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Edward Hicks

United States (1780 -  1849 ) Wikipedia® : Edward Hicks
HICKS Edward The Old Democrat: Portrait Of Andrew Jackson

Sotheby's /Jan 22, 2016
92,072.55 - 138,108.83
Not Sold

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Artworks in Arcadja
33

Some works of Edward Hicks

Extracted between 33 works in the catalog of Arcadja
Edward Hicks - Portrait Of Andrew Jackson " The Old Democrat"

Edward Hicks - Portrait Of Andrew Jackson " The Old Democrat"

Original
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Lot number: 335
Other WORKS AT AUCTION
Description:
Edward Hicks (American 1780-1849), oil on poplar panel portrait of Andrew Jackson " The Old Democrat", 10 1/2" x 21". Exhibited: The Princeton Art Museum 1992; The Brooklyn Museum 1992; The Mercer Museum 2000. Provenance: descended in a Bucks County family to the present owner, the original owner purportedly a relative of the artist. This painting was previously offered at Sotheby's. Another Hicks, with the same family provenance, was previously sold at Pook & Pook in 2016
Edward Hicks - American Penn's Treaty With The Indians

Edward Hicks - American Penn's Treaty With The Indians

Original
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Price:

Lot number: 6012
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Edward Hicks (1780 - 1849) AMERICAN PENN'S TREATY WITH THE INDIANS Making History: Americana Week Highlights oil on canvas 24 by 30 in. Provenance Hirschl and Adler, New York, 1967; Eastern Foundation; Christie's, New York, Important American Furniture, Silver, Prints, Folk Art and Decorative Arts, January 23, 1993, sale 7640, lot 377. Catalogue Note He began by making a league with the American Indians which were his neighbors. This is the only treaty between those persons and the Christians which has not been sworn to, and which has not been broken.-Voltaire, from Dictionnaire Philosophique, 1764American Quakers have long held William Penn (1644-1718) in high esteem, often celebrating him as our first defender of liberty, as he established the colony of Pennsylvania as a haven for religious dissenters, and largely did so through peaceful negotiations with the local indigenous populations. It is thus not surprising that Edward Hicks, whose profession and passion often seemed in conflict with his religion, would depict Penn’’’’’’’’s most famous act numerous times on canvas. The painting depicts the meeting between Penn and the Lenape Indians, which Hicks captioned PENN’’’’’’’’S TREATY with the INDIANS, made 1681 with out an Oath, and never broken. The foundation of Religious and Civil LIBERTY in the U.S. of AMERICA. Penn, to whom Charles I had granted the sizable tract of land that would become Pennsylvania and Delaware, met with the Lenape under a majestic elm tree at Shackamaxon (now the Fishtown and Kensington areas of Philadelphia) and treated for peace. Or so the story goes.Historians have long debated the date of the meeting, with opinions varying as to either late 1682 or June of 1683, as well as whether the meeting even resulted in an actual treaty. Such a treaty has been referenced in the historical record for centuries and by descendants of both parties, although the specifics of any treaty however remain murky. Ultimately the tradition endured through words and pictures.Benjamin West was first to immortalize Penn’’’’’’’’s treaty with the Indians with his 1771 painting, commissioned by William Penn’’’’’’’’s son, Thomas. More than a generation later, Edward Hicks, a young, Anglican-born coach maker, likely drawing upon one of the several printed versions of West’’’’’’’’s painting, would execute his own vision of the historic event.Hicks was born in Bucks County in the midst of the American Revolution, and during the first few years of his life, his family would dissolve around him: his father, a Tory, would lose everything during the war and his mother died before his second birthday. He was informally adopted by family friends David and Elizabeth Twining. Young Hicks spent a dozen years living on the Twining farm, and it was there he was exposed to the teachings of the Society of Friends.At thirteen, Hicks was apprenticed to William and Henry Tomlinson, coach makers, where he learned the trade of coach painting. In his memoirs, Hicks reflected that this period of his life was unhappy and that he was “disgusted with [himself] and all [his] conduct.” After several years, his misery compelled him to return to the