Paul Howard Manship 1885-1966

Evelyn St-George, London, England (mother of the sitter)
Private Collection, England, before 1950
By descent in the family to the present owners

Paul Vitry, Paul Manship, Paris, 1927, p. 45, illustrated p. 74 (as Viviane Saint-George et son chien)
Edwin Murtha, Paul Manship, New York, 1957, no. 164, p. 163
John Manship, Paul Manship, New York, 1989, p. 97

Very good condition, recently polished, waxed and some areas re-gilded. One arrow re-attached and another partially replaced.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1921, following a turn with the Red Cross in Italy, Paul Manship moved to London with his family as guests of John Singer Sargent.  Sargent introduced Manship to many members of London society, procuring the sculptor a number of important portrait commissions, including Lady Cholmondeley, whom he sculpted in marble in 1923.  Also in Sargent's coterie was the Irish painter, Sir William Orpen, who became one of Manship's closet companions during that first winter in London.  Orpen, like his friend Sargent, painted elegant portraits of society women.  In 1908, Orpen painted Mrs. Evelyn St. George, the daughter of the president of the National Bank of America and a prominent figure in London.  This marked the beginning of a storied artist-muse relationship, as well as a passionate love affair.  In 1912, Mrs. St. George gave birth to their daughter, Vivian. 

In the spring of 1922, Manship moved to Paris to live and work, where he stayed until 1926.  Manship was inspired by the energy of the city and some of his most well-known works were produced during these years, including Diana, Acteon, Europa and the Bull, Flight of Europa and Indian Hunter and His Dog.  Manship wrote, "Paris is the center of the world--and while I am not in the center of the whirlpool I feel the motion of it," (Paul Manship, 1989, p. 97).   In 1924, when Vivian St. George was twelve years old, Mrs. St. George commissioned Manship to create a portrait of their daughter.  Manship fashioned the young Vivian as Diana, a subject he had explored just three years earlier, with her hound at her side and arrows in her hand.  Manship appropriated Diana as subject, synthesizing classical sculptural traditions borrowed from archaic Greek sculpture with his distinctly stylized modern forms to create a compelling portrait of a young girl.