Bowman Sculpture, London.

1909: Exhibition of Fair Women. International Society of Sculptors, Painters and Gravers, London, ref.no. 294 - exhibited as 'Old Fisherman's Head'.
1906: The Exhibition of the Royal Scottish Academy of Painting, Sculpture and Architecture, The Eightieth, ref. no. 171 - exhibited as 'Old Fisherman's Head'.
1906: Corporation of Manchester Art Gallery, Twenty-Fourth Autumn Exhibition, Manchester, ref. no. 254.
1884: Royal Academy of Arts, ref. no. 1699 - exhibited as 'Study of a Head - Bronze'.

Robert Bowman, Sir Alfred Gilbert and the New Sculpture (London: The Fine Art Society, 2008), pp. 34-35.
Anon, Gibson to Gilbert: British Sculpture 1840-1914. Exhibition catalogue (London: The Fine Art Society, 1992). No. 26.
Anon, The Royal Scottish Academy Exhibitors 1826-1990: A dictionary of artists and their work in the Annual Exhibitions of the Royal Scottish Academy. Volume 2, E-K (Calne: Hilmartin Manor Press, 1991), p. 134.
Richard Dorment, Alfred Gilbert (London: Paul Melon Centre, 1985).
Richard Dorment, Victorian High Renaissance (Minneapolis: The Minneapolis Institute of Arts, 1978). No. 29.
Anon, Catalogue of the Twenty-Fourth Autumn Exhibition (Manchester: Corporation of Manchester Art Gallery, 1906), p. 46.
Anon, A Catalogue of the Pictures, Drawings, Prints and Sculptures in the Exhibition of Fair Women arranged by the International Society of Sculptors, Painters and Gravers (London: Ballantyne & Co. Limited, 1909), p. 46.
Anon, The Exhibition of the Royal Academy of Arts: The One Hundred and Sixteenth (London: William Clowes and Sons Limited, 1884), p.60.

Alfred Gilbert (1854–1934) was probably the greatest and best known sculptor in pre-20th century British art. Work such as The Shaftesbury Memorial (Eros) located at the southeastern side of Piccadilly Circus, The Alexandra Memorial opposite St James Palace, and The Clarence Tomb at St George’s Chapel, Windsor are just a few of his public monuments.

Gilbert was just nineteen years old when he joined the Royal Academy of Arts, where he was exposed to the influence of Frederic Leighton (1830-1896), and Aimés Jules Dalou (1838-1902)). In 1875 Gilbert moved to Paris, after which he turned his attentions to Rome. This contact with European arts was hugely influential, and the impact of the Italian Renaissance would continue as a thread throughout his career, with inspiration from Donatello's David (c. 1440s) and Cellini's Perseus with the Head of a Medusa (1545-1554) evident in Gilbert's work.

This bust was first exhibited in 1884 at the Royal Academy alongside Gilbert's world-renowned Icarus (1882-1884), cementing his position as one of the most influential sculptors of his generation.

Gilbert’s work is held in major public collections around the world including in the Tate Gallery, London; The Victorian & Albert Museum, London; The Metropolitan Museum, New York; Detroit Institute of Arts and The Musée d'Orsay, Paris.