Sixth Plate

DID HE USE A PLOW . . . To polish the silver? Those deep buff strokes don?t totally disappear no matter what angle I hold the gal?s retaped sixth plate, framed by an early brass octagonal mat. Strong indirect light bathed the female sitter as it blasted through a window just out of view next to the polished tabletop. At least three different fabrics were hung behind and on the right side of the woman. The darkness there was a shadow cast from her head and body. The cloth also served as a reflector. The overall tone of the dag is rather blue, and accentuated by that original oxidation. Lens distortion seemed to elongate her fingers. The construction of her dress seemed to be an amalgam of styles that were popular beginning about 1838 up till the time she was taken circa late 1843. This is an important transitional piece from the experimental period of daguerreotypy into the beginning of the halcyon days that lasted until about 1848! The heavy plate had flat sides, corners clipped a medium width and no hallmark. The complete leather case came with the daguerreotype and the former owner told me he married the pair together. Since it is correct for the time frame I have kept them together. It was embossed on the cover by the maker, ?R. PAINE SC?.