Edward Alden Jewell. "New Season Opens in Local Galleries." New York Times (October 6, 1929), p. X12 [possibly this picture], describes "L'Italienne" in Exh. New York 1929 as having "one of the familiar long, oval faces, the long neck, the narrow, sloping shoulders, the eyes that are almond slits".
Maud Dale. "Modigliani." Formes no. 18 (October 1931), ill. between pp. 122 and 123, calls it "Italian Woman".
Umbro Apollonio. "Amedeo Modigliani, 1884–1920." Cahiers d'art 25 (1950), ill. p. 173, as "La Brune".
Theodore Rousseau, Jr. "New Accessions of Paintings." Metropolitan Museum of Art Bulletin 14 (April 1956), p. 198, ill. p. 203.
Arthur Pfannstiel. Modigliani et son œuvre. Paris, 1956, pp. 154–55, no. 297, as in the collection of Mrs. Chester Dale, New York.
Ambrogio Ceroni. Amedeo Modigliani, peintre: Suivi des "souvenirs' de Lunia Czechowska. Milan, 1958, p. 60, no. 110, ill., calls it "Femme assise (L'italienne)" and dates it 1918.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 241–42, ill., comment that "it would be interesting to identify her with Rosalia, an Italian who kept a little restaurant in the Rue Campagna-Première, where Modigliani was one of her favorites".
Nello Ponente. Modigliani. New York, 1969, p. 34, colorpl. 47, calls it "Portrait of a Woman" and dates it 1917–18.
Kenneth Clark. Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, pp. 323, 326, no. 394, ill.
Ambrogio Ceroni. I dipinti di Modigliani. Milan, 1970, p. 101, no. 268, ill. [French ed., 1972], dates it 1918; erroneously locates it in the National Gallery of Art, Washington.
J[oseph]. Lanthemann. Modigliani, 1884–1920, catalogue raisonné: Sa vie, son œuvre complet, son art. Barcelona, 1970, p. 130, no. 336, ill. p. 248, calls it "Femme assise (L'italienne)" and dates it end 1918–1919; notes the influence of Japanese art in this picture.
Douglas Hall. Modigliani. Oxford, 1984, unpaginated, under no. 41, fig. 35.
Lowery S. Sims in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. Tokyo, 1989, p. 202, no. 164, ill. (color), notes that this sitter was not a professional model or member of Modigliani's immediate circle.
Gaston Diehl. Modigliani. rev. ed. [1st ed., 1969]. New York, 1989, ill. p. 85 (color), dates it 1918.
Osvaldo Patani. Amedeo Modigliani: Catalogo generale. Vol. 1, Dipinti. Milan, 1991, p. 283, no. 281, ill. (color), calls it "Donna seduta (L'italiana)" and dates it 1918.
Christian Parisot. Modigliani: Catalogue raisonné. Ed. Giorgio and Guido Guastalla. Vol. 2, Peintures, dessins, aquarelles. Livorno, 1991, pp. 328–29, no. 23/1918, ill. p. 207.
Marc Restellini in Exposition Amedeo Modigliani au Japon. Exh. cat., Tobu Museum of Art. Tokyo, 1992, pp. 124–25, 204, no. 36, ill. (color), dates it 1918; states that it was painted in Nice, as a pendant to a portrait of a man called "Le Niçois" (private collection; Patani 1991, no. 300; Parisot 1991, no. 24/1919), citing the sitters' similar composure, black clothing, and the green band along the right side of both pictures; surmises that the sitters were connected in some way, similar to Italian pendant portraits of the sixteenth century.
Joachim Pissarro in Les Peintres de Zborowski: Modigliani, Utrillo, Soutine et leurs amis. Exh. cat., Fondation de l'Hermitage. Lausanne, 1994, p. 165, no. 16, ill. (color), dates it 1918; notes references to Flemish portraiture, Japanese art, naive art, and Italian mannerism in this picture.
Marie-Christine Decroocq in Amedeo Modigliani. Exh. cat., Museo d'Arte Moderna, Lugano. Milan, 1999, pp. 123, 198, no. 56, ill. (color and bw), dates it 1918, executed during Modigliani's 1918–19 stay in Nice; surmises that it relates to two male portraits of similar format: "The Notary of Nice" (Patani 1991, no. 300; Parisot 1991, no. 24/1919) and "Seated Man with Orange Background" (Patani 1991, no. 286; Parisot 1991, no. 44/1918), both in private collections; suggests that these three portraits of unknown sitters were executed in sequence; believes that the title "L'Italienne" refers to the traditional hairstyle with a knotted black ribbon.
Mason Klein in Modigliani: Beyond the Myth. Ed. Mason Klein. Exh. cat., Jewish Museum, New York. New Haven, 2004, p. 6.
Emily Braun in Modigliani: Beyond the Myth. Ed. Mason Klein. Exh. cat., Jewish Museum, New York. New Haven, 2004, pp. 27, 205, colorpl. 68, remarks that only this unknown Italian sitter "can be securely identified as a compatriot" among Modigliani's portraits.
Christian Parisot. Modigliani: La Vita le opere. Rome, 2006, ill. p. 286 (color), dates it 1918.
Merlin James. "Modigliani: London." Burlington Magazine 148 (October 2006), p. 703.
Mason Klein in Modigliani. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2006, p. 80, fig. 2 [Italian transl. of Ref. Klein 2004].