Attributed to Nanni di Bartolo (active 1419-1451) Italian, Verona or Venice, circa 1430

G. Kreytenberg, 'Der Kopf eines lächelnden Jünglings von Nanni di Bartolo il Rosso', Studio di Storia dell’Arte, vol. 19, 2008, pp. 273-276

Overall the condition of the stone is good with wear and some dirt to the surface consistent with age. There is weathering to the surface consistent with placement outside. The sides and top behind the head are roughly hewn. There are a few losses, including to the tip of the nose, to the proper left eyebrow and to the proper right ear. There are a few chips and abrasions, notably to the lips and eyelids, and to the edges of the cloak around the neck, in particular on the proper left side. The modern metal stand is in very good condition with minor wear to the edges.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This remarkable head was published in 2008 in an essay by Prof. Dr. Gert Kreytenberg. The scholar has dated it from the years 1423-1437, drawing parallels with works realised by Nanni di Bartolo in the church of San Fermo in Verona in 1426. In particular, similarities in the sculpting of the faces and the wavy strands of hair can be found on the sleeping soldiers featuring on the tomb of Niccolò di Franceschino Brenzoni (Wolters, op. cit., 753). Further comparisons can be drawn with the facial features of the three gargoyles that Nanni di Bartolo rea - lised on the northern façade of San Marco in Venice circa 1423-1424 (Wolters, op. cit., fig. 635) as well as the figures sculpted on the relief of the Baptism of Christ in the lunette above the tomb of the Blessed Pacifico in Santa Maria dei Frari in Venice, which are datable from about 1437 (Wolters, op. cit., figs. 755 and 756). The head is carved at the back with a leafy motif. The sculpture therefore must have been surrounded by decorative foliage, remnants of which also appear below the figure’s neck. The decorative scheme might have been visible from the back, as is the case for some sculpted ornamentation featuring on the upper register of San Marco’s western façade (Wolters, op. cit., figs. 646-647). Nanni di Bartolo trained and worked in Florence where he collaborated with Donatello in 1421-1422. He is documented in Venice and Verona in the following years but little is known about his life.

RELATED LITERATURE
W. Wolters, La scultura veneziana gotica 1300-1461, Venice, 1976; A. Markham Schulz (ed.), Nanni di Bartolo e il portale di San Nicola a Tolentino, Florence, 1997