Young woman head with velvet lace

Oil on canvas? — 1915 ?

Identification

Title

English: Young woman head with velvet lace.

Date

1915 ? (J. Modigliani dates in 1912-13 - Pfannstiel in 1915-16 - )

Medium

Oil on canvas ? (probably cardboard)

Dimensions

Unknown ? (Ceroni, Parisot 55 x 46 - Pfannstiel 46 x 38 )

Signature

Unsigned ? ( Parisot , Pfannstiel "modigliani " top right)

Present location

Private Coll. Unknown

Catalogue numbers

Legal note on MR: This investigation has not had access to MR’s catalogue raisonné; all research here is based on open sources, publications and exhibitions. By no means has that catalogue been copied at any point. Modigliani Project and Modigliani Initiative are marked YES when the work is published or otherwise recorded by those projects, even if no catalogue number is assigned; otherwise the field is marked ?.

Provenance

1. Paul Guillaume, Paris
2. Coll. Mademoiselle M. Brussels?
3. Dutilleul Collection, Paris
4. Private Collection USA (Pfannstiel 1956)?
5. Private Collection Paris ( Ceroni 1970) ?
6. Unknown location

The sequence follows the published museum, sale, and catalogue record in this investigation. Gaps and uncertain transfers are marked as such.

Selected bibliography

Book-length publications are marked with a footnote giving a full citation. Exhibition catalogues appear in both this list and the exhibition list when this investigation recorded them in both places.

• Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 9 - no. VI also repeated in p. 32¹
• Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961 pl. 27 (Dated in 1912-1913)²
• Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956, no. 58 also repeated in no. 196³
• Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - p. 164⁴
• Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - no. 82⁵
• Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - no. 75⁶
• Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 no. 246/1915⁷
• Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007⁸

Exhibitions

• Paris, Bernheim Jeune, May-June 1929, p. 145 ???

Notes

This work is repeated in Pfannstiel, also in the number 196 dated in 1917 as "Le Liseré noir - size 54 x 45 signed top right with the next bibliography lines:

1.

Waldemar, La grande peinture contemporaine dans la collection Guillaume, exp. Bernheim Jeune, Paris 1929, p. 145

2.- Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 32 - no. VI

With a location in Coll. Mlle. M., Bruxelles

have never seen this painting live or at a color photo only in Black and White old photos, this investigation cannot find any exhibition reference.

There is an image of the Dutilleul house where this painting is on display and a simple look at the image reveals that the size must be much more smaller than Parisot, Ceroni or even Pfannstiel (he usually is much more near than the others) say, so

This means none of them really saw the painting live, another example of their lack of quality in the work, they just accepted it because of what?

Another interesting fact is that they don't even mention

the provenance in Dutilleul, so what kind of research they made?

1.- J. Hebuterne in lower left side size is 46 x 29 cm and moving the image and taking in control the possible distort of perspective, this painting is smaller in both sides to Hébuterne portrait.

2.- The Burgundian woman in the center has a size 55 x 38 and is clearly bigger than the painting of the woman with velvet lace in both sides.

So none of the sizes provided by the experts can match the real size of the painting (approx. size 38 x 28 cm as maximum?, R say 35 x 24 and it could match...)

Same with the support that presents in the image no canvas sides, just a thin small frame, probably the real support is cardboard.

Scanning the BW image and using a gradient filter it does not reveal any alteration due to signature so it may be probably unsigned in the front (only it could be possible in the bottom right)

Where sources disagree, both readings are given. This is a working research page, not a catalogue raisonné.