« MODIGLIANI » exhibition
Genoa, Palazzo Ducale
16 March – 13 July 2017

Brief reminder of the facts:

Palazzo Ducale in Genoa, which was presenting MODIGLIANI exhibition scheduled to run from March 16 to July 16, 2017, was forced to close its doors early on July 13 by decision of the Italian courts.

The Carabinieri seized and sequestered 21 paintings suspected of being fakes:

• 15 paintings bearing a “Modigliani” signature
• 3 paintings bearing a “Modigliani-Kisling” signature
• 3 paintings bearing a “Kisling” signature

The historical, bibliographical and stylistic analysis below refer to each painting seized, bearing a “Kisling” or “Modigliani-Kisling” signature: nos. 34, 37, 38, 39, 40, 41.

For each painting, the first part of the report contains the information provided in the Genoa exhibition catalog: description of the work, provenance, bibliography, and exhibitions.

The second part of the report analyses the errors and omissions in the Genoa exhibition catalog, based on our documentation and our knowledge.

The 3rd part of the report asks fundamental questions about the information listed in the Genoa exhibition catalog when we consider it to be contentious.

The 4th and last part of the report reveals the historical, bibliographical and stylistic inconsistencies that contradict the authenticity of the paintings.

Ottavi Expertise takes full responsibility for this investigation.

Paris, March 11, 2022

Painting no. 34

pp. 69 et 110 of the exhibition catalog

Exposition Modigliani, Genova, Palazzo Ducale, 2017, n° 34

Indicazioni del Palazzo Ducale per l’esposizione di Genova nel 2017 :

Moise Kisling (1891-1953)
Mme Hanka Zborowska nell’atelier di Moïse Kisling, circa 1912
Olio su tela
75 x 57 cm
Collezione privata, California

Esposizioni principali :

• Séoul, 2015, p. 215

Exposition à Gênes, 2017, n° 34, p. 69

Exposition à Gênes, 2017, n° 34, p. 110

Errori nelle Indicazioni del catalogo di Palazzo Ducale del 2017 :

Omissioni :

1995 – Provenances indicated in the Catalogue raisonné de l’œuvre de Moïse Kisling, Volume III by Jean Kisling, p. 85:

• Collezione Bernard Goldman, Boston
• Collezione Janeck Goldman
• Collezione Joseph i Lieve Guttmann, USA

Kisling, catalogue raisonné, tome III, 1995, p. 85

2003 – Exhibition Modigliani e i suoi, Fondazione Georgio Cini, Isola di San Giorgio Maggiore, éd. Canale Arte Torino, 2003, p. 206.
Provenance indicated : J.L. Guttmann collection.

Exposition Fondazione Giorgion Cini, 2003, p. 206

Domande :

1991 – The certificate by Jean Kisling does not indicate the title “Mme Hanka Zborowska nell’atelier di Moïse Kisling”. The information appears only 4 years later in Volume III of the Catalogue Raisonné, in 1995.

Certificat par Jean Kisling

2003 – The exhibition at the Fondazione Giorgio Cini dates the work to 1914, instead of 1912. Why is this? Kisling did not know Madame Anka Zborowska in 1912.

2015 – The exhibition in Seoul: J.L. Guttmann appears as the owner on p. 216 of the catalog.
Date of acquisition of the painting ? Invoice ? Import document between Mr. Janeck Goldman resident in Israel and Joseph Guttmann USA ?

2017 – Genoa, documents provided to Kuhn & Bülow Insurance for the exhibition ?
Identity of the owner, or financial beneficiary of the company? Insurance value…

Note : The original entry for this work by Jean Kisling was modified: Young Seated Girl, 1912 was changed to Madame Anka Zborowska in Kisling’s Studio, 1912. The reference to the Joseph and Lieve Guttmann U.S.A. collection was added later.

Fiche initiale de Jean Kisling, modifiée.

