Amedeo Modigliani, Ritratto Di Léopold Zborowski, 1959, Original Lithograph

Artist: AMEDEO MODIGLIANI, d'après

Title: "Portrait of Léopold Zborowski"

Authentic Plate from the lithographic collection published by Einaudi in 1959.

Year of conception: 1919
Year of print: 1959

Matted in its original passepartout

Total size: 56 x 45 cm
Lithograph size: 46.6 x 30.8 cm

ONE OF THE SUBJECTS MODIGLIANI BECAME MOST FAMOUS FOR

This is an ORIGINAL print from 1959, not a later reproduction or giclée (which are much more common).
It has been printed in a small edition of 1000 only by Einaudi publisher in Turin, Italy.
Numbered 576 on the colophon.

EMBOSSED SEAL (stamp-à-sec) by the publisher

SIGNED "Modigliani" in the plate

Excellent condition, please see images

from the Italian introduction:

"The real influence was the same one suffered by Picasso in the Demoiselles d'Avignon. And perhaps it wouldn't even be a stretch to add that Modigliani looked above all to the sculptures of Gabon and the Belgian Congo and that the same obsessive motif of the caryatid, which returns in the most which in the stones, originated from ceremonial stools and not from prototypes of archaic Greek plastic. The connection, then, between sculptures and drawings is, we can say, constant for example; pen paper reproduced here could be a preparatory study for the Head of the Philadelphia Museum, as the identity of the individual elements of the face is absolute. As for the sign, it proceeds smoothly, silvery, without modulations and with very few breaks, sometimes sought with a very light serrated pattern, as in many sheets of the following period, around 1914-15, when Modigliani, by renouncing sculpture, returned to what had been his first love, but enriched by an experience destined not to be erased"

(The real influence was the same one Picasso had with the Demoiselles d'Avignon. And perhaps it would not even be risky to add that Modigliani looked above all at the sculptures of Gabon and the Belgian Congo and that the same obsessive motif of the caryatid , which returns in the drawings more than in the stones, originated from ceremonial stools and not from prototypes of archaic Greek plastic art. The connection, then, between sculptures and drawings is constant for example, the sheet reproduced here could be a preparatory study for the Head of the Philadelphia Museum, so absolute is the identity of the individual elements of the face, it proceeds smoothly, silvery, without modulations and with very few breaks , sometimes sought with a very light serration, as in many sheets of the following period, approximately 1914-15, when Modigliani, having given up sculpture, returned to what had been his first love, but enriched by an experience destined not to be erased )

The listing if for the authentic lithograph as described in its original passepartout. The picture of colophon is posted in order to show the limited edition only.