of a young person / the red hair young man seated - dated 1919
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 301 - titled Red hair young man - dated 1919 - size 100 x 65
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 301 - titled Red hair young man - dated 1919 - size 100 x 65
Parisot, Modigliani Catalogue Raisonné Vol. V, Rome, 2012 - nº 36/1919
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 312 - titled Red hair young man - dated 1919 - size 100 x 65
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, mention in p. 352
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
?
In process
New York, Paintings by Amedeo Modigliani 1884-1920, De Hauke & Co. Inc., 1929 - nº 5
NOTE: in the catalogue for this exhibit the entrey say; SIGNED AT UPPER RIGHT
Chicago, Paintings by Amedeo Modigliani, Arts Club of Chicago, 1929
New York, Amedeo Modigliani: Retrospective Exhibition of Paintings, Demotte, Inc., 1931 - nº 13
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 74
Cleveland, Twentieth Anniversary Exhibition, The Cleveland Museum of Art - nº 329
New York, Loan Exhibition: From Corot to Van Gogh, C.W. Kraushaar Galleries, 1936
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art, 1951
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
Palm Beach, Modigliani, Society of the Four Arts, 1954 - nº 34
Miami, Modigliani, Lowe Gallery, 1954 - nº 34
New Haven, Pictures Collected by Yale Alumni, Yale University Art Gallery, 1956 - nº 147
New York, XIX & XX Century Master Paintings, Acquavella Galleries, Inc., 1979 - nº 11
Tokyo, Modigliani, Utrillo, Kisling, Nichido Museum and Tokyo Shimbun, 1980 - nº 20
Roslyn Harbor, From Botticelli to Matisse: Masterpieces of the Guccione Collection, Nassau County Museum of Art, 1994
?
In process
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Probably this other painting may be a sketch for the larger composition or copies made by the author as some experts suggest?
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Detail of signature:
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The Painting framed for auction:
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The painting framed at the Kimmel residence in 2005:
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Infra red image of the painting showing the drawing lines of the body, face and main details:
Detail of the infrared showing the ears sketch:
Detail of the infrared showing the mouth and moustache sketch:
Detail of the infrared showing the jacket sketch:
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Detail of the ears where the drawing in black line is clearly visible and is detailed in color
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NOTE:
Marc Restellini has suggested that he might be a member of the family of Dr. Raymond-Jacques Sabouraud (1864-1938), Modigliani's first known landlord in the south of France and the earliest
recorded owner of the bust-length portrait of the same sitter, former in the Guggenheim collection.
Sabouraud was a renowned dermatologist at the Hôpital Saint-Louis in Paris, as well as an accomplished painter, sculptor, and musician.
Guggenheim Version (dated 1919): ----------------------------------------------Young man (dated 1919) -------------------------------------Private Collection Version (dated 1919)
- - He owned at least nine canvases by Modigliani during his lifetime and was a close friend of Odilon Redon, who painted his portrait. Could the present portrait perhaps depict Sabouraud's son Emile,
who was nineteen years old in 1919?
Emile--who would go on to a long, successful career as an artist--had recently begun to study with Othon Friesz at the Académie de la Grande Chaumière in Paris and would no doubt have jumped at
the chance to sit for the notorious Modigliani, who since the succès de scandale at Weill's could claim the virtually unique distinction among his colleagues of having had his work banned by the police.
Another possibility is that Jeune homme roux assis depicts one of the four sons of Georges Menier, whose family owned the famous Chocolat Menier, the leading maker and distributor of quality packaged
chocolates since the mid-1850s.
Georges Menier ? (dated 1918):
The wealthy and worldly Menier purchased one of Modigliani's scandalous nudes early in 1918 and shortly thereafter (probably before the artist left Paris in April) commissioned Modigliani to paint a
portrait of his wife Simonne, wearing an elegant black dress and a favorite emerald necklace, with her hair bobbed in the newly chic manner (Ceroni 1970, no. 233).
Mme. Menier (dated 1918):
Madame Menier's coloring is strikingly similar to that of the present sitter, and the overall tonality is closely comparable in the two portraits as well.
The Menier family appears to have visited the Riviera during the summer of 1918 and to have resumed contact with Modigliani and Zborowski.
A portrait from this time of a cherubic, strawberry blond boy dressed in short pants--identified in Ceroni and Patani simply as Ragazzo biondo--once belonged to Georges Menier
and may depict his second oldest son Claude, who would have been twelve at the time (Ceroni, no. 255; fig. 6).
Blond boy? (dated 1918):
Could the present portrait be the eldest Menier boy Antoine, not an impish and rumpled pre-adolescent like his brother Claude but a dapper young man of fifteen,
a student at the esteemed Lycée Condorcet in Paris and eventual heir to the family company?