Historical and bibliographical inconsistencies:

• In 1912, Moses Kisling did not know Anka Zborowska.
  Anka Zborowska, born Sierzpowska, met her future husband Leopold Zborowski in 1915.
• The style of this work does not match the paintings made by Kisling in 1912.
• “Hanka Zborowska” depicted in the painting from the exhibition in Genoa does not look like Anka Zborowska depicted by Moïse Kisling in 1915 and 1922 :

Comparaison des portraits d’Anka Zborowska

Painting no. 37

pp. 72 et 112 of the exhibition catalog

Exposition Modigliani, Genova, Palazzo Ducale, 2017, n° 37

Indicazioni del Palazzo Ducale per l’esposizione di Genova nel 2017 :

Moïse Kisling, Amadéo Modigliani
L’atelier di Moïse Kisling, circa 1918
Olio su tela
66 x 63,5 cm
Collezione privata

Provenienza : 

• Leopold Zborowski, Parigi
• Sergueï Shchukine, Parigi-Mosca
• Collezione privata, USA
• Collezione privata, Svizzera

Exposition à Gênes, 2017, n° 37, p. 72 

Exposition à Gênes, 2017, n° 37, p. 112

Exposizioni :   

• Tokyo-Kyoto, 2000, n° 13

Exposition à Kyoto, Japan, 2000, n° 13

• New York, 2000, n° 11 :

Exposition “Paris in New York”, New York, 2000, p. 31

• Ancona-Caserta, 2003, pp. 166-167 :

Exposition Ancona-Mole Vanvitelliana, 2003, p. 166

• Bari, 2003, p. 222 :

Exposition à Bari, 2003, p. 222

• Taïwan, 2011, pp. 206-207

Exposition à Taiwan, 2011, p. 206

• Brasile, 2011-2012, pp. 82- 83
• Seoul, 2015, p. 211

Bibliografia essenziale :

• Nathalie Wiener, 2015, pp. 202 – 207.

Errori nelle Indicazioni del catalogo di Palazzo Ducale del 2017 :

The Genoa catalog indicates the same bibliography for n° 37 and n° 38, but it only applies to n° 37:

• • Tokyo 2000 n° 13
  • New York 2000 n° 11
  • Ancona-Caserta, 2003, pp. 166-167
  • Bari 2003, p. 222

2 different paintings cannot have the same bibliographic references!

Omissioni :

2003 – The catalog of the Ancona exhibition indicates as provenance Collezione Fine Art Foundation, Svizzera.

2008 – The Catalogue Raisonné of Moïse Kisling, Volume IV, p. 314 indicates as provenance the Sergei Shchukin collection, 1920, Moscow (not 1918).
The Shchukin collection was already complete in 1914, when the war began, and then confiscated by the Soviets. The dating of the painting, 1918, is incompatible with its presence in the Shchukin collection.
Note : no paintings by Modigliani were purchased in Paris when Shchukin moved there after fleeing Russia.

Kisling, catalogue raisonné, tome IV, 2008, p. 314

Domande :

• Collection Shchukin sells to Collezione privata, USA.
  Collezione privata, USA sells to Collezione privata, Svizzera.
  Evidence? Identities of the owners or financial beneficiaries? Dates of acquisition? Value ? Export documents for each transaction ?
• 2017 – Genoa, documents provided to Kuhn & Bülow Insurance for the exhibition ?
  Identity of the owner or financial beneficiary of the company ? Insurance value ? …
• The stamp of the Modigliani-Kisling Institute indicates Paris – New York for its location.
  Why indicate New York as the place of decision, when Jean Kisling lives in Paris?
  
• It should be noted that the Canale Arte company in Torino never returned the documents that were provided for the publication of the disputed Volume IV.

Historical and bibliographical inconsistencies:

• Ivan Shchukin never bought paintings from either Modigliani or Kisling (testimony of Shchukin’s descendant on February 24, 2022 before the Genoa court). Therefore, he could not sell them to a private collection in the United States.
• Leopold Zborowski did not sell paintings to Ivan Shchukin neither in Paris nor Moscow.
• The painting painted in 1918 cannot be present in a collection that was completed in 1914.
• The sculpture “head of a woman” does not exist in the work of Modigliani. It is a made-up figure.

