Sixth Plate

PRIOR EXAMPLES . . . In resealed sixth sized daguerreotypes with “Atkins” stamped in the bottom center of the brass mat have all been uniformly excellent. Since Joseph and Joshua, along with 15-year-old Thomas (in 1850) with the same name worked in Brooklyn and another fellow, Nathanial practiced the art in Boston, it is impossible to determine which man was responsible for the masterpiece in miniature “painted” on such a vibrant silver palette. I am surmising that one of the first two men was the operator since this dag came from an impressive collection assembled many years ago in the New York City environs. I don’t know what blew me away first when I opened the lad’s fine leather case. Superlative technical qualities were instantaneously evident! A most determined and handsome teenager’s eyes bored a hole in my chest. Then there was that fancy vase with the multi-colored spray of flowers. Even looking through filthy glass made me realize just how perfectly the boy’s image had aged. I was a bit puzzled tho. Why would Atkins use that particular signature prop with his youthful client whose masculinity screams out at all of us? Highly reflective and the maximum amount of contrast capable of being seen in a likeness propel the youth to the top of the dag pinnacle. There are some wayward marks next to and above the floral arrangement that don’t interfere with the poser.