secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 295 | Nº 411 | Nº 333 | YES | 20/1919 | Nº 345 | YES | YES |
Amedeo Modigliani
Leopold Zborowski, Paris (acquired from above)
Paul Guillaume, Paris (acquired from above)
?
Galerie Barbazagnes, Paris
L. C. Hodebert Collection, Paris (acquired from above)
?
Fleischmann Collection, Zurich (1931 to 1939/41?)
Justin K. Thannhauser Collection , New York (acquired from the above by 1941)
M.L. Hermanos Collection , New York (acquired from the above by 1959)
Private Collection, United States
Acquavella Galleries, New York
A. Alfred Taubman Collection, New York (acquired from above in September 1983)
Sale: Sotheby's New York, 04 / November / 2015 - THE COLLECTION OF A. ALFRED TAUBMAN: MASTERWORK - Lot 12T / 12
Sold: 42.810.000 USD
( no mention in auction catalogue to Restellini's approval or even mentioned in bibliography)
Private Collection?
In process
Dale, Modigliani, Knopf, New York, 1929 - nº 29
Waldemar, La grande peinture contemporaine a la collection Paul Guillaume, Paris, 1929 - ?
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 112 - presume p. 28(dated 1917)
Basler, Modigliani. Editions G. Cres, Paris, 1931 - nº 20
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 295 - titled Paulette - dated 1918
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 217
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 411
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 333 - dated 1919
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 333 - dated 1919
Mann, Modigliani, Thames and Hudson, London, 1980, p. 199
Maiolino, Modigliani vivo, Fagola, Torino, 1981, p. 75
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 202
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 20/1919
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 345 - titled Paulette Jourdain - dated 1919
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 164, pl. 80
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006 - nº 50, p. 137
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson/ Lewis, Modigliani, London, Tate Gallery, 2017, pp. 178-179
In process
?
Paris, Modigliani retrospective, Marcel Bernheim (Galerie Bernheim-Jeune), 1931 - nº 22 (dated in 1918)
San Francisco, Golden Gate International Exhibition, Palace of Fine Arts, 1939
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art, 1951
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
New York, 20th Century Painting, Museum of Modern Art, 1951
Cincinnati, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Contemporary Arts Center, 1959 - nº 17 (dated 1917)
Chicago, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Arts Club, 1959
Milwaukee, Amedeo Modigliani: Paintings, Sculpture and Drawings, Milwaukee Art Center, 1959
New York, XIX & XX Century Master Paintings, Acquavella Galleries, Inc., 1983 - nº 11
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 50
London, Modigliani, Tate Gallery, 2017-2018
In process
Nº 298 in D'Atri papers as Paulette - dated 1919 Paris provenance in Fleischmann > Hodebert > Guillaume
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Signature of the painting:
Color extraction:
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Detail of the ears where the drawing is clearly visible and is painted over the color:
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The painting has always been known as a oil on canvas, but based on visual inspection, the grain of the canvas is similar to the ones visible in cardboard used by Modigliani and the
holes and texture is very similar to the cardboards, this details in canvas would mean holes in the canvas:
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Visual inspection reveal the same small dots made with the brush (dabs of contrast paint) used in previous painting to create shadow or light in the chair:
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Detail of the bow in the back of the head that can be seen in several paintings:
Similar bows:
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The painting framed in location at the Alfred Taubman Collection Ca. 2006:
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