Painting no. 38

pp. 73 et 112 of the exhibition catalog

Exposition Modigliani, Genova, Palazzo Ducale, 2017, n° 38

Indicazioni del Palazzo Ducale per l’esposizione di Genova nel 2017 :

Moïse Kisling, Amadéo Modigliani
L’atelier di Moïse Kisling, 1918 circa
Olio su tela
55 x 77 cm
Europa, collezione privata

Provenienza :

• Leopold Zborowski, Parigi
• Collezione Sergueï Shchukin, Parigi-Mosca
• Collezione privata, USA
• Collezione privata, Svizzera

Exposition à Gênes, 2017, n° 38, p. 73

Exposition à Gênes, 2017, n° 38, p. 112

Exposizioni :  

• Tokyo, 2000, n° 13
• New-York, 2000, n° 11
• Ancona-Caserta, 2003, pp. 166-167
• Bari, 2003, p. 222
• Taïwan, 2011, pp. 206-207
  

  Exposition à Taiwan, 2011, p. 207

• Brasile, 2011-2012, pp. 82- 83
• Séoul, 2015, p. 211

Bibliografia : Nathalie Wiener, 2015, pp. 202 – 207

Errori nelle Indicazioni del catalogo di Palazzo Ducale del 2017 :

• The Genoa catalog indicates the same bibliography for n° 37 and n° 38, but it only applies to n° 37 :
  • Tokyo 2000 n° 13
  • New York 2000 n° 11
  • Ancona-Caserta, 2003, pp. 166-167
  • Bari 2003, p. 222

2 different paintings cannot have the same bibliographic references!

Omissioni :

• 2008 – The Catalogue Raisonné of Moïse Kisling, Volume IV, p. 315 indicates as provenance the Sergei Shchukin collection, Moscow.
  The Shchukin collection was already complete in 1914, when the war began, and was then confiscated by the Soviets.
  Dating the painting to 1918 is incompatible with its presence in the Shchukin collection.

Kisling, catalogue raisonné, tome IV, 2008, p. 315

Domande:

• Collection Shchukin sells to Collezione privata, USA.
  Collezione privata, USA sells to Collezione privata, Svizzera.
  Evidence? Identities of the owners or financial beneficiaries? Dates of acquisition? Value ? Export documents for each transaction ?

• 2017 – Genoa, documents provided to Kuhn & Bülow Insurance for the exhibition ?
  Identity of the owner or financial beneficiary of the company ? Insurance value ? …

Historical and bibliographical inconsistencies :

• Ivan Shchukin never bought paintings from either Modigliani or Kisling (testimony of Shchukin’s descendant on February 24, 2022 before the Genoa court). Therefore, he could not sell them to a private collection in the United States.
• Leopold Zborowski did not sell paintings to Ivan Shchukin neither in Paris nor Moscow.
• The painting painted in 1918 cannot be present in a collection that was completed in 1914.
• The sculpture “head of a woman” does not exist in the work of Modigliani. It is a made-up figure.

Painting no. 39

pp. 75 et 113 of the exhibition catalog

Exposition Modigliani, Genova, Palazzo Ducale, 2017, n° 39

Indicazioni del Palazzo Ducale per l’esposizione di Genova nel 2017 :

Moïse KISLING (1891-1953), Amedeo MODIGLIANI (1884-1920)
Natura morta con ritratto di Moïse Kisling dipinto da Modigliani, 1918 circa
Olio su tela
74,5 x 84 cm
Israele, collezione privata

Provenienza :

• Léopold Zborowski, Parigi
• Sergei Shchukin, Parigi-Mosca
• Mosca Galleria Tret’jakov 1920-1922 (in deposito)
• Collezione privata, Leningrado
• Collezione privata, USA
• Collezione privata, Israele

Exposition à Gênes, 2017, n° 39, p. 75

Exposition à Gênes, 2017, n° 39, p. 113

Exposizioni principali :

• Tokyo-Kyoto, 2000, n° 15 :
  

  Exposition à Kyoto, Japan, 2000, n° 15

• Séoul, 2015, n° 212, p. 213

Bibliografia essenziale:

• Kisling, Tome IV, 2008, n° VIII, p. 313 :
  

  Kisling, catalogue raisonné, tome IV, 2008, p. 313

• Nathalie Wiener, 2015, pp. 202-207

Errori nelle Indicazioni del catalogo di Palazzo Ducale del 2017 :

1918 circa – The Shchukin collection was already complete in 1914, when the war began, and was then confiscated by the Soviets. Dating the painting to 1918 is incompatible with its presence in the Shchukin collection.

Domande :

• Mosca Galleria Tret’jakov 1920-1922 (in deposito) : identity of the depositor ? Length of possession? Identity of the buyer ? Documentation ? Source of this information which does not appear in volume IV of the Catalogue Raisonné ?
• Collezione privata, Leningrado : identity of the owner, date of acquisition ? Length of possession?
  The provenance Private collection, Leningrad is not indicated in Volume IV of the Catalogue Raisonné. Source ?

