Jeune fille aux macarons (Young Woman with Hair in Side Buns) by Amedeo Modigliani

Art Basel Paris

Upcoming
Oct 22 – Oct 26, 2025
Paris

ART FAIR DETAILS

Art Basel Paris
Booth A30
Grand Palais
Oct 22 – 26, 2025

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Above: Amedeo Modigliani, Jeune fille aux macarons (Young Woman with Hair in Side Buns), 1918. Photo © Maurice Aeschimann Genève

Pace is pleased to announce its booth highlights for Art Basel Paris 2025.

Pace’s presentation at the fair will be anchored by two early 20th century masterpieces: a 1918 Amedeo Modigliani painting and an important Pablo Picasso work on paper that was once a touchstone of Gertrude Stein’s collection.

The booth will also reflect Pace’s history as a champion of Minimalism, featuring works by key artists associated with the movement: Mary Corse, Lee Ufan, Agnes Martin, Robert Ryman, and Jiro Takamatsu.

Three small-scale sculptures by Alexander Calder, who will be the subject of an exhibition at the Whitney Museum of American Art in New York this fall to celebrate the centennial of Calder’s Circus, which he began creating in 1926.

New and recent works by Yto Barrada, Nigel Cooke, Huong Dodinh, Torkwase Dyson, Pam Evelyn, Adrian Ghenie, Alicja Kwade, Li Hei Di, Robert Longo, Robert Mangold, Kylie Manning, Mao Yan, Adam Pendleton, Lauren Quin, and Arlene Shechet will figure prominently in the presentation.

Arlene Shechet’s large-scale sculpture Dawn (2024)—which she debuted in her sprawling 2024 exhibition Girl Group at Storm King Art Center in New York—will be exhibited outdoors along the city’s Avenue Winston Churchill as part of the fair’s public program.

Highlights on Pace’s booth at Art Basel Paris include:

Amedeo Modigliani’s widely-exhibited 1918 painting Jeune fille aux macarons (Young Woman with Hair in Side Buns), which figures in art historian and leading Modigliani scholar Marc Restellini’s definitive six-volume catalogue raisonné on the artist, set to be released in March 2026

Pablo Picasso’s Study for Nude with Drapery (1907), a work on paper that was once a beloved fixture of Gertrude Stein’s collection and prefigured the artist’s iconic painting Les Demoiselles d'Avignon

Two small-scale sculptures created in 1958 and 1946 by Alexander Calder, whose dedicated museum Calder Gardens is now open in Philadelphia—and one of the artist’s most iconic works, Calder’s Circus(1926–31), goes on view at the Whitney Museum in New York on October 18

Children Playing, a 1999 painting by Agnes Martin, whose work is included in the Bourse de Commerce’s upcoming exhibition Minimal, curated by Jessica Morgan, Director of the Dia Art Foundation

Works by Mary Corse, Lee Ufan, Robert Ryman, and Jiro Takamatsu—all of whom are also featured in the Bourse de Commerce’s Minimal show—presented in conversation with compositions by Huong Dodinh, Torkwase Dyson, Alicja Kwade, Robert Mangold, and Adam Pendleton

A vibrant new textile work by Yto Barrada, who will represent France at the Venice Biennale in 2026 and is currently the subject of a major solo exhibition on view at the South London Gallery through January 11, 2026

Three new ceramic sculptures by Arlene Shechet, whose large-scale painted aluminum composition Dawn (2024) will be on view on the Avenue Winston Churchill, between the Grand Palais and the Petit Palais, as part of the fair’s public program

New paintings created this year by Nigel Cooke, Pam Evelyn, Adrian Ghenie, Li Hei Di, Kylie Manning, Mao Yan, and Lauren Quin

Tassa vermella, a 1984 painting by Antoni Tàpies, who will be the subject of a solo exhibition opening in November at Pace’s New York gallery

