secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº34 | Nº47 | Nº44 | YES | 6/1914 | Nº 49 | ? | YES |
Burty Haviland Coll. Paris?
C. Zamaron Coll. Paris
Sale: Hotel Drouot 20/10/1926, Paris
Adolphe Basler Coll. Paris (by 1929)
Reinke Coll. Ueberlingen
Marcel Bernheim, Paris (1931)
Italico Brass, Venezia (1949)?
Gianni Mattioli Coll. Milano
Loan to Peggy Guggenheim Collection, Venice (until 2017)
Mattioli Coll. Milano?
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 7
Carrieri, 12 opere di Amedeo Modigliani, Ed. del Milione, Milano 1950, pl. 1
Cahier d' Art, Paris, 1950, p. 175
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950 pl. 2
T. Soby, Museum of Modern art, New York, catalogue exp. Modigliani, 1951, p.20
Florence, Palazzo Strozzi 1953, pl. 12
Marchiori, Milano, 1953
T.Soby, New York, 1954, p. 16
Lipchitz, New York, 1954, pl. 5
Descargues, Modigliani, 1954, p1. l3
Valsecchi, Amedeo Modigliani, Milano 1955? , pl. 7
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956- nº 34
Russoli,Catalogue de l’exposition de Palazzo Reale, Milan, 1958, p1. 8
Russoli, Silvana Editoriale d’Arte Milano, 1958, p1.3
Jeanne Modigliani, Modigliani: Man and Myth, Orion Press, New York, 1958, p. 75 (Just a general information, no explanation on both portraits)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958- nº 34
Roy , Modigliani, Skira, Lausanne, 1958, p. 37
Werner, Amedeo Modigliani, 1968, p. 86
C.Geza, Checoslovakia 1969, nº 9
Ponente, Modigliani, Paris 1969, nº 10
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 47
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 44
Arno, Modigliani, New York 1972,p. 20
Valsecchi, Arte moderna a Milano, Ed. Cariplo 1976, p. 114
Diehl,1977, p. 23
Mann, 1980, p. 95, nº 60
Lassaigne, 1981, nº 44
Castieau—Barrielle, Modigliani, ACR Ed. 1987, p. 109
Orion Press, Tokyo 1989, nº 7
Catalogue de l’exposition à la Fondation Pierre Gianadda, Martigny 1990,p. 101, 11° 28
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 6/1914
Patani, Catalogo Generale, Leonardo ed. Milano 1991-94 - nº 49
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 53
Fraquelli / Rosenthal, Modigliani and His Models, London, 2006, p. 81 - nº 5
Soto Caba, Modigliani, the timeless face, Libsa, 2007
MART Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Modigliani scultore, 2011
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 105
In process
- -?-
Paris, Galerie Bernheim Jeune, 1931 - nº 1 - dated in 1912
Brussels, Palais des Beaux-Arts, 1950
Amsterdam, Stadelijk Museum 1950
Paris, Musée .National d ’Art Moderne 1950
London, Tate Gallery 1950
Cleveland, Museum of Art, Modigliani: Paintings, Drawings, Sculpture, 1951, p. 20
New York, The Museum of Modern Art, Modigliani: Paintings, Drawings, Sculpture, 1951, p. 20
Florence, Palazzo Strozzi 1953, pl. 12
Bern, Modigliani Campigli Sironi, Kunsthalle Bern, 1955 - nº 5
Milano, Palazzo Reale, 1958 - nº 8
Torino, Galleria civica d'Arte Moderna, 1959 - Washington, The collection of Gianni Mattioli. Phillips collection, 1967
Dallas, The collection of Gianni Mattioli. Dallas Museum of Art, 1967
San Francisco, The collection of Gianni Mattioli. San Francisco Museum of Art, 1968
Detroit, The collection of Gianni Mattioli. Detroit Institute of Arts, 1968
Kansas, The collection of Gianni Mattioli. William R. Nelson Gallery, 1968 - Boston, The collection of Gianni Mattioli. Boston Museum of Fine Arts, 1969
New York, The collection of Gianni Mattioli. Olivetti, 1969
Tchécoslovaquie, 1969 - nº 9
Kyoto, The collection of Gianni Mattioli, The National Museum of Modern Art - 1972 nº 70
Tokyo, The collection of Gianni Mattioli, The National Museum of Modern Art - 1972 nº 70
Liege, Musée Saint- Georges, 1980 - nº 11
Martigny, Fondation Pierre Gianadda, Modigliani, 1990 - nº 28
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 5
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 32
Trento, Modigliani scultore, MART Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 2011
London, Modigliani, Tate Modern, 2017-2018
In process
Nº 269 in D' Atri papers - oil on cardboard - no size - unsigned - 1915? - provenance: Zamaron Coll. > Basler Coll. by 1929 > Reinke Coll. Uberlingen
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Image of the two portraits of Burty Haviland:
Pencil sketch for this portrait actually at the Musée d'Art Moderne de la Ville de Paris:
The painting framed at Mart Rovereto exhibit in 2011:
At Picasso Studio in 1914:
Basic Biography
Frank Burty Haviland (16 October 1886 in Limoges – November 1971 in Perpignan) was a French Cubist painter, a friend and early client of Picasso and Braque, and an early collector of African art.
Frank Burty Haviland ( Frank Burty/ Frank Haviland) was the grandson of Philippe Burty, art collector and critic who coined the term "japonisme".
Philippe's daughter Madeline Burty married Charles Haviland, owner of the porcelain company "Haviland and Company". His older brother Paul Haviland was a photographer and writer.
Frank Burty Haviland was born in Limoges in 1886 (some sources give 1879 as his date of birth, less than eight months before the birth of his brother Paul).
He studied music with Ricardo Viñes, when he met Déodat de Séverac, who introduced him to Manolo Hugué. The three became friends, and through Manolo Burty got into close contact with the Cubist painters in Paris.
In 1909, Burty bought Picasso's Factory at Horta de Ebro. In 1910, Frank Burty Haviland went to the South of France with Manolo and De Séverac, and he bought a monastery in Céret, in the French Pyrenees, which became the center of the so-called School of Céret until 1914.
It included some of the most important painters of the time, with Pablo Picasso, Juan Gris, Georges Braque, Max Jacob and Auguste Herbin.[2] Burty Haviland married Joséphine Laporta, a girl from Céret, in 1914.
Frank Burty was portrayed two times by by Amedeo Modigliani in 1914, and is probably also the subject of the 1913 The Smoker by Juan Gris. Chaim Soutine's Le Rouquin from 1917-1919 is also supposed to be a portrait of Burty Haviland.
His bust was made by his friend Manolo Hugué.
In April 1914, he had a solo exhibition at the 291 gallery of Alfred Stieglitz. In 1915, his work was included in the first exhibition in Marius de Zayas' "Modern Gallery" in New York City, together with works by Picasso, Braque, de Zayas, Francis Picabia, and others.
His work was also included in exhibitions in that gallery over the next few years.
In November 1917, Burty had a solo exhibition at the Galerias Dalmau in Barcelona, and in 1921, he had a solo exhibition in the Brummer Gallery in New York. His later style was more classical, moving away from the Cubism of his early career.
Burty Haviland lived most of his life in Céret and was one of the driving factors behind the creation the Musée d'Art Moderne de Céret in 1950,
helping it to acquire 14 works by Henri Matisse and over 50 works by Picasso. He was the conservator of the museum from 1957 until 1961.
When the museum acquired the Burty archive, including 83 paintings and over 700 drawings, in 2008, they held a retrospective exhibition about him from 5 December 2009 until 30 May 2010.