When John Whipple, who operated a gallery at 96 Washington St. in Boston, was motivated to portray people in quarter plate daguerreotypes, he had a knack of producing images that can stand together with the best examples produced in America. His familiar couch and cloth-draped table were perfectly placed so his subject could sit comfortably and rest one arm on that piece of furniture. Superb window light lit the lady in a painterly manner. She was handed a printed sheet that rested in her lap, caressed by those elongated fingers. The composition and space inside the oval brass mat was delicious to look upon. The woman softened her lips and watched Whipple work his magic. He was one of a tiny number of daguerreians who continually achieved the stunning tonality seen here, along with impressive reflective depth. Whipple’s sumptuous plates are difficult to reproduce with any accuracy that admirers can appreciate when viewing pixels. Original patina on the archivally taped piece flows freely, helping to hide mat scrapes lower left. Very filthy moisture laden glass left a few hazy deposits on the silver. There are odd marks barely noticeable in the tablecloth. They were encased in the gold chloride layer. A fine leather case, circa 1851, was added to complete the presentation.