A new charcoal drawing by Robert Longo, whose monumental exhibition The Weight of History is on view at Pace in New York through October 25

Our Artists in Paris

Arlene Shechet

Dawn, 2024

Oct 21 – 26
Art Basel Paris
Avenue Winston Churchill
Paris, France

Pace is pleased to present Dawn (2024), a monumental sculpture by Arlene Shechet, to be installed in the heart of Paris on Avenue Winston Churchill—directly between the Grand Palais and the Petit Palais—in collaboration with Art Basel Paris (October 20–27). Reminiscent of an unfurling flower, Dawn is composed of aluminum sheets painted in matte peach and glossy pink, interspersed six large-scale sculptures that comprised Shechet’s acclaimed Girl Group installation at Storm King Art Center (2024) and will be situated along the avenue, flanked by the Pont Alexandre III and the Hôtel des Invalides on one side and the Champs-Élysées on the other, offering a tactile, expressive counterpoint to Paris’s historical architecture.

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Featured Works

Amedeo Modigliani

1884, Livorno, Italy
d. 1920, Paris, France

Amedeo Modigliani’s Jeune fille aux macarons (Young Woman with Hair in Side Buns) (1918) is a remarkable example of the artist’s late portraits. The sitter is rendered with the defining traits of Modigliani’s mature style, which, as art historian James Thrall Soby observed, reveals his preference for “. . . rusted colors, Mannerist elongations and those wry dislocations of his subjects’ features—see-saw eyes and pendulous noses, oval heads on tubular necks—which are so unmistakably his own.”¹ This singular style drew together a myriad of influences, from his early years working alongside Constantin Brâncuși, when he experimented with direct stone carving and absorbed a deep respect for purity of form; to the stylized abstraction of African masks; to the elegance and refinement of his portraits as a reflection of his deep engagement with the Old Masters of Italy. As Werner Schmalenbach noted, “echoes not only of the fifteenth-century Mannerism of Sandro Botticelli but of the classic sixteenth- and seventeenth-century Mannerism of Pontormo, Parmigianino and perhaps also El Greco” are visible in Modigliani’s late portraits, suggesting that these historical models—directly or indirectly— informed his distinctive style.²

The painting also exemplifies Modigliani’s practice of delineating the pictorial field by painting a frame directly onto the canvas, perhaps to define or contain the composition. In Jeune fille aux macarons, this painted border is formed through a combination of long brushstrokes and small dabs of paint that create a subtle vignette around the figure—a device characteristic of his blue-toned paintings from this period.³ X-ray radiography conducted by Institut Restellini has revealed an underlying drawing beneath the visible composition, attesting to the artist’s deliberate working process.⁴ A preparatory drawing bearing likeness to this portrait, including the twisted bun hairstyle, now of unknown whereabouts, is recorded in Arthur Pfannstiel’s 1929 catalogue raisonné and again in Joseph Lanthemann’s 1970 edition.⁵ ⁶ Together, these studies underscore the sustained attention Modigliani devoted to this work.

This work was first sold through Léopold Zborowski, a noted dealer of Modigliani who began working with the artist in 1917, and through whom one-third of Modigliani’s total output—estimated between 100 and 160 works—is thought to have passed.⁷ The work then went to Leonard Emanuel Van Leer of Paris’s Van Leer Gallery, who sold the work to Roger Dutilleul. One of Modigliani’s major collectors, by 1925 Dutilleul had acquired thirty-four paintings and twenty-one drawings by the artist⁸, alongside a robust collection of works by Modigliani’s contemporaries including Georges Braque, Henri Matisse, Fernand Léger, Joan Miró, and Pablo Picasso. Dutilleul was an avid supporter of emerging artists and had a prescient interest in Cubism. He was known for acquiring works directly from exhibitions and from noted dealers, such as Zborowski and Daniel-Henry Kahnweiler. Dutilleul maintained a detailed inventory of every work he acquired; the present painting appears in that record as number 17, described as “tête de jeune femme (bandeau macarons),” with its format noted as “8F” and a purchase price of 2,000 francs. An archival photograph (c. 1954) [fig. 2] shows Jeune fille aux macarons among other works in Dutilleul’s apartment. An inscription on the verso of the painting, signed by Dutilleul, reads: “Portrait par Modigliani [Amedeo] exécuté à Paris en fin d’année 1918. . . .” (“portrait by Modigliani executed in Paris at the end of 1918. . . .”). The note was likely added much later, and the work misdated by Dutilleul. The composition’s style—particularly the background’s color palette—corresponds to works Modigliani painted earlier that year in his Rue Joseph Bara studio in Paris, before departing for the south of France in April 1918, where he remained until returning to Paris in May 1919.⁹

