Sculptor Paolo da Sulmona was active in the second half of the 14th century when he enriched the heritage of Zadar, Pag, the Kvarner islands, and Senj with his artworks. The beginning of the formation of Paolo’s opus is the result of the experts’ interest in the study of archival data in which the artist is noted exclusively as a witness or executor of the requested order. Also, the research engagement was enhanced by the discovery of the signed and almost completely preserved facade of the collegiate church of St Mary in Stari Grad on the island of Pag. The emphasis of this paper is on a review of Paolo’s opus consisting of a total of sixteen works grouped on the preserved archival documentation, the master’s signature, and artistic characteristics. On the one hand, there is a strong influence of Apulian Romanesque sculpture achieved in disproportionate figures of inaccurate anatomy, almost geometric faces with wide cheeks, prominent cheekbones, accentuated eyebrows, close-set eyes, and a straight nose. On the other hand, the modernity of local Gothic trends in Paolo’s works is visible through the use of archaic detailing and decorative performance of rich folds of drapery, vegetable decoration, and psychologization expressed by a mild smile or grimace of pain. In the artistic context, it is necessary to mention the importance of works of Venetian and second-class Dalmatian production that greatly influenced Paul’s work at the level of recognizable austerity of provincial expression, typological and compositional solutions, and modeling anatomy like smooth closed volumes wrapped in vertical folds of drapery.