Dr. Paul Alexandre, Paris
Paul Guillaume, Paris
Comte Joseph de Maistre, Paris
Acquired from the above in 1956

Paris, Musée d’Art Moderne de la Ville de Paris, Amedeo Modigliani, 1981, no. 107c, illustrated in color in the catalogue
Washington, D.C., The National Gallery of Art, An Anniversary Exhibition: Modigliani, 1983-84, n.n.
Tokyo, The National Museum of Modern Art & Aichi, Prefectural Art Gallery, Modigliani, 1985, no. 14, illustrated in the catalogue
Martigny, Switzerland, Fondation Pierre Gianadda, Modigliani, 1990, no. 8c, illustrated in the catalogue
Tokyo, Musée Tobu; Kyoto, Musée Daimaru de Kyoto; Osaka, Musée Daimaru d’Umeda & Ibaraki, Musée d’Art Moderne, Amedeo Modigliani au Japon, 1992-93, no. D2, illustrated in the catalogue

 

Thérèse Castieau-Barrielle, La Vie et l'oeuvre de Amedeo Modigliani, Paris, 1987, illustrated p. 34
Christian Parisot, Modigliani, catalogue raisonné: dessins, aquarelles, vol. I, no. 5/09, illustrated in color p. 229
Osvaldo Patani, Amedeo Modigliani: catalogo generale, sculture e disegni 1909-1914, Milan, 1992, no. 44, illustrated p. 81
Doris Krystof, Amedeo Modigliani 1884-1920: The Poetry of Seeing, Cologne, 1996, illustrated p. 16

In very good condition. The work is hinged with tape from upper corners. There are a few tiny losses to the sheet on the lower edge. The sheet was taken from a sketch book and the left edge is perforated as a result. The sheet is slightly time darkened. The image is very fresh and the line is very strong.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Executed in 1909, the present work served as a preliminary drawing for one of Modigliani’s most striking and prominent portraits, titled L’Amazone (see fig. 1). Modigliani drafted many sketches for L’Amazone; however, the present work relates most closely to the finished product. The subject is Baroness Marguerite de Hasse de Villers, who was introduced to Modigliani in 1909 through Jean Alexandre, the younger brother of Paul Alexandre, the artist's patron. This was the artist’s first-ever commission and soon proved to be one of his greatest challenges; the work progressed slowly and although Modigliani worked diligently for several weeks, the young Baroness grew increasingly impatient and demanding. She threatened to abandon the commission and ultimately gave him a deadline of one week to complete the work, forcing him to a quick resolution.

In the present image, Modigliani focuses on the Baroness’ sensual and refined beauty—specifically, he manipulates the charcoal to emphasize her fine-boned features and her elongated jawline. The detailed attention he pays to her cinched waistline further accentuates her arresting curvature. The Baroness’ commanding presence is perhaps best 🍒underscored by her captivating and evocative gaze, which suggests something of the heated power dynamic that developed between artist and model as she posed for him in his studio.

 

Fig. 1 Amedeo Modigliani, L'Amazone, 𒊎oilౠ on canvas, 1909, to be offered in Sotheby's Impressionist & Modern Art Evening Sale, New York, May 7, 2013, lot 11