After more than three decades in Dutilleul’s collection, the painting was acquired by another major Modigliani collector, Georges Renand, who likewise kept this work in his collection—which included several other notable works by Modigliani as well as masterworks by Paulus Potter and Georges Seurat that have since entered major museum collections—for more than thirty years until his death. It was inherited by his heirs and sold to Galerie Cazeau-La Béraudière, Paris, from which the current owner acquired the work in 2005. That this painting has passed through the hands of several of Modigliani’s most discerning collectors over the last century speaks to the high regard in which it has been consistently held among scholars and collectors alike.

Jeune fille aux macarons is included in the forthcoming definitive catalogue raisonné of Modigliani’s oil paintings, compiled and edited by Marc Restellini and published by Yale University Press (March 2026). This six-volume catalogue raisonné documents the entire body of paintings made by Modigliani, classified through twenty-seven years of meticulous research using archival and documentary sources as well as methodologies not previously available to scholars, including technical and scientific analysis. Jeune fille aux macarons belongs to a group of approximately eighty newly authenticated works presented in this catalogue raisonné, half of which are in museum collections globally.

This work was included in the Modigliani catalogues raisonné published by Joseph Lanthemann in 1970 (no. 264), in which the author wrote: “Modigliani, dans ce regarde ‘infiniste’ et cette pose aristocratique, élève la jeune fille à la femme (à l’essence fondamentale)” (“Modigliani, in this ‘infinite’ gaze and this aristocratic pose, elevated a young girl to a woman (to a fundamental essence”).¹⁰

Jeune fille aux macarons has been included in important exhibitions of Modigliani’s work since 1920, when it was first exhibited as part of La jeune peinture française, 2e exposition at Galeri Manzi-Joyant, Paris (1920), just months after the artist’s death in January of that year. More recently, this work has featured in Modigliani exhibitions at major museums worldwide,including Modigliani and Hébuterne, the Tragic Couple, at the Bunkamura Museum, Tokyo (2007), which traveled extensively to venues across Japan; Amedeo Modigliani, l’œil intérieur, in which it was shown at the Ateneum Art Museum, Finnish National Gallery, Helsinki, venue of the touring exhibition (2016–17); and Modigliani. Revolution des Primitivismus, at the Albertina, Vienna (2021–22). These exhibitions, spanning nearly the entire life of the painting, highlight its enduring significance in demonstrating Modigliani’s late mastery of portraiture.