A similar artwork entitled Atelier de Kisling, 1917, reproduced in Volume III of the Catalogue Raisonné of Moïse Kisling under n° X, p. 401, indicates as provenance: Kasimir Malewitsh collection, Leningrad, Russia. Collezione privata, Leningrad, maybe Kasimir Malewitsh’s collection, Leningrad, Russia?

Kisling, catalogue raisonné, tome III, 1995, p. 401

• Collezione privata, Leningrado sells to Collezione privata, USA.
  Collezione privata, USA sells to Collezione privata, Israele.
  Evidence? Identities of the owners or financial beneficiaries? Dates of acquisition? Value ? Export documents for each transaction ?
• In 2008, the Catalogue Raisonné de Kisling, Volume IV, p. 313, cited in the bibliography, does not indicate the provenance Leopold Zborowski, Parigi. On which document is this provenance based?
  It should be noted that Serguei Shchukine never bought works by Modigliani or Kisling and was not a buyer from Zborowski.
• 2017 – Genoa, documents provided to Kuhn & Bülow Insurance for the exhibition? Identity of the owner or financial beneficiary of the company ? Insurance value ? …
• It should be noted that the Canale Arte company in Torino never returned the documents that were provided for the publication of the disputed Volume IV.

Historical and bibliographical inconsistencies :

• Leopold Zborowski did not sell paintings to Ivan Shchukin neither in Paris nor Moscow.
• Ivan Shchukin never bought paintings from either Modigliani or Kisling (testimony of Shchukin’s descendant on February 24, 2022 before the Genoa court).
• In 1918, the Shchukin collection was nationalized and Shchukin left Russia for Germany and then France. He could therefore neither have added new paintings to his collection, nor made a loan to the Tretiakov Gallery in Moscow in 1920.
• The Tretyakov Gallery in Moscow is a Russian art museum, while the largest European art museum in Moscow is the Pushkin Museum. A painting by two European artists could not be exhibited in the Tretyakov Gallery.

Painting no. 40

pp. 76 et 113 of the exhibition catalog

Exposition Modigliani, Genova, Palazzo Ducale, 2017, n° 40

Indicazioni del Palazzo Ducale per l’esposizione di Genova nel 2017 :

Moïse KISLING (1891-1953)
Giovanne dona seduta, “Kiki”, 1924-1926 circa
Olio su tela
92 x 73 cm
Collezione privata

Exposition à Gênes, 2017, n° 40, p. 76

Exposition à Gênes, 2017, n° 40, p. 113

Errori nelle Indicazioni del catalogo di Palazzo Ducale del 2017 :

Omissioni :

2008 – The artwork is reproduced in the Catalogue Raisonné de Moïse Kisling, Volume IV, n° XXIV, p. 133.
Provenance indicated :

• Collection Alfred Flechtheim, Düsseldorf
• Private collection, Buenos-Aires

Kisling, catalogue raisonné, tome IV, 2008, p. 133

2017 – Genoa catalog, p. 113 : the reproduction of the artwork is reversed.

Domande:

1999 – The certificate issued by Jean Kisling for this piece does not indicate “Kiki” as the title. Where does this title come from?

40 Certificat de Jean Kisling

2008 – The Catalogue Raisonné de Moïse Kisling, Volume IV, n° XXIV, p. 133 does not indicate “Kiki” as the title.

2008 – The Catalogue Raisonné de Moïse Kisling, Volume IV, n° XXIV, p. 133 indicates for provenance Alfred Flechtheim Collection, Düsseldorf. Documentation ? Proof ?
Note: The Flechtheim provenance was used by the forger Beltracchi.

2008 – Private Collection, Buenos-Aires : Lender ? identity ? date of acquisition ? invoice ? length of possession ?

2008 – The catalog of the exhibition in Genoa indicates circa 1924 – 1926 as dating of the artwork. Jean Kisling’s certificate and Volume IV of the Catalogue Raisonné indicates 1926. Why this change?

2017 – Genoa, documents provided to Kuhn & Bülow Insurance for the exhibition ?Identity of the owner or financial beneficiary of the company ? Insurance value ? …
It should be noted that the Canale Arte company in Torino never returned the documents that were provided for the publication of the disputed Volume IV.

