Striking and historically resonant quarter-plate daguerreotype by Jeremiah Gurney, presenting a meticulously executed photographic reproduction of a painted portrait of a woman, likely dating from the 1830s. The sitter wears a voluminous white gown with detailed pleated shoulder panels and prominent jewelry, including pendant earrings and a central brooch. The pose, styling, and costume closely resemble the work of American folk portraitist Micah Williams (1782–1837), whose stylized compositions of New Jersey-area sitters from this era often featured similarly structured garments, facial modeling, and prominent adornment. Though unsigned, the painting captured here may well be related to the circle—or direct hand—of Williams.

Stamped “J. GURNEY” and “349 BROADWAY” in the brass mat, the image was made by Jeremiah Gurney, one of the premier daguerreians of mid-19th century New York, known for both technical precision and artistic sensitivity. Daguerreotypes after painted portraits were a short-lived but meaningful genre in early photography, offering families a way to preserve earlier likenesses with a sense of permanence and dimensional realism.

The plate is housed in a rare thermoplastic case (Berg 1-32, “Stag and Cupid”), with deeply molded design featuring a reclining stag and cherub surrounded by birds and foliage. An evocative blend of early American painting and high-style daguerreian portraiture, potentially bridging two major names in 19th-century visual history.