secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 49 | Nº 43 | Nº 48 | YES | 3/1915 | Nº 54 | ? | ? |
Coll. Guillaume, Paris, 1929
G. le Niveau, 1938
Valentine Gallery, New York, 1940 ( Stock Nº 2044c, sold to de M. de Groot for $ 980/ January 1940)
Milton de Groot Collection, New York 1940 to 1967
Loan to the Met Museum, NY in 1952.
Bequest to Metropolitan museum of Art by Madeleine de Groot, 1967
Metropolitan Museum of Art, New York
Nº Inv. 67.187.84
Pfannstiel, catalogue presume, Paris, 1929, p.9
Jedlicka. Modigliani, 1884–1920. Zürich, 1953, p. 82, pl. 11, as in the collection of Paul Guillaume.
San Lazzaro. Modigliani. Paris, 1953, fig. 3.
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956, nº 49
Modigliani Jeanne, Modigliani: Man and Myth. New York, 1958, p. 74
Ceroni. Amedeo Modigliani: Dessins et sculptures, avec suite du catalogue illustré des peintures. Milan, 1965, p. 40, no. 161, ill., dates in 1915.
Werner. Amedeo Modigliani. New York, 1966, fig. 21, dates it 1916.
Ceroni. I dipinti di Modigliani. Milan, 1970, p. 90, no. 49
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, Barcelona, 1970, nº 43
Ceroni & Piccioni, Il dipinti di Modigliani, Milan. 1972, nº 49
Lanthemann. "Modigliani inconnu." Modigliani inconnu, suivi de précisions et documents inédits. Brescia, 1978, p. 19
Modigliani Jeanne. Racconta Modigliani. Ed. Giorgio and Guido Guastalla. Livorno, 1984, p. 99
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR Paris, 1987, p. 127
Patani, Catalogo Generale, Leonardo ed. Milano 1991-9, nº 54
Parisot. Modigliani: Catalogue raisonné. Ed. Giorgio and Guido Guastalla. Vol. 2,Peintures, dessins, aquarelles. Livorno, 1991, p. 276, no. 3/1915, ill. p. 63, erroneously lists it as still in a private collection.
Soto Caba, Modigliani, the timeless face, Libsa, 2007
"Art of the Aegean Bronze Age": The Metropolitan Museum of Art Bulletin, v. 69, no. 4 (Spring, 2012)
Fergonzi. "Modigliani: The Path from His Sculpture to 'Nu Couché'." Amedeo Modigliani: "Nu Couché". Ed. Robert Brown. New York, 2015, pp. 96–97
Klein, Modigliani Unmasked, The jewish Museum, New York, 2017
In process
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Paris. Galerie d'Art Le Niveau. "La Femme dans l'art moderne," May 1–15, 1937, no. 41 [possibly this picture?].
Paris. Galerie Le Niveau. "Exposition Modigliani," April 4–30, 1938, no. 7 (as "Lola de Valence," 1915).
New York. Valentine Gallery. "Twelve Portraits by Modigliani and a Group of Modern French Paintings," January 8–27, 1940, no. 4 (as "Lola de Valence").
New York. The Metropolitan Museum of Art. "Modern European Paintings from New York Private Collections," June 22–September 30, 1956, no catalogue.
New York. Perls Galleries. "Masterpieces from the Collection of Adelaide Milton de Groot," April 14–May 3, 1958, no. 26 (as "Lola de Valence," 1916).
New York. The Metropolitan Museum of Art. "Paintings from Private Collections: Summer Loan Exhibition," July 7–September 7, 1959, checklist no. 71 (lent by Adelaide Milton de Groot).
New York, Modigliani unmasked, Jewish Museum, 2018
In process
Is probably some kind of joke based on Manet's Lola:
.Even the background of wood ( probably the back of the stage) is visible in a more oniric representation.
Another image of Lola commonly used :
Image of the painting framed at the Exhibit in the Jewish Museum 1917:
This stamp is visible with effects, at simple view the image visible is this:
The only extractable text say: LUX THOLE and the form of an artist palette? ( probably from a material seller or the paper maker watermark? )
Many works by Modigliani present this method of painting that has been discovered recently (2017).
The only publication that has given any interest to this feature is the recent Burlington magazine publications over the Tate gallery retrospective but with no in deep analysis of this feature, just came as an anecdotal point.
