Michael Dahl Paintings

Portrait of Elizabeth Wray in a Silk Dress & Pink Wrap c.1698 Circle of Michael Dahl (1659-1743) Bathed in soft light and framed by a luminous oval of carved and gilded wood, this p...

Portrait of a Frances Temple Lady Berkeley in a White Dress and Blue Mantle c.1695 By Michael Dahl (1659-1743) This elegant and graceful portrait, presented by Titan Fine Art, was p...

This exquisite portrait, presented by Titan Fine Art, is by Michael Dahl; it was part of the extensive collection owned by Thomas Wyndham of Clearwell Court in Gloucestershire. It ma...

Portrait of Sarah Churchill, Duchess of Marlborough in a Green Dress and Pink Mantle c.1690s by Michael Dahl (1659-1743) Beauty, at the time this portrait...

This elegant and graceful portrait, presented by Titan Fine Art, was painted by Michael Dahl, whom by 1700 was the most successful painter in England - se...

This exquisite work, presented by Titan Fine Art, is an accomplished example of the type of portrait in vogue at the turn of the 18th century in Britain. It was painted by Michael Dahl...

This elegant and graceful portrait was painted by Michael Dahl, whom by 1700 became the most successful painter in England - second only to Godfrey Kneller – and at his best, as evident in this portrait, was capable of outperforming Kneller, Richardson, and Seeman. The present work is amongst Dahl’s finest representations of aristocratic women. Presented in a good carved and gilded antique frame. The portrait is said to represent Lady Catherine Stanhope Clarke (1675-1728), who was a daughter of Philip Stanhope, 2nd Earl of Chesterfield (1634-1714) and his third wife Elizabeth Dormer, Countess of Chesterfield (d. 1677). Her father had been one of the many lovers of Barbara Villiers, the most notorious mistress of King Charles II. He was imprisoned in the Tower of London for wounding Captain John Whalley...

This elegant and graceful portrait is said to represent Miss Lyddell. Painted by Michael Dahl, whom by 1700 became the most successful painter in England, second only to Godfrey Kneller. It is noteworthy in its state of preservation and its remarkable quality; it is amongst one of Dahl’s finest works of aristocratic women. Presented in an outstanding carved and gilded antique frame which is a fine work of art in itself. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. This portrait can be dated to circa 1725 and the occasion for commissioning the picture may have been a birthday or engagement. The curve of the neck and the elegant turn of the head are features typical of the formula used by Dahl. The sitter is fashionably attired in a silver silk dress...

This striking large-scale portrait by Michael Dahl, one of the foremost painters in England at the time is noteworthy both in its quality and its remarkab...

From the collection of the real-life ‘Monuments Man’, Christopher Norris. As Chief of the British Section of the British Monuments and Fine Arts and Archives in 1946, he enthusiastically engaged in helping to rescue German monuments lying in the rubble and aid their repatriation and also organise the return of collections from repositories scattered over the countryside. These English officers set to work with great vigour, involving wearisome negotiations with English and German officials. These men paid from their own pockets for the chemicals needed for the conservation workshop, which could only be acquired from abroad. This elegant large-scale portrait is a fine example of Michael Dahl’s refined court-style depiction of aristocratic women. The curve of her neck and the elegant turn of the head are features typical of the formula used by Dahl. The portrait can be dated to circa 1725, and has been depicted in fashionably dressed clothing, in a landscape with a rocky outcrop. The shimmering blue azure wrap dramatically flows through the air and off the canvas, providing a sense of movement. Dahl was influenced by Godfrey Kneller but his portraits of woman are distinctly different. It is often remarked that Dahl’s drawing of the heads is better and his style more straightforward producing sophisticated and graceful portraits without the excessive use of props and other distracting elements. The sitter is Mary Davison (c.1710-1794), later Lady Eden - an ancestor of Anthony Eden...

Studio of Michael Dahl Swedish, (1659–1743) Portrait of a Lady Oil on canvas Image size: 29 inches x 24 inches Size including frame: 35½ inches x 30¼ inches A fine half-length port...