Mrs. William Few (Catherine Nicholson) 1787

Curator: This watercolor miniature presents Mrs. William Few, Catherine Nicholson, painted in 1787 by John Ramage. Editor: There’s a certain serenity about it, a quiet stillness that radiates from her gaze and soft coloring. Curator: Indeed. Consider the social context of portrait miniatures. This wasn't just art; it was a commodity, a marker of status and connection within the upper classes of late 18th-century society. Editor: Absolutely. Structurally, the oval shape, the framing of pearls – it all contributes to a sense of refined elegance and containment. Curator: Note that it would be worn as jewelry. Each brushstroke required incredible skill, particularly given the scale. Editor: Let's also reflect on how these miniatures were perceived and used. As tokens of affection or reminders of absent loved ones. This was an object meant to be carried close. Curator: Ramage, an immigrant from Scotland and successful silversmith in New York, was tapping into a culture craving the outward display of wealth. How fascinating, the confluence of immigrant ambition, artistic talent, and market forces! Editor: Yes, looking at the materiality of the pearls brings us into her world. Do these objects and shapes suggest certain ideologies? Absolutely. And more broadly it indicates societal ideals. Curator: These were portable emblems of power, reflecting economic realities, and changing colonial tastes. Editor: So we see it as both art and social history. It encapsulates ideas about wealth, status, beauty, and perhaps most interestingly, about interpersonal relationships. Curator: It brings to life this era where craft was intrinsically tied to commerce and intimate connections were materially manifest. Editor: Indeed, the interplay between image, object, and intention is what makes this piece so rich.