Extensive searches across art databases shows that the is signature "Raymond" likely refers to a professional copyist or ateliers. These ateliers often used simple first-name signatures like "Raymond" for anonymous reproducers to denote quality control without overshadowing the original master. This was common for pieces sold through dealer like Goupil & Cie, who mass-produced high-end copies such as this piece. This painting's style - precise detailing in fabrics and foliage, with a slightly softer impasto than Tissot's crisp originals - aligns with atelier work from around 1900-1950. Based on other pieces signed "Raymond" this artis is thought to have been active between the 1950's-1980's. We date this piece to the 1950s because of the common date of the evidence. The ornate gold-gilt frame - Baroque-inspired with elaborate scrolling acanthus leaves, shell motifs, and deep carving-is a classic example of 19th century French or English "Louis XIV/XV "revival" style, often used for academic reproductions to evoke opulence. Constructed from plaster molded over a wooden core, originals were gessoed and gilded with 22-24k leaf, and were popular for Tissot copies sold to affluent Victorian/Edwardian buyers.