secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 158 | Nº 405 | NO | YES | ? | Nº 314 | YES | ? |
Dr. Sabouraud Collection, Paris (by 1933)
Dubourg Collection, Paris (by 1942)?
Harry Stevens Collection, Ottawa
Dominion Gallery, Montreal (art associates of Montreal, by 1943-44?)
Fine Arts Associates, New York (by 1945)
Hilla Rebay Collection, Connecticut (acquired from Fine Arts Associates, 1945)
Salomon R. Guggenheim Collection (acquired from Hilla Rebay in 1945)
Guggenheim Museum, New York (Inv. Nº 94.4482)
In process
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 46
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 158 - titled The student - dated 1917 - no mention to any other portrait or relation to bigger compositions.
Guggenheim Museum, Acquisitions of the 1930's and 1940's, Guggenheim Museum, New York, 1968, p. 89
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 405 - titled Portrait - dated 1919 - no mention to any other portrait or relation to bigger compositions.
Selections from the Guggenheim Museum Collection, 1900-1970, Salomon Guggenheim Museum, New York, 1970, pp. 316-317
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 314 - titled Portrait of a student - dated 1919 - no mention to any other portrait or relation to bigger compositions.
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p. 352-353 - nº 87 - dated 1919
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 146, pl. 62 - dated 1918-19
?
In process
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 39
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 46
Ottawa, Paintings from the Collection of H. S. Southam, National Gallery of Canada, 1944 - nº 22
Montreal, Paintings from the Collection of H. S. Southam, Art Associates of Montreal, 1944 - nº 22
New York, A Selection II, Salomon R. Guggenheim Museum, 1953
Toronto, A loan Exhibition of Paintings from the Salomon R. Guggenheim Museum, Art Gallery of Toronto, 1954 - nº 60
Vancouver, A loan Exhibition of Paintings from the Salomon R. Guggenheim Museum, Vancouver Art Gallery, 1954 - nº 63
Montreal, A loan Exhibition of Paintings from the Salomon R. Guggenheim Museum, MOntreal Museum of Fine Arts, 1954 - nº 44
New York, A Selection VI, Salomon R. Guggenheim Museum, 1956
London, Paintings from the Salomon R. Guggenheim Museum, Tate Gallery, 1957 - nº 53
The Hague, Paintings from the Salomon R. Guggenheim Museum, Gemeentemuseum, 1957 - nº 53
Helsinki, Paintings from the Salomon R. Guggenheim Museum, Ateneiumin taidekokoelmat, 1957 - nº 53
Rome. Paintings from the Salomon R. Guggenheim Museum, Galleria Nazionale d'arte moderna, 1958 - nº 32
Cologne, Paintings from the Salomon R. Guggenheim Museum, Wallraf-Richartz museum, 1958 - nº 55
Paris, Paintings from the Salomon R. Guggenheim Museum, Musée des Arts Décoratifs, 1958 - nº 37
New York, Elements of Modern Painting, Guggenheim Museum, 1961-1962
New York, Paintings from the Salomon R. Guggenheim Museum, Guggenheim Museum, 1965 - nº 45
New York, Museum selections, seven decades, Salomon R. Guggenheim Museum, 1967
New York, Acquisitions of the 1930's and 1940's, Salomon R. Guggenheim Museum, 1968, p. 89
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 107
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 107
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 (curated by Marc Restellini) - nº 87
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
?
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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Infra red image of the painting showing the drawing lines and main details next to the IR of the bigger composition:
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Detail of the infrared showing the mouth and mustache sketch next to the IR of the bigger composition:
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Detail of the infrared showing the jacket sketch next to the IR of the bigger composition:
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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?