secretmodigliani.com
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| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 105 | Nº 58 | Nº 93 | YES | 4/1915 | Nº 96 | YES | ? |
- -?-
Paul Guillaume Coll. Paris
?
Galerie Beyeler, Basel (1956-60?)
Galleria Civica d' Arte Moderna e Contemporanea, Torino, Italia ( Inv. Nº P/1628)
Donated by the Comitato Torino'61 in 1962.
?
in process
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 16
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956, nº 105 (with incorrect size 36 x 27 cm) dated in 1916.
Beyeler Gallery, Basel 1956, p. 22
Beyeler Gallery, Basel 1960, pl.10
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 175
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, pl. 8
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 58
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 93 with the title Portrait of a Russian woman and dated in 1915
Modigliani J. Racconta Modigliani, Ed. Graphis. 1984 p. 227
Patani, Modigliani. Dipinti e disegni. Incontri Italiani 1900-1920, Mazzotta, 1984 - nº 25
Catalogue National Museum Tokyo, 1985 - nº 49
Catalogue Aichi Prefectural Art Gallery, 1985 - nº 49
Mondadori, Modigliani a Montparnasse, Mondadori, Milano, 1988, p. 40
Verona, Modigliani a Montparnasse, Palazzo Forti, 1988 p. 87
Barilli, L'espressionismo italiani, Mole antonelliana Torini, Fabbri, 1990 p. 150
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 4/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 96
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 67
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 pp. 198-199
Parisot, Modigliani la vita le opere, Ed. Carte Secrete, Milano 2006
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008 - nº 17, p. 51
in process
Paris, Modigliani, Galerie Bernheim-Jeune, 1922 - nº 25 ? as La fille Rousse
Basel, Masters of Modern Art, Beyeler Gallery, 1956
Basel, The Woman, Beyeler Gallery, 1960
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 5
Barcelona, Modigliani, Centro Cultural de la Caixa de pensiones,Curated by Christian Parisot, 1983- nº 13
Madrid, Modigliani, Sala de exposiciones la caja de pensiones, Curated by Christian Parisot, 1983 - nº 13
Torino, Incontri Italian, Galleria dello Scudo, 1984 - nº 25
Verona, Incontri Italian, Galleria dello Scudo, 1984-1985 - nº 25
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 49
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 49
Verona, Modigliani a Montparnasse, Palazzo Forti, 1988, p. 40
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 29
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 -nº 24
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Tokyo, Modigliani et le primitivisme, The national Art Center, 2008 - n° 23
Osaka, Modigliani et le primitivisme, The national Museum of Art, 2008 - n° 23
Torino, Isola & Norzi, Galleria d’Arte Moderna, 2012
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015
Genova, Modigliani, Palazzo Duccale, 2017
in process
Nº 286 in D' Atri papers as Beatrice Hastings - 54.5 x 45.5 - dated 1916 - signed bottom right - Provenance in Paul Guillaume in 1929
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Note:
This painting remains untraced from 1929 to 1956 and when it finally surfaces again in Beyeler is by the hand of Pfannstiel with a new name as Woman with red hair,
previously it was known as Beatrice Hastings.
Finally I will just add that Pfannstiel changes the size on purpose on his catalogue
Pfannstiel was the main purveyor for the Nazi French occupation troops.
( the original size in Pfannstiel 1956 is 36 x 27 and the painting is 46 x 38, but in D atri he say 54.5 x 45.5 it would be interesting to see if the painting has been cut??)
This painting probably has a war crime story unsolved
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Signature:
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Detail of the ear where the drawing in color s clearly visible and is painted in color
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In the exhibition at the GAM - Isola & Norzi, Galleria d’Arte Moderna, 2012 they showed the X- ray of the painting and talked about the possibility that little Louise portrait was underneath the actual painting, but it's not clear if it is real or just a work for the exhibit.
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This painting presents holes in the 4 corners (2 of them covered by restoration)
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