Obras de Arte

Johanna Van Gogh-Bonger Paul Cassirer, Berlin (Jan 1907)

Ad. Rothermundt, Dresden (Jan 1907) Paul Cassirer, Berlin (Oct. 1907)

Moderne Kunsthandlung Brakl / Thannhauser, Munich (April 1908) Carl Sternheim, Munich (1908)

Frau Thea Sternheim, Uttwil Sale, 11 Feb 1919,

Private Collector

By way of inheritance Private Collection

Amsterdam, Stedelijk Museum, July-August 1905, no. 141 Hamberg, Galerie Paul Cassirer, 1905, no. 33

Dresden, Galerie Arnold, 1905, no. 33 Berlin, Paul Cassirer, Dec 1905, no. 33 Bremen, Kunstverein, 1906, no. 93

Berlin, Paul Cassirer, 5-22 Mar. 1908, no. 25

Dusseldorf, Galerie Alfred Flechtheim, Beitrage Zur Kunst des XIX. Jahrhunderts Undunserer Zeit, 1913, no. 474

Berlin, Galerie Paul Cassirer, May-June 1914, no. 86

Amsterdam, Stedelijk Museum, Vincent Van Gogh en Zijn Tijdgenooten, 6 September – 2 November 1930, no. 50

New York, Wildenstein & Co., The Art and Life of Vincent Van Gogh, October-November 1943, no. 26

Basel, Kunsthalle, Vincent Van Gogh, 11 October – 23 November 1947, no. 60

New York, The Metropolian Museum of Art, Van Gogh in Arles, 1984, no. 60, ill. P. 121

Arles, Musee d’Arles / Ancien Hopital Van Gogh, Van Gogh et Arles, 1989, no. 19, ill. P. 49

Amsterdam, Rijksmuseum Vincent Van Gogh, Vincent Van Gogh, Paintings, 1990, no. 61. ill. P. 157

London, Royal Academy of Arts / Tokyo, Sezon Museum of Arts / Nagoya, Matsuzakaya Museum of Art, From Manet to Gauguin, Masterpieces from Swiss Collections, 1995-1996, no. 69, ill. P. 132, no. 66, ill. P. 169

Jerusalem, Israel Museum, The Joy of Color, October 1998 – February 1999, no. 5

Martigny, Foundation Pierre Gianadda, Van Gogh, 21 June – 26 November 2000, no.64

Nagoya, Aichi Prefectural Museum of Art, 13 April – 17 May 2001;

Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, 2 June – 22 July 2001;

Hagi, Hagi Uragami Museum, 28 July -28 September 2001;

Morioka, Iwate Museum of Art, 6 October – 11 November 2002; Masters of Colours Derain to Kandinsky, no. 2

Jacob Baart de la Faille, The Works of Vincent Van Gogh,

His Paintings and Drawings, Amsterdam 1970 (revised and improved edition) [1st ed. Paris/Brussels, 1928], no. 428, b/w ill. P. 201

Scherjon Und W. Jos. De Gruyter, Vincent Van Gogh’s Great Period, Arles, St. Remy and Auverssur-Oise, 2 vols.,

Amserdam 1937, cat. Arles no. 52

Jan Hulsker, Van Gogh En Zijnweg, Het Complete Werk, Amsterdam 1977, no. 1499, b/w ill. P.342

Ingo F. Walter Und Rainer Metzger, Vincent Van Gogh, Samtliche Gemalde, vol. II, Cologne 1993, ill. P. 384

Walter Feilchenfeldt, Vincent Van Gogh and Paul Cassirer, Berlin /Zwolle 1988, no. 2, P. 94

Debora Silverman, Van Gogh and Gauguin, The Search for Sacred Art, New York, 2000, P. 213

Portrait d’Angel Fernández de Soto

Signed and dated ‘Picasso 1903’ (upper right)

Oil on Canvas

27 5/8 x 21¾ in. (70.3 x 55.3 cm)

Painted in Barcelona in 1903

Paul von Mendelssohn-Bartholdy, Berlin

Justin K. Thannhauser, Berlin and Lucerne, by 31 August 1935

M. Knoedler & Co., Inc., New York, by whom acquired from the above on 2 September 1936

William H. Taylor, West Chester, Pennsylvania, by whom acquired from the above in October 1936

Donald and Jean Stralem, New York, by whom acquired from the above through the Agency of M. Knoedler & Co., Inc., New York, in May 1946; sale, Sotheby’s, New York, 8 May 1995, Lot 14

Acquired at the above sale by the present owner

Buenos Aires, Galeria Müler, Exposición Pablo Ruiz Picasso, October 1934, no. 4

Philadelphia, Museum of Art, Exhibition of French Art, March – April 1937

New York, M. Knoedler & Co., Inc., Loan Exhibition of Allied Art for Allied Aid, June 1940, no. 18

New York, M. Knoedler & Co., Inc., Exhibition Celebrating Knoedler’s One Hundred Years — 1846-1946, April 1946, no. 76

New York, M. Knoedler & Co., Inc., Picasso before 1907. Loan Exhibition for the Benefit of the Public Education Association, October – November 1947, no. 15 (illustrated, titled ‘Angel Fernández de Soto’)

New York, The Metropolitan Museum of Art, Summer Loan Exhibition, August 1949.

