secretmodigliani.com
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| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 45 | Nº 75 | Nº 59 | YES | 7/1915 | YES | YES | YES |
Paul Guillaume, Paris (Acquired to the Artist )
Musée de l'Orangerie, Paris, France (Inv. Nº RF 1963-70)
Acquired to Mme. Walter widow of Guillaume in 1957 - entered the museum in 1963
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 8 nº 2
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956, nº 45
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 , p. 162
Gindertael, Shop libre diffusion, 1967, pl. 8
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 59
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 75
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p. 17, pl 7
Hall, Modigliani, Phaidon, Oxford, 1979, pl. 19
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, pp. 31, 164
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 204
Catalogue National Museum Tokyo, 1985 - nº 47
Catalogue Aichi Prefectural Art Gallery, 1985
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 136
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 75 - nº 27
Hoog, Catalogue of the Jean Walter and Paul Guillaume Collection, Editions de la Réunion des musées nationaux, Paris 1987-1990 - n° 62
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 7/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 59
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 228-229
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. XIV, f. 1
Alarcó, The mirror & the mask: portraiture in the age of Picasso, Kimbell Art Museum/Thyssen art museum, 2007 - nº 54, pp. 110, 139
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008 - nº 27, p. 61
in process
Paris, 1re exposition: Kisling, Matisse, Modigliani, Ortiz de Zarate, Picasso, Sculptures négres, Lyre et Palette, November 19–December 5, 1916
Paris, Exposition peintres d’aujourd’hui,Galerie Paul Guillaume, December 15–23, 1918
Vystava francouzskeho unemi XIX a XX stoleti, Prague, 1923 - n° 275
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 27
Paris, Orangerie des tuileries, 1966 - nº 120
Paris, Musée Jacquemart-André, 1978-79 - nº 93
Athens, National pinacotheque, 1980 - nº 20
Paris, Musée d'Art Moderne, 1981 - nº 91
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 47
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 47
Martigny, Modigliani, Fondation Pierre Gianadda, 1990, p. 113 - nº 40
Düsseldorf , Amedeo Modigliani, Art Gallery of Nordrhein-Westfalen 1991 - nº 21
Zurich, Amedeo Modigliani, Kunsthaus, 1991 - nº 21
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 40
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Madrid, The mirror & the mask: portraiture in the age of Picasso, Museo Thyssen-Bornemisza, Madrid, 2007 - nº 54
Fort Worth, The mirror & the mask: portraiture in the age of Picasso, Kimbell Art Museum, 2007
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 43
Seoul, Amadeo Modigliani: Legend of Montparnasse, Hangaram Museum of Seoul Art Center, 2015
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum Art Museum, 2016-2017
in process
Nº 272 in D'Atri papers as Antonia - dated 1915 - Guillaume Collection 1929
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Signature of the painting:
(on top of the signature the remains of the text Amedeo can still be seen, it was scratched or repainted)
The text ANTONIA:
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Detail of the ear where the drawing is clearly visible and is painted in color
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This painting presents holes in the 4 corners (1 of them covered by restoration)
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Image of the painting framed at the Lille exhibit in 2016:
