Amedeo Modigliani, Rosa Poprina, 1959, Original Lithograph

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Artist: amedeo modigliani, d'après

title: "rosa poprina"

authentic plate from the lithographic collection published by einaudi in 1959.

year of … Read more Artist: amedeo modigliani, d'après

title: "rosa poprina"

authentic plate from the lithographic collection published by einaudi in 1959.

year of ideation: 1915
year of print: 1959

matted in its original passepartout

total size: 56 x 45 cm
lithograph size: 42.5 x 25.8 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 torino, italy.
numbered 576 on the colophon.

embossed seal (timbre-à-sec) by the publisher

signed "modigliani" in the plate

excellent condition, please see images
(lithograph in excellent condition, the original passepartout has a small tear and a few signs of age, not affecting the image)

from the italian introduction:

"l'influenza vera fu quella stessa subita da picasso delle demoiselles d'avignon. E forse non sarebbe neppure azzardato aggiungere che modigliani guardò soprattutto alle sculture del gabon e del congo belga e che lo stesso ossessionante motivo della cariatide, che ritorna nei disegni piú che nelle pietre, trasse origine dagli sgabelli cerimoniali e non da prototipi della plastica arcaica greca. La connessione, poi, fra sculture e disegni è, si può dire, costante; per esempio il foglio a penna qui riprodotto potrebb'essere uno studio preparatorio per la testa del museo di filadelfia, tanto l'identità dei singoli elementi del volto è assoluta. In quanto al segno, procede filato, argenteo, senza modulazioni e con pochissimi stacchi, cercato talvolta con un andamento a leggerissima seghettatura, come in molti fogli del periodo successivo, press'a poco del 1914-15, quando modigliani, con la rinunzia alla scultura, ritornò a quello che era stato il suo primo amore, ma arricchito da un'esperienza destinata a non cancellarsi"

(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. As for the sign, 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 into its original passepartout. The picture of colophon is posted in order to show the limited edition only. This piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less