Striking sixth plate-sized tintype of a seated African American woman holding an embroidery hoop, mounted on a card embossed with the imprint of Charles Quartley’s photographic studio at 217 E Street, Baltimore, Maryland. The subject wears a high-collared fitted bodice adorned with a brooch and long necklace, and a printed skirt gathered over her lap. A fabric flower is pinned at her chest, lending a touch of color and personal adornment. Her gaze is direct and composed, with an expression of quiet pride and strength.

In her hands rests a round embroidery frame, suggesting both domestic skill and personal agency, attributes often celebrated in 19th-century portraiture of women engaged in needlework or handcraft. The carefully composed pose and thoughtful styling speak to the professionalism of the studio, while the subject’s self-assured presence suggests an intentional act of self-representation. African American portraits in formal photographic settings from this period, particularly of women, remain comparatively rare and carry significant historical weight.

The imprint on the lower margin reads “Charles Quartley, 217 W. Balto. St.,” referencing the well-documented Baltimore photographer active in the late 19th century. Quartley is listed in Kelbaugh’s Directory of Maryland Photographers 1839–1900, where he is noted as maintaining an independent studio address following a business dissolution with William C. Russell, a fellow Baltimore photographer. Quartley’s studio appears to have continued operating into the 1890s, producing formal portraits for a diverse local clientele. Surviving examples of his work include cabinet cards and mounted tintypes that reflect the vibrant photographic culture of Baltimore during the post-Reconstruction period.

A faint, illegible inscription appears on the reverse, possibly identifying the sitter. As a document of Black domestic and social history, and as an artifact from a known regional studio, this image offers both rarity and depth.