Photo credit: Colchester and Ipswich Museums Service: Ipswich Borough Council Collection
This is reminiscent of paintings of animals by Charles Wellington Furse (1868–1904), especially Tate's 'Diana of the Uplands'. https://bit.ly/3kXxBt9
Perhaps a copy. To me the painter is not as skilled as CWF.
First I would like to say that ,although I am very familiar with the Ipswich Borough Collection- I don't recollect ever having seen this painting. Wish I had ! Ipswich Borough have a lot of nice paintings that the public never get to see- a point that has been commented on locally. Emma Roodhouse does try and get exhibitions of unseen stuff up on the walls- but it proves difficult for her!
This is similar to a work by Furse in the Tate ( Martin above) - though smaller- and uses similar colours- but that doesn't really mean anything. I would have thought this was a job for science and a laboratory and a close look by an expert with a lens.
This is almost certainly by an amateur and not professional painter. As stated already, it might well be a copy. Just look how the foremost dog is painted.
Painting is 152 cm high - about 5 feet in traditional measurements - which is large for amateur work. Another possibility is that it could be by an ambitious teenage student artist - 'difficult' passages like the sitter's head, the hand and the riding crop are surprisingly well drawn, but the figure is not well expressed through the clothing and the dogs are frankly inept. The paint also seems to have technical and condition issues . All these very compatible with typical late 19th century British fine art education, which had lots of careful drawing from the nude, but less training in composition and in the technique of painting, and usually little or nothing on animal drawing except in specialist private ateliers like Herkomer's in Bushey or (I think) Frank Calderon's in Kensington. The clothing with the blouse 'blousing' out over the waistband of the skirt is early 20th century, at which time Furse is a mature and accomplished artist, working in the J. S. Sargent mode with its emphasis on conveying the vitality of the sitter through arrested movement. It is certainly not by Furse.
The Art UK entry does not have detailed accession information, but the accession number implies a 1960 accession date, which is compatible with the dispersal of the estate of an elderly sitter/artist who was a young Edwardian. It would be useful if Ipswich was able to provide any further information on the history of the painting...
I have asked if this painting is on display anywhere so I can go and have a look, but no answer so far.
Tentatively might I suggest - to get the ball rolling--a local suffolk artist who used similar blues and greens- namely Amy Katherine Browning-- wife of Thomas Cantrell Dugdale.
The collection has no history file on this painting. The Curator will take photographs when she can get back to the store, but that will not be this week.