New York, The Metropolitan Museum of Art, Summer Loan Exhibition, July – September 1960, no. 87

New York, M. Knoedler & Co., Inc., Picasso: an American Tribute, April – May 1962, no. 18 (illustrated, titled ‘The Absinthe Drinker’)

New York, The Metropolitan Museum of Art, Summer Loan Exhibition, July – September 1962, no. 63 (loan no. L 62.63.6)

Toronto, The Art Gallery, Picasso and Man, January – February 1964, no. 17 (illustrated p. 37, titled ‘Angel Fernández de Soto/The Absinthe Drinker’); this exhibition later travelled to Montreal, Museum of Fine Arts,

February – March 1964

Dallas, Museum of Fine Arts, Picasso: Two Concurrent Retrospective Exhibitions, February – March 1967, no. 7 (illustrated p. 14, titled ‘The Absinthe Drinker’)

New York, The Metropolitan Museum of Art, Summer Loan Exhibition, July – September 1968 (loan no. 68.85.9)

New York, Saidenberg Gallery Inc., Homage to Picasso for his 90th Birthday. Exhibition for the benefit of the American Cancer Society, October 1971, no. 2 (illustrated p. 17, titled ‘The Absinthe Drinker’). New York, Acquavella Galleries

Inc., Picasso. A Loan Exhibition for the Benefit of Cancer Care, Inc., The National Cancer Foundation, April – May 1975 (illustrated, titled ‘The Absinthe Drinker’)

New York, The Metropolitan Museum of Art, on loan, 1990-1991 London, Royal Academy of Arts, Pre-Raphaelite and Other Masters.

The Andrew Lloyd Webber Collection, September – December 2003, no. 282

(illustrated, titled ‘Angel Fernández de Soto’)

London, The National Gallery, on loan, May – September 2005 (loan no. 665)

London, The National Gallery, Rebels and Martyrs: The Image of the Artist in thez Nineteenth Century, June – August 2006, no. 39 (illustrated p. 117)

J. Cassou, Picasso, New York, 1940 (illustrated pl. 47)

F. Elgar & R. Maillard, Picasso, Paris, 1955, p. 185 (illustrated, titled ‘Angel Fernández de Soto’)

D. Sutton, Peintures: Epoques Bleue et Rose, Paris, 1955, no. 24. P. Daix & G. Boudaille, Picasso, The Blue and Rose Periods, A Catalogue Raisonné, 1900-1906, London, 1967, no. IX.20, p. 225 (illustrated, titled ‘Angel Fernández de Soto’)

Moravia & P. Lecaldano, L’Opera Completa di Picasso Blu e Rosa, Milan, 1968, no. 74, p. 93 (illustrated)

Zervos, Pablo Picasso, Oeuvres de 1895 à 1906, vol. 1, Paris, 1969, no. 201 (illustrated pl. 90, titled ‘Angel Fernández de Soto’). D. Sutton & P. Lecaldano, The Complete Paintings of Picasso, Blue and Rose Periods, London, 1971, no. 74, p. 92 (illustrated p. 93). J. Palau i Fabre, Picasso, Life and Work of the Early Years, 1881-1907, New York, 1981, no. 911, p. 542 (illustrated p. 352, titled ‘Blue Portrait of Angel F. de Soto’)

J. Warnod, Le Bateau Lavoir, Paris, 1986, p. 61 (illustrated, titled ‘Portrait de Soto’)

J. Richardson, A Life of Picasso, 1881-1906, vol. I, New York, 1991, p. 285-286 (illustrated p. 285, titled ‘Portrait of Angel de Soto’)

P. Daix, Picasso: Life and Art, London, 1993, p. 36

M. Covenay, Cats on a Chandelier: the Andrew Lloyd Webber Story, London, 1999, p. 213

B. Léal, C. Piot & M.-L. Bernadac, The Ultimate Picasso, New York, 2000, no. 120, pp. 60 and 506 (illustrated p. 64, titled ‘Blue Portrait of Angel F. de Soto’)

Gypsy Collage #4

Acrylic and pasted papers on cardboard 42 x 28 in. (106.7 x 71.1 cm.)

