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Rather then dwell on the copper side of the magnificent quarter plate work of art that might have been taken in the lady’s home, let us examine the newly sealed likeness. Beginning behind the rigidly posed woman, out of focus vertical wooden panels, wainscoting and either a plain wooden or plastered wall comprised the background. That was a very uncommon “studio” chair too. In fact, it may have been some sort of mechanical piece of furniture. The subject certainly didn?t appear to be ill when her early 1850s portrait was created, yet there is a strange vacancy that is difficult to accurately describe when her complete leather case is opened. Maybe because the exposure wasn’t perfect, thus rendering her flesh tones a bit light, a visual distraction was subconsciously manufactured. Or could it have been the woman’s slender unsmiling lips and her unblinking gaze, directed beyond the placement of the camera? Her dress would have been more fashionable in the later 1840s. Red tinting was delicately painted on her cheeks and hands. She held a Japanned wooden and leather case inlaid with slices of mother of pearl. I had seen this curious dag in a collection several times over the years and leaped at the opportunity to recently buy it. There is a mark in the chair back and very faint black splotchy areas mostly around the sitter. Even with a loupe those patches (cause unknown) are very faint. They are not fingerprints! The lass is a conundrum awaiting a more proper explanation!