Paul Howard Manship

Evelyn St George, and thence by descent

Overall the condition of the marble is excellent. There is some minor wear to the surface. The marble has a natural pinkish tone and some minor, naturally occurring, metal inclusions. There is a small loss to the marble at the sleeve to the back of the proper right arm.
"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."

Florence Evelyn Baker was the daughter of the immensely wealthy New York banker George F. Baker. In 1891 she came to Ireland to marry Howard Bligh St George, a cousin of the painter William Orpen. Evelyn met Orpen in 1908 and became his companion and muse in a relationship which lasted into the 1920s. Evelyn moved to London in 1912 and through Orpen met and became a patron of many of the most important artists of the day. In 1921 Manship was staying in London with the painter John Singer Sargent. Sargent introduced Manship to Orpen and the two artists became friends. In 1924 Manship made a bronze portrait of Evelyn's daughter, Vivian St George, now in the collection of the Brooklyn Museum. Just more than a decade later Evelyn St George commissioned this portrait of her four-year-old granddaughter. At that time Evelyn was living at Cam House, Holland Park. Manship was a frequent visitor as he was often in Europe in this period and had a studio in Paris, where he probably carved the present marble. The portrait recalls the first portrait Manship made, of his own daughter Pauline Frances in 1914. There is the same careful observation of infant gesture and expression. Well known for his sculpture in bronze, Manship's marbles appear on the market extremely rarely.  

RELATED LITERATURE
Greenthal et al., pp. 399-403; Tolles, pp. 745-69