Carved from a narrow block of poplar, this figure was originally set into a large tabernacle, to be placed on the altar. The sculpture's elongated form and strong linear quality can be related to more complete works on the island of Gotland, where the sculpture of the 1100s was strongly influenced by German art.
Georges Hoentschel (French); J. Pierpont Morgan (American), London and New York (until 1913)
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 30, 62, fig. 31, ill. p. 57.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 30, 62, fig. 31, ill. p. 57.
Wixom, William D. "Romanesque Sculpture in American Collections. XVIII. The Cleveland Museum of Art." Gesta 18, no. 2 (1979). p. 38.
Little, Charles T. "Romanesque Sculpture in North American Collections. XXVI. The Metropolitan Museum of Art. Part VI: Auvergne, Burgundy, Central France, Meuse Valley, Germany." Gesta 26, no. 2 (1987). no. 14, pp. 165-66, fig. 16.
Auchincloss, Louis. J.P. Morgan: The Financier as Collector. New York: H. N. Abrams, 1990. ill. p. 35.
Wixom, William D. "Medieval Sculpture at the Metropolitan: 800 to 1400." The Metropolitan Museum of Art Bulletin, n.s., 62, no. 4 (2005). p. 13.
Maxwell, Robert A. "Le goût pour la sculpture romane de Parthenay: Les collectionneurs américains et la redécouverte de l'art du XIIe siècle." In L'âge roman: Arts et culture en Poitou et dans les pays charentais, Xe-XIIe, edited by Pascale Brudy, and Anne Benéteau Péan. Montreuil: Gourcuff Gradenigo, 2011. p. 272, fig. 3.
Maxwell, Robert A. "Accounting for Taste: American Collectors and Twelfth-Century French Sculpture." Journal of the History of Collections 27, no. 3 (November 2015). p. 396, fig. 6.