James Thrall Soby, introduction to Modigliani: Paintings, Drawings, Sculpture. New York: The Museum of Modern Art, 1951: 9.
Werner Schmalenbach, Modigliani. Munich: Prestel, 1980: 42
Marc Restellini, “Stylistic Study of Amedeo Modigliani,” in Amedeo Modigliani: Catalogue Raisonné of the oil paintings (vol. 1). New Haven: Yale University Press: 227.
Expertise Report, Institut Restellini, no. 2019/PE/50282n, 28 June 2019.
Arthur Pfannstiel, Modigliani: Catalogue présumé. Paris: M. Seheur, 1929: 76.
Joseph Lanthemann, Modigliani, 1884–1920, catalogue raisonné; sa vie, son oeuvre complet, son art. Barcelona: Gráficas Condal, 1970: 346, no. 849.
Restellini, “The Catalogues Raisonné of Amedeo Modigliani,” in Amedeo Modigliani: Catalogue Raisonné of the oil paintings (vol. 1). New Haven: Yale University Press: 116.
Luise Mahler, “Roger Adolphe Dutilleul.” The Modern Art Index Project (January 2015, Revised July 2019), Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art. https://doi.org/10.57011/XQFD6637
Institut Restellini, email message to Pace Gallery, October 10, 2025.
Lanthemann, Modigliani, 1884–1920, catalogue raisonné; sa vie, son oeuvre complet, son art, 125, no. 264.

Pablo Picasso

b. 1881, Malaga, Spain
d. 1973, Mougins, France

Study for Nude with Drapery (1907) exemplifies Pablo Picasso’s intention to formally break with the norms of the Western artistic tradition. Here, Picasso depicts a standing nude figure pulling aside a loosely sketched curtain, her body rendered as a series of cylinders and ovals. Uneven hatch marks suggest shadow and volume, and although the stance references a classical contrapposto pose—weight shifted onto one hip—the form itself resists anatomical accuracy. Beginning in 1907, Picasso moved away from the idea of the canvas as a window into the world, instead emphasizing the inherent flatness of the picture plane. He experimented with geometry and line, distilling forms into simple shapes while illustrating multiple perspectives early signs of Picasso’s growing interest in African art, particularly following his March 1907 visit to the Musée d’Ethnographie du Trocadéro, Paris. Features drawn from African masks—elongated noses, pointed oval faces, and deeply shadowed contours—became integral to his visual vocabulary. Picasso revisited and transformed the present figure in his seminal work Les Demoiselles d’Avignon, completed later that same year. The second figure from the left in Demoiselles presents a fully realized reinterpretation of the Study, rotated to face the viewer. This drawing not only reflects his interest in African art but also signals the formal experimentation with perspective that would ultimately lead to the development of Cubism.

In 1907, American art collectors Leo and Gertrude Stein acquired Picasso’s notebook containing the current work, disassembling it and mounting selected drawings on canvas. Study for Nude with Drapery is visible in several photographs from the period, including a 1920 portrait of Gertrude Stein by Man Ray.

Agnes Martin

b. 1912, Macklin, Saskatchewan, Canada
d. 2004, Taos, New Mexico

Alexander Calder

b. 1898, Lawnton, Pennsylvania
d. 1976, New York, New York

Robert Mangold

b. 1937, North Tonawanda, NY

Mary Corse

b. 1945, Berkeley, California

Jiro Takamatsu

b. 1936, Tokyo
d. 1998, Tokyo

Adrian Ghenie

b. 1977, Baia Mare, Romania

Adrian Ghenie’s new painting The Spanish Room 2 (2025) continues his examination of museumgoers’ varied interactions with art. The swirling, chaotic work depicts two humanoid figures holding small red hammers before a painting, referencing a protest by Just Stop Oil activists. On November 3, 2023, two members of the group cracked the glass on Spanish painter Diego Velázquez’s masterpiece The Toilet of Venus (1647–51), widely referred to as The Rokeby Venus, at London’s National Gallery of Art. This act by Just Stop Oil—a group that objects to the British government extending new permits to produce fossil fuels—was itself a direct reference to British suffrage campaigner Mary Richardson, who in 1914 attacked the same canvas with a meat cleaver to protest the arrest of suffrage leader Emeline Pankhurst. Echoing the suffragist slogan, the 2023 activists declared, “Women did not get the vote by voting. It is time for deeds, not words.” Old Masters are a recurring touchstone for Ghenie; in this new painting, he contributes to the layered conversation around Velazquez’s work in his own unsettling, expressionistic style.