When you look at these beautiful old paintings - the portraits - don't you begin to make a story about the figure, based on what you see? I do. The style of the hinged locket frame and quality of its make are only secondary to the lovely original painting of this young woman, and one wonders what would have gone into the back side which also has a cover glass that is slightly convex, rather deep and perfectly beveled and preserved. One wonders if it was space intended for a painting of her beloved. Or is she truly a bride in her white gown with ethereal shawl at the shoulder, Empire waist? Maybe her slightly shy and perhaps pudgy countenance wasn't enough to gain her a husband in those times, and perhaps her slightly tight-lipped and darkly circled eyes tell us that she was not popular, not chosen to wed. Though of course we know that in her time, her station in life was lofty, evidenced by the fact that she or her family could afford to have her portrait done at all. And, expected to wed, perhaps what her posture and gaze tells us is that she was not thrilled with the choice her parents and her station in life has afforded her. No jewelry but her hair is nicely arranged and her gown is fashionable for late 1700s to early 1800s Georgian life. She leaves us with more mysteries than answers, and the intrigue of her will surely capture your interest and speculation of all who see her. I love this painting - and all it does not tell us about this woman. What ever became of her?
Very good to excellent condition for age and type, she is painted in gauche on thin natural wafer consistent with the era and genre. Beautifully presented, we see some sadness about her that begs a story. Not a bit of loss to the wafer, and no warp or chips, crack or other damage. The same is true of the dual-locket sided cover glass on each side and the beautifully crafted gold frame. All in fine form, with one side empty of image, whether it once contained one is open to our imagination. Very fine!
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