secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| ? | NO? | NO | NO? | ? | NO | YES | ? |
Leopold Zborowski, Paris?
Bernheim Jeune, Paris?
Edward Robinson Collection,
?
Private Collection?
In process
??
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 35 ?
(the above line is a mention by Restellini, not sure about it)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 92, p. 362-363 - dated 1919, executed in nice
In process
??
Los Angeles, The Gladys Lloyd Robinson and Edward G. Robinson collection, Los Angeles County Museum of Art, 1956 - nº 31
San Francisco, The Gladys Lloyd Robinson and Edward G. Robinson collection, California Palace of the Legion of Honor, 1956-57 - nº 31
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 (curated by Marc Restellini) - nº 92
In process
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Restellini mentions there is a smaller version of the same painting size 62 x 45, in the Guillaume files that is actually lost
But he forgets to mention there is another painting recorded in Pfannstiel as nº 193 with the same sitter / titled young woman on blue background / size 63 x 50 dated in 1917
published in page 32 of the 1929 catalogue presume with a provenance in Zborowski > Guillaume:
= 
Base on the size, and subject it could also be perfectly nº 203 in Pfannstiel 1954 catalogue but then it will be in presume page 33 not in 35 as Restellini informs.
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Detail of the ear where the drawing in orange is clearly visible and is detailed in color
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Detail of possible area of the lost signature?:
If an infrared image shows traces of the signature then it can be nº 203 in Pfannstiel and all the provenance given by Restellini must be put in doubt?
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Detail of the chair that can be seen in many other similar paintings, in a second stage I will enter in this matter:
