Portrait of Mary Dopping C.1700, by Michael Dahl.

Oil on canvas in a gilt 19th century frame.

This portrait is a fine example of the artist’s eloquent depiction of aristocratic women. In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty.

Dahl’s works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter’s turned head impart a subtle sense of movement. She wears the fashionable 'undress' and her hair is tied with blue silk ribbons.

This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here the sitter looks out at the viewer with a quiet and intelligent good humour, with just a hint of seductiveness in her eyes...in every way this is a superb portrait.

MARY DOPPING (1684-1735) would be between 16 and 20 years of age at the time of this portrait. She was the great-great grandmother of Sir Anthony Arthur Weldon, 6th Baronet of Dunsmore, who was the last owner of the portrait before it was auctioned in Dublin in 1934 by his widow, Winifred Varty-Rodgers Weldon.

Mary Dopping was born on September 17, 1684. She was the daughter of Rev. Anthony Dopping and Jane Molyneux of Meath, Ireland.

Mary’s father was the Reverend Anthony Dopping, the Bishop of Kildare and vice-Chancellor of Trinity College and a Privy Councillor. He was later the Bishop of Meath, Ireland.

Mary Dopping’s Uncle, William Molyneux, (brother to Mary’s mother, Jane Molyneux) was a close friend of philosopher John Locke.

I believe the sitter in this Dahl portrait was Mary Dopping, the second wife of Arthur Weldon. The painting may have been passed down through the family until it was auctioned off by the widow of Sir Anthony Weldon, 6th Baronet of Dunmore.

Weldon Baronets

Sir Anthony Weldon, 4th Baronet (1781–1858)

Sir Anthony Crossdill Weldon, 5th Baronet (1827–1900)

Sir Anthony Arthur Weldon, 6th Baronet (1863–1917)

Sir Anthony Edward Wolseley Weldon, 7th Baronet (1902–1971)

Sir Thomas Brian Weldon, 8th Baronet (1905–1979)

Sir Anthony William Weldon, 9th Baronet (born 1947)

(After Sir Anthony Weldon’s death in 1917, his widow was forced to sell off the contents of Kilmoroney at a Dublin auction in October of 1934.)

(Research by Susan Brazao)

MICHAEL DAHL (1659 - 1743).

Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.

His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.

Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.

SIZE:37 x 32 inches including the frame.

PROVENANCE: In the collection of the Weldon family since at least the 1900s when it was in the inventory compiled by Colonel Weldon.