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Micah Williams Portrait Artist - Icompendium

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These portraits are excellent<br />

examples of <strong>Micah</strong> <strong>Williams</strong> at the peak<br />

of his artistic career. The images appear<br />

to have been completed sometime<br />

between 1823 and 1825, before <strong>Williams</strong><br />

relocated to New York in 1828 or early<br />

1829. <strong>Williams</strong> included numerous details,<br />

all rendered carefully but confidently,<br />

without detracting from the main<br />

composition of color, form, and line.<br />

Many Richmond family members lived<br />

in and around New Brunswick. At the<br />

time the portraits were donated, the<br />

sitters were identified as Ann and<br />

Edward Richmond. Subsequent research<br />

has not yet uncovered information<br />

about them. Both appear to be in their<br />

late thirties.<br />

Ann was bare headed, her dark brown<br />

hair braided and coiled atop her head<br />

and held with a large tortoiseshell comb.<br />

Two small severe curls perched on either<br />

side of her temples. Her black dress, with<br />

style elements indicating a circa date<br />

between 1823 and 1825, was enlivened by<br />

a black belt with two narrow edging<br />

bands of vivid blue. Ann’s jewelry<br />

included a pair of heavily beaded black<br />

pendant earrings.<br />

Dark haired Edward sported a decided<br />

cleft in his chin and a visible five<br />

o’clock shadow along his upper lip and<br />

cAtAlogue no. 47<br />

Ann Richmond<br />

Pastel on paper<br />

Middlesex County, New Jersey,<br />

circa 1823-1825<br />

25 7 ⁄16 x 29 1 ⁄2 inches<br />

Courtesy of Jersey Blue Chapter, NJ<br />

Daughters of the American Revolution,<br />

Hatfield Smith Collection at Buccleuch<br />

Mansion Museum<br />

cAtAlogue no. 48<br />

Edward Richmond<br />

Pastel on paper<br />

Middlesex County, New Jersey,<br />

circa 1823-1825<br />

29 1 ⁄2 x 25 5 ⁄8 inches<br />

Courtesy of Jersey Blue Chapter, NJ<br />

Daughters of the American Revolution,<br />

Hatfield Smith Collection at Buccleuch<br />

Mansion Museum<br />

chin. There is a good deal of pigment<br />

loss in Edward’s portrait, particularly<br />

in the areas of the sitter’s collar and<br />

shirtfront as well as in the background.<br />

The pigment loss allows a glimpse of the<br />

artist’s initial sketch lines for Edward’s<br />

shirt. The swirls in the background were<br />

meant to be covered by additional layers<br />

of pigment. <strong>Williams</strong> used this technique<br />

to give a subtle liveliness to his single<br />

color backgrounds.<br />

82 <strong>Micah</strong> <strong>Williams</strong>: <strong>Portrait</strong> <strong>Artist</strong> <strong>Micah</strong> <strong>Williams</strong>: <strong>Portrait</strong> <strong>Artist</strong> 83

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