Portrait of Lady Mary Booth, Later Countess of Stamford C.1720; Attributed to Michael Dahl (1659-1743), Antique Oil on Canvas Painting

This charming portrait is said to represent Lady Mary Booth (1704–1772), later Countess of Stamford, the only child of George Booth (1675-1758), 2nd Earl of Warrington, and his wife Mary Oldbury, the daughter of a wealthy London merchant. She was instrumental in running her father’s estates, which she inherited, rather than her husband - which was quite unusual for the time.

The portrait was painted by Michael Dahl circa 1720 - Michael Dahl whom by 1700 became the most successful painter in England second only to Godfrey Kneller, painted Lady Mary on several occasions.

In 1736 Lady Mary married her cousin Harry, Lord Grey of Groby. The two families were already associated by the marriage of George Booth (1622-1684), 1st Baron Delamer, to Lady Elizabeth Grey, daughter of the 1st Earl of Stamford in 1644. Shortly after the marriage Harry’s father died and Harry became the 4th Earl of Stamford, inheriting extensive estates in Leicestershire and Staffordshire as well as the family home in Enville Hall, where the couple moved to in 1739 as the new 4th Earl and Countess of Stamford.

When it became apparent that Lady Mary would inherit her father's estate, he began to teach her everything she needed to know about estate management. Before she was five, he was annotating his accounts: “for the information of my daughter.”

When Lady Mary was 54 she inherited Dunham Massey, cleverly vested in two trustees (as a woman she could not own the property herself) so that her husband would have no power or control over them.

Lady Mary was highly educated and intellectual. She took a keen personal interest in the development of the estate. She efficiently managed the tenants, the farmers, the household, the accounts and some farming innovations. She supported, financially and practically, new schools, chapels and hospitals alongside finding advantageous marriages for her children. She personally negotiated with the Duke of Bridgewater’s agents to ensure that the building of his new canal had every advantage to herself and her tenants.

The landscape setting evokes a sense of Arcadian simplicity, drawing from the tradition of pastoral literature which was popular in art. Life in the country was perceived as peaceful, contemplative, and free of worry. When the portrait was painted the pastoral was so ingrained that the mere inclusion of such elements suggested Arcadia to the viewer.

Presented in a fine carved and gilded period frame.

Michael Dahl (1659-1743) was born in Stockholm and was a painter of exceptional talent. He studied with David Ehrenstrahl, the leading Swedish portrait painter of his day, before embarking on a tour of Europe in 1682 that included London, Paris and Rome. He first visited London and it is thought that he spent some time in Kneller's studio which was an influence on his work.

In 1698 Dahl was offered the position of painter to the court of the Swedish King, Charles XII, but preferred to stay in London where he established an independent studio and by 1700 became the most successful painter in England, after Godfrey Kneller. His Scandinavian origins ensured patronage from Prince George of Denmark, and Queen Anne and members of the English court and he worked for the Duke of Somerset painting the Petworth 'Beauties'. He died in London in 1743.

Provenance: Private collection UK

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