Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Edward Hicks

United States (1780 -  1849 ) Wikipedia® : Edward Hicks
HICKS Edward Peaceable Kingdom Of The Banner

Sotheby's /Sep 26, 2008
1,366,120.22 - 2,049,180.33
921,356.98

Find artworks, auction results, sale prices and pictures of Edward Hicks at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Artworks in Arcadja
28

Some works of Edward Hicks

Extracted between 28 works in the catalog of Arcadja
Edward Hicks - The Old Democrat: Portrait Of Andrew Jackson

Edward Hicks - The Old Democrat: Portrait Of Andrew Jackson

Original
Estimate:

Price:

Lot number: 1591
Other WORKS AT AUCTION
Description:
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
Estimate:

Price:

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.'"
Edward Hicks -  Penn's Treaty

Edward Hicks - Penn's Treaty

Original
Estimate:

Price:

Gross Price
Lot number: 105
Other WORKS AT AUCTION
Description:
Lot Description Edward Hicks (1780-1849) Penn's Treaty oil on canvas 17¾ x 23¾ in. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance By descent in the artist's family Robert W. Carle, South Salem, Connecticut (Edward Hicks's great-grandson) Yale University Art Gallery, New Haven, Connecticut A Private Collector Hirschl & Adler Galleries, New York Pre-Lot Text Property of a Distinguished American Collection Literature Paul A. W. Wallace, Seeds of a Nation, (New York, 1962) (illustrated on the cover) Leon Anthony Arkus, "Edward Hicks 1780-1849", Three Self-Taught Pennsylvania Artists: Hicks, Kane, Pippin (Pittsburgh, Pennsylvania, 1966), p. 16 Hirschl & Adler Galleries, American Folk Art, (New York, 1977), no. 31, p. 27 Eleanor Price Mather and Dorothy Canning Miller, Edward Hicks: His Peacable Kingdoms and Other Paintings, (New York, 1983), no. 86, p. 175 Alice Ford, Edward Hicks: His Life and Art, (New York, 1985), p. 118 (referenced) Exhibited New York, United States Section of the International Commission on Folk Art, Exhibition of Folk Art, 1935. Pittsburgh, Pennsylvania, Museum of Art, Carnegie Institute, Three Self-Taught Pennsylvania Artists: Hicks, Kane, Pippin, 1966. New York, Hirschl & Adler Galleries, American Folk Art, 26 November -29 December 1977. View Lot Notes ›
Edward Hicks - Peaceable Kingdom Of The Banner

Edward Hicks - Peaceable Kingdom Of The Banner

Original 1830
Estimate:

Price:

Gross Price
Lot number: 21
Other WORKS AT AUCTION
Description:
Measurements 17 1/2 in. by 23 1/4 in. alternate measurements 44.5 cm by 59.1 cm DESCRIPTION painted 1829-1830 The painting is in its original cherry-veneered frame withcorner blocks, handlettered by the artist. oil on canvas PROVENANCE The artist, to his daughter Sarah B. Hicks Perry, to herdaughter Tacie Perry Willets, to her daughter Mabel WilletsAbendroth, to her daughter Cordelia Abendroth Flanagan Kennedy Galleries, Inc., New York EXHIBITED Kennedy Galleries, Inc., New York, American Naive and Folk Artof the Nineteenth Century, January 16 - February 28, 1974; colorcover, The Kennedy Quarterly, Volume XIII, Number One, January1974 LITERATURE AND REFERENCES Frederic Newlin Price, Edward Hicks, 1780-1849, a pampletpublished by the Benjamin West Society, Swarthmore College,Pennsylvania, 1945, page 27, Number 64 CATALOGUE NOTE "Peaceable Kingdoms with Quakers Bearing Banners of thiskind may have been influenced by the historic separation betweenFriends. At least five examples are known which appear to have beenpainted between 1827 and 1835; one of the group is dated 1832. Theyrepresent the earliest departure that Hicks made from the engravingon which he depended. A leopard couchant with a long snake-liketail, which becomes a trademark in later Kingdoms , makes itsfirst appearance in this series. The cockatrice's den, brooding andmysterious below the gathered creatures in paintings from Hick'slater periods, is barely suggested here. Despite the perspectiveused in portraying the band of Quakers on the left, these earlypaintings are enclosed and two-dimensional in appearance. The symbolism of the Quakers bearing a streamer from Calvary, orfrom Pendle Hill, is suggested in a passage from a long poemwritten by Hicks himself: Sweet peace, the Saviour's legacy of loveDescended on them from the Heaven above.Then mercy smiled and justice sat surrene,While Heavenly glory filled the space between.High on the mount, conspicuous to the sight,Friends stood alone, environed round the light.Then let them stand there, let the people knowThey cannot mingle with the world below." (Excerpted from Edward Hicks/1780-1849/A Special ExhibitionDevoted to His Life and Work, introduction and chronology byAlice Ford, Abby Aldrich Rockefeller Folk Art Collection,Williamsburg, Virginia, September 30 – October 30, 1960, page12) "Here Penn's Treaty is replaced by a pyramid of plain-coatedFriends, and around them twines a banner inscribed, 'Behold I bringglad tidings of great joy. Peace on earth and good will to men.'Far above them on the hilltop shine thirteen rays of light." "But it was Mary C. Black who first perceived a connectionbetween these six Kingdoms and the Separation which dividedOrthodox and Hicksite Friends in 1827, a discovery confirmed byFrederick Tolles when he identified the figure of Elias Hicks inthe front row of each of the six canvases: the pose was clearlyrecognizable from a silhouette circulated in 1830, the year of theQuaker leader's death. Tolles also detected, at the apex of thepyramid, the three pathfinders of early Quakerism: Fox preaching,Penn with arms characteristically outstretched, and Barclay theapologist with book in hand – a trio to which the artist oftenrefers in his Memoirs ." "This interpretation is certainly consistent with the officialHicksite position, which attributed the source of the conflict tothe inquisitional methods of orthodoxy rather than to doctrinalattitudes: 'Whatever the peculiar view of the Orthodox brethren maybe on particular doctrinal subjects, no exception has been takenagainst them on this account. The point at issue was the assumptionand exercise of undue power.' Or, to quote the artist's owntypically anti-British statement, 'neither Elias Hicks nor hisdoctrine had anything to do with our Quaker revolution inPennsylvania, which originated in a contest between therepublicanism of William Penn, planted in America and watered andcherished by free institutions of our country, and the aristocracyof the Yearly Meeting of London, under the influence of the Britishhierarchy. We can well believe that the painter's conscious intent incomposing Kingdoms with Quakers Bearing Banners was to portray theprogress of religious liberty. But, as a practical matter of fact,the issues of religious freedom and doctrine were inseparable. Andit proved as impossible to keep Elias Hicks out of the paintings asout of the controversy itself. Not only does the venerable Quakerappear in the front row of all these canvases, but in two cases hisdoctrine is spelled out verbally. 'Mind the light within', readsthe banner." (Excerpted from Eleanore Price Mather, "A Quaker Icon: The InnerKingdom of Edward Hicks," The Art Quarterly , Volume XXXVI,Numbers 1/2, Spring/Summer 1973, pages 88 & 89)
Edward Hicks - Peaceable Kingdom

Edward Hicks - Peaceable Kingdom

Original
Estimate:

Price:

Lot number: 11
Other WORKS AT AUCTION
Description:
As noted by Dorothy Canning Miller, Eleanor Price Mather andCarolyn J. Weekley, the painting retains its original black paintedframe with interior gilded edge. Pre-Lot Text Property from the Collection of J. Irwin and Xenia S. Miller Provenance Emmor Kimber Janney (1840-1916), Philadelphia, son Literature Alice Ford, Edward Hicks: His Life and Art (New York, 1985), p.128. Exhibited Williamsburg, Virginia, the Abby Aldrich Rockefeller Folk ArtCollection, Edward Hicks: 1780-1849: A Special Exhibition Devotedto His Life and Work, 1960. Lot Notes When the Quaker artist and minister Edward Hicks painted hisfirst Peaceable Kingdom painting, just before 1820, it is unlikelythat the artist could have foreseen the central role the resultingseries of images - his iconographic arrangements of animals andhuman figures based on the Isaiah prophecy - would play in his ownlife, the lives of his family and friends, and his legacy asAmerica's most celebrated folk artist. Through his early apprenticeship training and practice as a coachsign and decorative painter, Edward Hicks had acquired significantnotoriety as a craftsman of renowned skill and talent. Followingcriticism for his overly decorative and ornamental style by theQuaker Society of Friends, in 1816 Hicks turned for a time tofarming, and his coach painting and other artisan work were setaside for favor of this pursuit. It proved for the painter anoccupation that would meet with limited success, in fact his"farming speculation" showed a significant loss after wages anddebts were paid. Consequently, the Hicks' shop ledger makes nomention of any painterly work again until 1817. Hicks' return to ornamental painting was heralded by anadvertisement he posted in the Star of Freedom for "Coach, Sign andOrnamental painting of all descriptions, in the neatest andhandsomest manner." Hick's friend John Comly, a prominent member ofthe Society of Friends and a revered scholar, was horrified by thenotice and was determined to make his protestations against "suchpandering to vanity, when (according to the Quaker tenets ofplainness and simplicity) he should be preaching against it" Comlycouldn't deny his friend's " native genius and taste for imitationwhich, if the divine law had not prohibited, might have rivaledPeale or West," but he was determined that the talented ministerwould not lay down "the cause of truth." Hicks would bring up the conflict repeatedly in his Memoirs.Continuing what Comly referred to as Hicks' fall into "...the mireof paint..," Hicks blamed his "harsh" and dire financialcircumstances for having to pursue the work he had undertaken. Hedecorated clock faces and floor cloths, chairs, tables and theoccasional sled and dog cart. This new, successful escape from hisbleak financial circumstances took Hicks into an even greater realmof pictorial decoration. Fireboards were decorated with landscapesto order, and Hicks expanded his imagery by copying and collectingprint source material. It was a time of renewed vigor for both hisshop's trade and his ministry, delivering rousing sermons againstthe extravagance and usury typical of the European orthodox "lions"and "leopards" within of the Society of Friends. It is during this period in the artist's life the Peaceable Kingdompaintings evolve. The schism forming within the Society of Friends,and a growing facility and success in his painting produced inHicks an overwhelming desire to paint a sermon that would unite theQuaker factions through a message of peace and love. It was a taskthat would have been for the conflicted artist a significanteffort, an effort he often described with reluctance - his love ofpainting something he considered a character flaw throughout hislife. The result of this struggle between the artist's inherentlove and talent for painterly work and his deeply felt religiousbeliefs is, in one form, what we have come to know today as EdwardHicks' rich body of easel work. It is a body of work which includesa range of varied and complex landscapes, suffused with descriptiveand metaphorical imagery - a life's work that began with thePeaceable Kingdom. The source image for Hicks' long sequence of Kingdom paintings wasan engraving of a drawing by Robert Westall. Various Englishengravers copied the work for publications of the Book of CommonPrayer and the Bible, the image appearing above these lines fromthe book of Isaiah: "The wolf also shall dwell with the lamb, and the leopard shall liedown with the kid and the calf, and the young lion, and the fatlingtogether, and a little child shall lead them." Isaiah 11:6 It is widely accepted the early Kingdom paintings are evidence ofthe artist teaching himself how to paint in his own imitation ofacademic style. His training as a sign painter would aid in theaspects of composition and form, and his familiarity with composingimages from various elements taken from life and available printsources would give his compositions flexibility and an interiorlife. The composition of the series' supporting landscapes wassimilarly changeable, Hicks drawing imagery from Asher Durand'sDelaware Water Gap and the Natural Bridge depicted in Henry S.Tanner's Cartouche from "A Map of North America" for example. Heused his landscapes as both a means for presentation and messagefor each