1982

Signed, upper left, with initials and dated 82

Artist’s studio #C82-2681

Dedalus Foundation, 1991

Sotheby’s New York, May 13^th, 2004, lot #204

Private collection

October 1986 – May 1987 (‘Robert Motherwell’): Barcelona, Galeria Joan Prats, Bilbao, Museo de Bellas Artes, Madrid, Galeria Juana Mordo

Gabriella Drudi, Note Romane a Robert Motherwell, Italy, 1984, 74, color illustration

Miralles, Paseo por la obra de Robert Motherwell: El Gusto por la complejidad. La Vanguardia, 1986, p. 41. Review of Galeria Joan Prats, Barcelona, 1986.

October 1986 – May 1987: Barcelona, Galeria Joan Prats, Bilbao, Museo de Bellas Artes Madrid, Galeria Juana Mordo.

Robert Motherwell, Catalogue #33, p. 15, color illustration

Gabriella Drudi, Notes Romaines, France, 1988, 74, color illustration

Marcelin Pleynet, Robert Motherwell, Paris, 1989, 161, color illustration

Jack Flam, Katy Rogers, Tim Clifford, Robert Motherwell Paintings and collages – a Catalogue Raisonné, 1941-1991. Yale University, 2012, Catalogue #C673, p. 313, color illustration

NUS AU CHAR
1967
Wash on Paper
18 1/2 x 24 3/4 inches (47 x 63 cm)
Signed and dated top right

BECS ET ERGOT
1952
Oil on Masonite
36.5 x 28.75 inches (92.71 x 73.02 cm)
Signed and dated back and front

PERSONNAGE
1949
Mixed Media on Heavy Paper
10 x 5 1/2 inches (25.4 x 13.97 cm)
Signed on back

UNTITLED
1984
Crayon and Pencil on Paper
12 7/8 x 19 inches
Signed and Dated lower left, and lower right

ROY LICHTENSTEIN, “THE REFRIGERATOR” 1961 NUDE
2010
Oil and Silk Screen on Canvas, Framed
9 3/8 x 15 3/4 inches (24 x 40 cm)
Signed and dated on reverse

ANDY WARHOL SIXTEEN JACKIES 1964
1996
Acrylic and Silk Screen on Canvas
10 3/8 x 8 3/8 inches (26.35 x 21.27 cm)
Signed and dated on back

UNTITLED FROM MARILYN MONROE
1967
Screen Print in Colors on Paper
36 x 36 inches (91.5 x 91.5 cm)
Signed in pencil and rubber stamp edition verso

UNTITLED
1955
Watercolor on Cardboard
10 x 14 inches (25.4 x 35.56 cm)
Signed and dated

MICKEY SPOT
2013
Silk Screen Print with Glaze
48 x 60 inches (121.92 x 152.4 cm)
Signed and numbered

DOUBLE HORIZONS
1987
Oil on Canvas
31.5 x 31.5 inches (80 x 80 cm)
Signed and dated lower front and back

FASTEST GUN
1963
Oil on Canvas
6 1/4 x 8 1/2 inches (80 x 80 cm)
Signed and dated by artist on the front

FEMME A LA FENETRE, MARIE-THERESE 1936

Oil on Canvas

21 5/8″ x 18″ 55 x 45.7

Dated April 13, 1936

Estate of the artist
Marina Picasso (by Descent from the above)
Stephen Hahn, New York
Acquired from the above November 4, 1983

New York, The Museum of Modern Art, Picasso &
Portraiture, Representation and Transformation, 1996,
illustrated in color in the catalogue.

David Douglas Duncan, Picasso’s Picassos, New York,
1961, illustrated in color p. 90
Picasso’s Many Faces, Art & Antique Magazine,
New York, June 1996, illustrated on the cover The
Picasso Project, ed. Picasso’s Paintings, Watercolors,
Drawings and Sculpture, Surrealism 1930-1936, San
Francisco, 1997, no. 36-023, illustrated p. 274

Note

The authenticity of the work has been
confirmed by Claude Picasso, The Picasso
Administration. The authenticity of the work has
also been confirmed by Maya Widmaisar Picasso.

PORTRAIT DE FEMME ASSISE (OLGA), 1923

Oil on Canvas

Size: 39.40″ x

31.91″ 100 x 81 cm

The Artist
Collection Marina Picasso
Private collection

Centro di Cultura de Palazzo Grassi, Venise, May 3 – July 26, 1981, Picasso, Opere dal 1895 al 1971
dalla Collezione Marina Picasso, no. 137, p. 260 repr.
The National Museum of Modern Art, Tokyo, April 2-29, May 1983; Kyoto Municipal Museum, Kyoto,
June 10-24 July 1983, Picasso Masterpieces from the Marina Picasso Collection and from Museums
i n USA and USSR, no. 105, p. 236 repr.
National Gallery of Victoria, Melbourne, July 28 – Sept 23, 1984; Art Gallery of New South Wales, Sidney,
Oct. 10 Dec. 2, 1984, Picasso, cat. no. 82, p. 89
Galleria d‘ Arte Moderna et Contemporanea, Palazzo, Forti, Verone, Picasso in Italia, June 7 – Sept.
9, 1990, no. 30, p. 212, repr. p. 65

MATERNITE, 1921

Oil on Canvas

Size: 38.80″ x

36.64″ 95.5 x 93 cm

The Artist
Collection Marina Picasso
Private collection

Palazzo Grassi, Venise, 28.02 – 28.06 1998, Picasso 1917-1924, Le
Voyage d‘ Italie, cat. 186, pp. 40, 257 repr. coul.