teachings of his childhood, and upon attending a few Quaker Meetings, Hicks felt rejuvenated. In 1803, he formally joined the Society and later that year he would marry Sarah Worstall, also a Quaker. The young couple settled in Newtown where Hicks started a successful ornamental painting business.Edward Hicks’’’’’’’’s passion for his newfound faith inspired him to take up the ministry; his congregation recorded him as a minister, and he began travelling throughout the area preaching. His ministerial duties, however, paid no salary, so Hicks continued in his ornamental painting to support his family. Before long, Hicks’’’’’’’’s love of painting nearly rivaled that of his preaching, and he expanded his work to include easel painting. Unfortunately, to some of his fellow Quakers, ornamental painting conflicted with the plain lifestyle proscribed by the Society. Hicks gave up this work and tried his hand at farming, but soon failed and returned to painting to support his growing family.This conflict between his artistry and his religion would persist, coming to a head in 1827 with a schism in the Society that resulted in the division of the faith into two sects: Orthodox Quakers and Hicksite Quakers. Orthodox Quakers leaned towards a more traditional, bible-based faith, while the Hicksites, named after Edward’’’’’’’’s cousin Elias Hicks (1748-1830), put more emphasis on the concept of Inner Light than on a specific set of teachings. The schism caused much anxiety in Hicks, and ultimately, he largely abandoned preaching in favor of painting, although it was already apparent that he had found on canvas a new pulpit.In the 1820s, Hicks began a series of paintings based on Isaiah 11:6:The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them.Hicks would paint dozens of versions of his Peaceable Kingdom painting, each a little different, and many including identifiable background scenes, such as Virginia’’’’’’’’s Natural Bridge, but most often, a depiction of Penn’’’’’’’’s Treaty. The size of the Penn’’’’’’’’s Treaty vignette grew and finally, by the 1830s, Hicks began to produce paintings of Penn’’’’’’’’s Treaty itself, but in far fewer numbers than Peaceable Kingdom. In additional to a few privately owned versions, examples are in the collections of the National Gallery of Art, Philadelphia Museum of Art, State Museum of Pennsylvania, Mercer Museum of the Bucks County Historical Society and the Museum of Fine Arts Houston.Although modeled after West’’’’’’’’s painting of the event, Hicks’’’’’’’’ depiction differs. At the center is William Penn, surrounded by his fellow Quakers, offering trade goods to the local Lenape people. In West’’’’’’’’s version, the background is filled with activity—the building of a colony—and the seated Lenape at front holds an unlit peace pipe while at his feet is a bow and a quiver of arrows, details which perhaps speak to a determination on the settlers’’’’’’’’ part and a wary hesitation on the natives’’’’’’’’. Hicks, however, alters the scene slightly, but in a noticeably positive way: the bow and arrows are missing (in some versions, including the present version), the pipe is lit and ready for use, and the settlement in the background is smaller and less imposing. Hicks’’’’’’’’s portrayal appears a true celebration of the treaty and of the Quaker who secured its peace.Beyond celebrating William Penn and his treaty, Hicks, the sign painter, used his works (which he created in quantities) to advertise his faith—to spread the word of Quakerism. In the surviving versions of Penn’’’’’’’’s Treaty, Hicks shows off the full range of his ornamental painting skills. In most, Hicks depicts the scene on canvas and a simple title on the frame itself, however in a few, including the version at the National Gallery and the present example, the artist includes a full caption on the canvas itself, much like a tavern or trade sign. After enduring a difficult childhood and living in his words, a wayward life, Edward Hicks found not one, but two callings, and would sadly find himself divided between them. He opted for painting, the practical pursuit that would allow him to support his family, but he never gave up on his other calling. Instead, through his canvases, he discovered a friendly way to resolve the conflict between his faith and his profession. More than that, it was his paintings, such as Peaceable Kingdom and Penn’’’’’’’’s Treaty, which offered redemption to the preacher he was not meant to be.
Edward Hicks - Landscape With Three Figures

