Conrad Moricand
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 81 NO YES YES NO ? ?
Date 1915 ?
Title Conrad Moricand
Materials Oil on canvas
Size 46 x 38 cm
Signature: "modigliani" top right and the text " MOR/ICAND" in top left
Actual Location Private Collection?
  • -?-

    Private Collection

Bibliography -?-

Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 81
Genova, Modigliani, Palazzo Duccale, 2017 - nº 15

in process

Exhibitions -?-

Genova, Palazzo Duccale, Modigliani , 2017 - nº 15

in process

Other -Image of the painting in display at Genova Modigliani exhibit in 2017:


The painting was seized by the police after a report by C. Pepi an italian connossieur and finally this is the conclusions of the investigation:

Conclusion of the Prof. Isabella Quattrocchi (- JUST A COPY- TRANSLATE - PASTE of her report)

Painted in oil on an already prepared canvas support, of a commercial type, pulled on a serial type frame with a crosspiece and despite the tensioning keys is loose, artificially graying.
The male portrait called "Portrait of Moricand" dated on the catalog of the exhibition of Palazzo Ducale di Genova 1915 refers to two paintings, it is a caricatured replica of the two original portraits by Modigliani of
Paul Guillaume Characterized by the lack of mobility of expression, the hat is resting on the head it looks like that of a mannequin, the features show a rigid, inexpressive symmetry in the arches of theeyebrows, in
the almond eyes affected by myopia, in the waving ears, in the nose drawn without volume, in the mouth defined by the black outline and not in line with the nose.
The shape of the face of form ovoid ends with a point, close to the neck that looks like a parallelepiped trunk.

The shadows of the face are not calibrated, the color of the complexion is orange, the pointed collar up of the shirt surmounts the jacket and the knot of the tie.

It is believed that to speed up the execution of the painting a commercially prepared canvas was used on which a second preparation of titanium white was given (which emerges here is there in a way point-like),
that the subject has been taken over by well-known paintings, ("Portrait of Paul Guillaume", historical friend of Modigliani) and renamed as "Portrait of Moricand". Modigliani's palette is clear and definite and the
shadows were obtained with the complementaries, in this case the colors are dirty and messy, however shadows are made with black pigment and the black pigment has always been used to define the contours.
The Modigliani signature at the top right is painted in black on the dark color, barely glimpsed, it is not written in an elementary way, it lacks the determination of that of the Artist, therefore false..

We report the conclusions of the microprocessions analysis of the "Lamoa expertise" Analysis Laboratory (LAMOA 1710-96 15 OA):

- The first white pigments of titanium - rutile appear in the world at the time of the 2nd WW: consequently it can not be in a work of Amedeo Modigliani (1884-1920).
- The set of characteristics highlighted makes it possible to conclude that this table has very probably been painted after the 1960s.

For all the above listed the work is false.


I would only add this 3 points:

1.- A legal report should be consistent and bullet proof, this is mere opinions, maybe the work is false or not, I am not the person to decide it but definitively this report is not consistent or bullet proof.

2.- Art even if false is not forged NIKE sport shoes, so to destroy it is an absurd mistake that place art even if original at the same level of value as a nike sport shoes.

3.- The damage that art MARKET experts claim to solve by destroying works is in terms of market not of Knowledge, stamp it in the back as false and do not destroy nothing, just in case we are wrong.
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