The National Museum of Art, Tokyo, Picasso’s World of Children
14 March ~ 18 June 2000, cat. 52, p. 98; reproduction couleur p.
100 Kunsthalled der Hypo—Kulturstiftung, Munich, Der kuhle
Blick. Realismus der zwanziger Jan Jahre, Jan. 6, – Sept 2, 2001, p.
260 reproduced Kunstmuseum Bern, Picasso and die Schweiz, Oct.
5, 2001 – Jan 6, 2002, cat. 74 reproduced in color Palazzo Grassi,
Venise, From Puvis de Chavannes to Matisse and Picasso, Toward
Modern Art, Oct. 2, 2002 — June 16, 2002 cat. 196 reproduction
color.

La femme au collier vert (Madame Menier), 1918

Oil on canvas

39 x 23.5 inches; 99.1 x 59.7 centimeters

Signed upper right: Modigliani

Georges Menier, Paris (acquired from the artist);
Pietro Feroldi, Brescia;
Cardazzo, Venice;
Naviglio Gallery, Milan;
Cavallino Gallery, Venice;
Jean-Claude Manlan, Geneva;
Private collection (since 1981).

Venice, Biennale XVII, 1930, number 1267;
Milan, Galleria d’arte del Naviglone;
Milan, Casa della Cultura, Modigliani, 1946;
Venice, La Mostra Nazionale Antiqueria, June-July, 1947, number 255;
Boston, The Institute of Contemporary Art, and Venice, Gallerica d’arte del Cavallino,
Contemporary Italian Painting, 1948, number 57;
Milan, Palazzo Reale, Amedeo Modigliani, 1958, number 29;
Rome, Galleria Nazionale d’Arte Moderne, Modigliani, 1959, number 21;
Tokyo, Metropolitan Art Museum, and Nara, Prefectural Museum, Post-Impressionism to Cubism
from the Heritage and Pushkin Museum, April-July 1984, pp. 150, 185, number D (illustrated in color
on page 151 and page 185).

C. Pavolini, Modigliani, New York, 1966, page 18. N. Ponente,
Modigliani, Florence, 1969, number 36.
A. Ceroni, Modigliani, Milan, 1970, page 100, number 233 (illustrated.)
J. Lanthemann, Modigliani: 1884-1920, Catalogue raisonne, Sa vie, son oeuvre complet, son art, Milan
1970, page 123, number 240 (illustrated page 224; incorrectly dated 1917.)
M. Klein, ed., Modigliani, Beyond the Myth, New York, 2004, page 38, figure 19 (illustrated; incorrectly
dated 1917.)

ADDITIONAL INFORMATION

Few Modigliani paintings are as serenely balanced and poised, as sensitively flattering to the
sitter, and as delicately rendered in its painterly textures as this portrait of Madame Menier,
La femmeau collier vert. Joseph Lanthemann recognized this, and was unstinting in his
praise: “Modigliani fait un grand hommage à cette femme, belle et élégant. —Elègance et
profondeur gothiques, psychisme des couleurs, grand art, —ce célèbre tableau est
assurement un chef-d’oeuvre” (op. cit.)

Wearing an elegant black dress and a favourite emerald necklace, with her hair bobbed
in the newly chic manner, Mme Menier was clearly a well-to-do and stylish woman. She
was perhaps the wealthiest of Modigliani’s female sitters—she was married to Georges
Menier (1880-1933), whose family owned the famous Chocolat Menier, the company
that since the mid-1850s had been the world’s leading maker and distributor of quality
packaged chocolates. Mme Menier (fig. 1) was born Simonne Legrand, and married
Georges in 1903. Her husband was 23 at the time, and she was probably several years
younger. By 1913 she had given birth to four sons.

Untitled (Rome), 1962

Oil based house paint, oil paint, wax crayon, lead pencil on canvas

134 x 160 cm

Cat Rais / Artist Ref No: 76

Galerie D. Benador, Geneva
Private Collection, Cologne
Karsten Greve, Cologne/ Paris
Private Collection, Germany

Geneva, Galerie D. Benador, Cy Twombly. Peintures, dessins, 1963, cat. no. 6, illustrated
Cologne, Galerie Karsten Greve, Cy Twombly. Bilder und Zeichnungen, 1975, illustrated