Edward Hicks - Landscape With Three Figures

Original
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Gross Price
Lot number: 428
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Description:
Edward Hicks (American 1780-1849) , oil oncanvas landscape with three figures, a dog, and another figurelooking on from a distance, probably the artist, 16" x 20".Exhibited: The Art Museum of Princeton University, May-July 1993,American Art from the Class of 1953 Collections. Another work byHicks from the same collection was offered at Sotheby's on January22, 2016, lot 1591. Provenance: Descended in the family of theoriginal owner until purchased by the present owner.
Edward Hicks - The Old Democrat: Portrait Of Andrew Jackson

Edward Hicks - The Old Democrat: Portrait Of Andrew Jackson

Original
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Lot number: 1591
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Edward Hicks (1780 - 1849) THE OLD DEMOCRAT: PORTRAIT OF ANDREW JACKSON oil on panel 10 in. by 21 in. Provenance Descended in a Bucks County and Newtown, Pennsylvania family said to be related to Edward Hicks. A member of the family was named after Edward Hicks. The Quaker side of the family worshipped in the Church where Hicks preached. Exhibited Princeton, New Jersey, The Princeton University Art Museum, 1992; Brooklyn, New York, The Brooklyn Museum, 1992; Doylestown, Pennsylvania, The Mercer Museum, 2000.
Edward Hicks - Jonathan And David At The Stone Ezel

Edward Hicks - Jonathan And David At The Stone Ezel

Original
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Gross Price
Lot number: 657
Other WORKS AT AUCTION
Description:
Edward Hicks 1780 - 1849 JONATHAN AND DAVID AT THE STONE EZEL Painted in Newtown, Pennsylvania, taken from engraving by C. Tiebout after etching by James Akin after oil by William Hogarth; on the original red painted stretcher inscribed: PAINTED BY EDW. HICKS IN HIS 67TH Y oil on canvas 24 in. by 31 3/4 in. DATED 1847 Provenance Estate of Leonardo L. Beans; Sotheby's, New York, Estate of Leonardo L. Beans, November 21, 1980, sale 4479, lot 33; Christie's, New York, The Gordon Collection of Folk Americana, January 15, 1999, sale 9052, lot 277; Jonathan Trace, Cortlandt Manor, New York. Catalogue Note "Beside the Ezel, David and Jonathan embrace, as in the first Book of Samuel, chapter 20, and Jonathan bids David, his beloved friend, 'Go in peace.' King Saul, father of Jonathan, had sworn to kill David. The two friends had therefore made a covenant that if an arrow from the quiver of the youth who is seen disappearing toward the city should fall nearer the Ezel stone than near David, he must flee. 'The Lord be between me and thee, and between my seed and they seed forever,' Jonathan intones. Might they not, in their regalia, almost join the Indians of one of the Penn's Treaty oils as Hicks conceived it? In any case, the painting is a votive of brotherly love meant to unite sharply divided Friends. Like the Peaceable Kingdom that not so long ago turned up in Vineland, New Jersey, it is inscribed, '...painted by Edw. Hiscks in the 67th year.' From somewhere in Bucks County the painting traveled to the shop of a dealer, where it remained until 1980. What has remained unknown until now is that this vision of peace was actually derived, in part, from an engraving in the Hicks family Bible that is signed by both Isaac and Edward Hicks. The detail of the Good Samaritan (Luke, x, 1:37)--engraved by C. Tiebout from an etching by James Akin after an oil by William Hogarth--was the source. Akin was better known for his satirical subjects. Isaac Hicks bought the Bible--published in Philadelphia in 1801--on February 23, 1802, and entered the date. The Bible remained in the Hicks family until the 1970s, when the rare pencil sketch of a log cabin in a clearing was found folded inside it. Hicks had eased the print out, pressed it into service, then returned it to its place. Whether Hicks had drawn a circle around himself or become, for the time being, a pariah, his isolation served posterity in 1846. But he was not ready to be shelved, even if his business suffered. He broke out of his aloofness to drive to Warminster Meeting, by way of Whitemarsh, to see Sarah's sister Susan Worstall Phipps. The call was one of the 'most heavenly occasions.'"
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