Hans Dahl

Anonymous sale, Bukowskis, Stockholm, May 26, 1999, lot 265 for SEK 144,000 ($17,145);
Acquired from the above sale by the present owner.

The canvas is not lined. The surface is in generally good condition aside for some minor craquelure and abrasions. The varnish is somewhat dirty particularly along the ridges and depressions of the craquelure and paint separation. Under UV; minor scattered retouches in the upper left and upper right corners in the sky.
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.

Hans Dahl, like many artists of his generation, was attracted in his youth to the fine detail of the Düsseldorf School which included both Oswald and Andreas Achenbach and Dahl’s fellow Norwegian Hans Frederik Gude.  Many famous American artists were also attracted to and studied in Düsseldorf, including George Caleb Bingham, Eastman Johnson, Worthington Whittredge and the émigré Emanuel Leutze. Dahl routinely returned to Norway in the summers to paint his favorite subjects along the fjords, even while studying in Düsseldorf and after setting up permanent residence in Berlin.  In 1893, he finally built a house in Balestrand in Norway close to the artist Adelsteen Normann, equally known for his fine depictions of the scope and grandeur of the deep valleys formed by these long fingers of water. He was honored in 1910 by the German Emperor with a professorship in recognition of his many achievements and for the esteem that he was held by many collectors.  His vibrant depictions of the Norwegian light and her national costumes reflect strong feelings of Norwegian sovereignty which were only fully resolved in 1905 with Norway’s formal split with Sweden that had lasted since 1814.