This engaging head was probably carved in the French court of Robert of Anjou (r. 1266–85) centered in Naples. Its classical overtones are related to works by Nicola di Bartolomeo da Foggia,who signed the masterful pulpit at the Cathedral of Ravello in 1272.
[ Piero Tozzi Galleries Inc., Rome and New York (sold 1929)]; [ Brummer Gallery, Paris and New York (in 1929–sold 1947)]
Museum of Fine Arts, Boston. "Arts of the Middle Ages: A Loan Exhibition," February 17, 1940–March 24, 1940.
The Dark Ages: Loan Exhibition of Pagan and Christian Art in the Latin West and Byzantine East. Worcester, Mass.: Worcester Art Museum, 1937. no. 55, p. 30, ill.
Arts of the Middle Ages: A Loan Exhibition. Boston: Museum of Fine Arts, 1940. no. 155, p. 49.
Hoving, Thomas. "Italian Romanesque Sculpture." The Metropolitan Museum of Art Bulletin, n.s., 23, no. 10 (June 1965). p. 347, fig. 2.
Little, Charles T., ed. Set in Stone: The Face in Medieval Sculpture. New York, New Haven, and London: The Metropolitan Museum of Art, 2006. no. 65, pp.158-159.
Castelnuovo-Tedesco, Lisbeth, and Jack Soultanian. Italian Medieval Sculpture in The Metropolitan Museum of Art and The Cloisters. New York: The Metropolitan Museum of Art, 2010. no. 31, pp. 142–146.
Zchomelidse, Nino. Art, Ritual, and Civic Identity in Medieval Southern Italy. University Park: Pennsylvania State University Press, 2014. p. 156, fig. 138.