Historical and bibliographical inconsistencies :

• Dating of the painting 1924-1926 is erroneous.
• The title “Kiki” is made up, because it is a commercial subject in Kisling’s work.
• “Kiki” represented on the painting at the Genoa exhibition tries to be passed off as Kiki de Montparnasse, model of Moïse Kisling, painted by the artist in 1919 and 1925 :

Comparaison des portraits de Kiki

Painting no. 41

pp. 77 et 114 of the exhibition catalog

Exposition Modigliani, Genova, Palazzo Ducale, 2017, n° 41

Indicazioni del Palazzo Ducale per l’esposizione di Genova nel 2017 :

Moïse Kisling (1891-1953)
Grande nudo disteso (Portrait d’Ingrid), 1929-1932 circa
Olio su tela
65 x 110 cm
Argentina, collezione Dr. Juan del Gados

Provenienza :

• Moïse Kisling, Parigi
• James Vigevano, Beverly Hills
• Juan del Gados, Buenos Aires
• Collezione privata, USA

Esposizioni principali :

• Parigi 1937 :

Bibliografia essenziale :

• Dutourd-Kisling 1995, Tome III, p. 16.
• Salmon-Kisling 2008, Tome IV, p. 292, n° XI

Exposition à Gênes, 2017, n° 41, p. 77

Exposition à Gênes, 2017, n° 41, p. 114

Errori nelle Indicazioni del catalogo di Palazzo Ducale del 2017 :

1995 – The bibliography indicating Dutourd-Kisling 1995, Volume III, p. 16 is false because another painting is reproduced there:

Kisling, catalogue raisonné, tome III, 1995, p. 16

2000 – The name of the model Ingrid is not mentioned in the catalog of the exhibition in Japan in 2000, n° 5:

Exposition Japon, 2000, n° 5

2008 – Volume IV of the Catalogue Raisonné de Moïse Kisling, p. 292 does not mention the name of the model (Ingrid) :

Kisling, catalogue raisonné, tome IV, 2008, p. 292

2017 – The Genoa catalog indicates exhibition Parigi 1937. The catalog of this exhibition does not mention this painting:

Exposition au Petit Palais, Paris, 1937, p. 83

Domande:

1998 – The certificate issued by Jean Kisling does not mention the title Portrait of Ingrid. Where does the information come from?

41 Certificat de Jean Kisling

2017 – The Genoa catalog indicates a direct provenance from Moïse Kisling to James Vigevano, Beverly Hills. Use of provenances without proof? Invoice? Documentation?

Volume I of the Catalogue Raisonné de Moïse Kisling contains 1 artwork with the provenance James Vigevano.

In Volume II, there is none.

In Volume III, 4 artworks have the same provenance.

Finally, Volume IV of the Catalogue Raisonné de Moïse Kisling contains 20 artworks with the provenance James Vigevano.

This use of the James Vigevano provenance in Volume IV for 20 pieces, while the first 2 Volumes contain only one, has no basis and is intended only to legitimize questionable provenances.

2017 – Genoa: why change the date of the painting from 1929 to 1929/1932?

2017 – Genoa: Dr Juan Del Gados is indicated as the previous owner, then Collezione privata, USA.
Date of purchase ? invoice ? proof of import document ? Duration of ownership ? Identity of the buyer in the USA ?

2017 – Genoa, documents provided to Kuhn & Bülow Insurance for the exhibition? Identity of the owner or financial beneficiary of the company? Insurance value? …

It should be noted that the Canale Arte company in Torino never returned the documents that were provided for the publication of the disputed Volume IV.

Historical and bibliographical inconsistencies :

• Provenance James Vigevano is usurped.
• The bibliography on page 16 of Volume III of Moïse Kisling’s Catalogue Raisonné is false because another painting is reproduced there. The dating of the piece in the Genoa catalog has been changed from 1929 to 1929-1932 because Kisling first painted Ingrid in 1932.
• The title Ingrid is made up so as to make use of a real painting dated 1932.
• “Ingrid” represented on the painting of the exhibition in Genoa does not look like Ingrid represented by Moïse Kisling in 1932 :

Comparaison des portraits d’Ingrid

Exposition Modigliani, Genova, Palazzo Ducale, 2017

Marc OTTAVI