We found no artist's signature on this painting and we did take it out of its frame just in case. Painted in vignette, the canvas is open and unpainted beyond an oval, so meant for this original frame that comes with it. The frame and painting each are of high appeal and quality, and each have evidence of their advanced age. Frame shows a few losses (view our images to assess) but not bad for its era. The painting has a few old restorations, most notable a long one there near the top of the oval. It traverses the aperture, has been restored and isn't too distracting but I want to bring your attention to it as you make your decision. I love this one just as it is. The jewelry and the woman's dramatic profile, the elegance of the artist's talented capture of her throughout - these things rise to the forefront. Using light like Rembrandt, I wish we knew the artist for this fine painting! That said, I will also point to the slight strangeness that is at her nose. I don't know if that represents the original state, or if someone has done some little attempt at restoration or if one is needed, but there is a little imperfection to note. She's a shoe-in for a subject that would have been appealing to Manet, don't you agree? The common woman - a huge departure from the realism/orientalist art that preceded this opening of early Impressionism. She is magnificent!
Very good for age and type, as noted above (please read for full notations of her flaws). The painting is done in oil on linen canvas, and it does have a few restorations. You can see from the backside photo that there is one long patch up at the top, and corresponding to it on the frontside of painting, a long restoration line traverses the very top of the oval. Lots of age to the piece, the old stretcher bars and the old frame, all the same age as this fabulous though imperfect painting, and all are 1830-40s. Large and heavy in her frame, outer measurement is 27.75" x 25" and the painting alone is 20.5" x 17.5", about 3" thick overall.
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