tableau, an ever shifting visual character and messagethat he described without pretense toward portraiture. In 1827, the "Schism" or split within the Quaker Society of Friendshad reached an impasse and Hicks' remarks at the BuckinghamQuarterly meeting in February of that year likened the visitingEnglish orthodox members "to destroying angels bent on denyingAmericans religious freedom so dearly won in the revolution." Thisdivide within his beloved community would continue to plague Hicks'search for inner peace, a quest that he gave full reign to play outwithin the picture plane of his Kingdom paintings. Hicks remained restless in many respects throughout his life, notthe least of which was his ongoing search for new images and sourcematerial for his continuously evolving Kingdom pictures. Hecontinued to assemble and restate his message in his unmistakablemanner and style until the end of his life in August of 1849. Many of the Kingdom pictures Edward painted were given as gifts to,if not expressly painted for, friends, neighbors and relatives.Close examination of many of these paintings that remain attachedto their original stretcher supports, or those that are on panel,bear painted inscriptions lettered lovingly in the artist's hand.Similarly, a few Kingdom paintings were gifts of an intenselypersonal nature - rare testaments of affection and sentiment ofwhich this Kingdom is one. The painting's first owner, Thomas Janney, was fourteen years oldwhen Mrs. David Twinning - wife of the then librarian of theLibrary Company of Newtown - called on his mother and "took pity onthe little "Ned" Hicks." The young boy's ancestor, also ThomasJanney, would be remembered by having his name painted on a scrollin one of Hicks' Penn's Treaty landscapes for having been a favoredcouncilor of William Penn. Thomas left the painting to his sonEmmor Kimber Janney who was named for the man that later encourageda troubled Edward to continue to pursue his ministry. This Peaceable Kingdom stands as a transitional work at the leadingedge of Hicks' late Kingdom imagery. The late Kingdom paintings asa group are characterized by ever-shifting compositions possessedof great strength and are evidence of a perfect hybrid of Hicks'sign painting skills and his achievements as an easel painter. Nowcomfortable in his painting style and the methods he used tocompose each image, Hicks may have been trying again to achieveanother format that would extend the linguistic of his painting.Whether he felt he had succeeded is unclear. The seated lion of the earlier Kingdom paintings now rises to hisfeet with a renewed ferocity. Scholars have associated thisfigure's new stance with the possible introduction of a differentprint source as a starting point - possibly the Frontispiece ofWood's New York Preceptor a standing and alert lion that was firstpublished in 1823. Hicks adroitly addresses problems of spatial arrangement,perspective and crowding of the various players by returning to theflat-work planarity of his sign painting days. The landscape of thescene tilts toward the viewer presenting the cast of characters ina visually accessible plane. The supine leopard has resigned itslong-standing foreground position and retreats to the background inthe shade of the enclosing foliage. It is a transitional Kingdomcomposition whose staging seems to be taking some outsidedirection, redefining the composition while sorting out individualroles and relationships. In an unusual gesture unique to this painting, the lion and the oxexchange particularly hardened gazes - a knowledgeable glare offerocious understanding that exists as a focus of tension betweenthese two principal players amidst the dynamic disorder of thereorganizing scene. It is an altercation that harkens back to theoverall tension that pervaded the middle Kingdom imagery thatcorresponded to the height of the Quaker schism. We know fromHicks' writings that he evolved the figure of the lion, as early asthe banner kingdom imagery, as an iconic representation of his"deep and enduring" distrust of the English orthodox Quakers. Here,we see that distrust vignetted in the Kingdom landscape, playingout in the lion's aggressive gaze directed toward the peace lovingbeast of burden. As a commentary that stands between the vigorous tensions of themiddle Kingdom paintings and the late Kingdoms visions of peace andultimately - resignation, this Peaceable Kingdom is both emblematicof the artist at work - as a painter and a craftsman - and theQuaker minister whose vivid and direct approach to the nature ofgood and evil would result, some short months later in his famousGoose Creek Sermon delivered in Loudon, Virginia. It was acharismatic speech that offered a primer to the allegorical imagesand references that defined the meaning of the Peaceable Kingdom. Asermon that was remembered for being as haunting and memorable asit was unsparing; it stands today as heartfelt testimony from thedevout artist and minister, not unlike the paintingsthemselves. Scott Webster Nolley Chief Conservator Fine Art Conservation of Virginia Note: Information in this entry was taken from Carolyn J. Weekley,The Kingdoms of Edward Hicks (Williamsburg, VA: The ColonialWilliamsburg Foundation, in association with Harry N. Abrams, Inc.,1999).
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr