Identification

Published titles

English: Red-Haired Young Man (Private Collection); Red-Haired Young Man; The Student; Young Man Bust; Boy with Red Hair.

Date

This investigation dates the work 1919 (unconfirmed).

Medium

Oil on canvas.

Dimensions

61 × 46 cm.

Signature

Signed modigliani at top right. The source compiler describes the letter-forms as anomalous and rejects the idea that such anomalies are by themselves proof of forgery.

Present location

Private collection. This investigation also mentions Kad Gallery, Brussels, and a March collection in Madrid, without confirming either as the present owner.

Catalogue numbers

Legal note on MR: This investigation has not had access to MR’s catalogue raisonné; all research here is based on open sources, publications and exhibitions. By no means has that catalogue been copied at any point. Modigliani Project and Modigliani Initiative are marked YES when the work is published or otherwise recorded by those projects, even if no catalogue number is assigned; otherwise the field is marked ?.

Provenance

1. Not documented before Moïse Kisling (until 1936), according to an undated Hanka Zborowska expertise.
2. Dr Bernard (acquired before the war?).
3. Marya Rubinstein Bernard / Adir Collection (inherited 1964).
4. Bernard Adir (inherited 1977).
5. J. Ferrer-Fort Collection (acquired 1984).
6. Compagnie Mobilière CCP, Paris (March 2002).
7. Association Lect-Fontana-Toures-Kohn-Bonaglia (June 2002).
8. Anglo Russian Particular, collection RF (2005).
9. Private collection (2012).
10. Possibly Kad Gallery, Brussels; possibly March Collection, Madrid.
11. Private collection.

The sequence follows the published museum, sale, and catalogue record in this investigation. Gaps and uncertain transfers are marked as such.

Selected bibliography

Book-length publications are marked with a footnote giving a full citation. Exhibition catalogues appear in both this list and the exhibition list when this investigation recorded them in both places.

• This investigation cites “various by Parisot” without a complete list of pages.
• Expertises assembled in this investigation: Arthur Pfannstiel, 12 February 1965 and 12 December 1967; Hanka Zborowska, undated; Galleria Il Milione, 15 June 1973; Angela Ceroni, 9 June 1976 and 19 March 2002; Jeanne Modigliani, 2 November 1984; MR / Wildenstein Institute no. 000106/7065/757, 6 January 2000; Maya Rubinstein–Bernard Adir, 10 March 2002; Christian Parisot, 21 February 2005.

Exhibitions

• Tel Aviv, Museum of Tel Aviv opening exhibition, 1971, no. 58.
• Milan, Galleria Il Milione, 1971.
• Girona, Barcelona and Segovia, Modigliani y la Escuela de París, 2002 (Parisot).
• Venice, Biblioteca Nazionale Marciana, 2005.
• Cagliari, Castello di San Michele, 2005.
• Domodossola, Musée Villa Liberty, 2005.
• Genoa, Palazzo Ducale, 2017.

Notes

Not listed in the D’Atri papers.

This investigation states that the painting was in the Genoa 2017 exhibition and was not retained by the police because of a MR expertise.

MR’s 2000 certificate refers to a pigment component said to be characteristic of the period. That claim is MR’s; it is not independently published here.

Documents attached to the painting identify the sitter as Noël Alexandre, son of Paul Alexandre, and state that two copies were made after a parental divorce. On the related Guggenheim and seated canvases MR has instead suggested the Sabouraud family. The source compiler notes the contradiction.

A comparative overlay in this investigation places this canvas over the Guggenheim bust to show how closely the contours coincide.

The original page of this investigation marked several fields as still being checked. The facts above are those already published; where the sources disagree, both readings are given.