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He practised chiefly at Bath, about the middle of the 18th century. There are several heads by him etched in the manner of Worlidge, and a very fine head of Law- rence Delvaux in Walpole's 'Anecdotes/ excellently treated.

HICK, Robert. c The only outer and beginner of tapestry within this realm.' Employed at William Skelton's tapestry works at Barcheston, in Warwickshire : see his will, dated 1570.

HICKEY, Noah, sculptor. Born in . Dublin 1756. He was apprenticed to an eminent wood carver. After practising some time in Dublin, he gained the patron- age of Mr. Burke, came to London, and was admitted a student of the Royal Aca- demy. In 1778 he gained the gold medal for a bas-relief, ' The Slaughter of the In- nocents/ In 1780 he exhibited for the first time at the Academy, and the same year was appointed sculptor to the Prince of Wales. He was greatly lauded by Burke, was of much promise, and had nearly com- pleted a model for the Garrick monument, when he died, from the effects of intem-

Serance, at his lodgings in Oxford Street, anuary 12, 1795.

HICKEY, Thomas, portrait painter. Brother to the above. Born in Dublin. Studied in the Academy there, and after- wards visited Italy. Returning to London in 1771, he was appointed to accompany Lord Macartney's embassy to China. He practised in London in the latter part of the 18th century. He exhibited at the Aca- demy, in 1775, a small whole-length of the Duke of Cumberland, and was a constant exhibitor at that time. There is a portrait of Mrs. Abingdon by him at the Garrick Club, and a good whole-length at the Mag- dalen Hospital. J. Watson mezzo-tinteaa portrait after him.

HICKFORD,, an English artist,

who resided in Florence about 1730-40, and was the first teacher of Cipriani, R. A. He was the brother of a well-known danc- ing-master, who built a large music-room in Brewer Street, Golden Square.

HIGHMORE, Thomas, engraver. He was born in Suffolk, and was brought up as an engraver. His chief works were of an architectural character. He was employed upon a portion of the plate of ' The Corona- tion of Queen Victoria.' He died at Isling- ton, January 3, 1844, aged 48.

HIGHMORE, Thomas, serjeant-paint- er to William III. He was connected with the Thornhill family, and Mr. (after- wards Sir James) Thornhill served his ap- prenticeship to him, and succeeded him as serjeant-painter, 1719-20. % HIGHMORE, Joseph, portrait paint- er. He was the son of a coal merchant and nephew to the preceding, and was born in London, June 13, 1692. He had an early 210

taste for the fine arts, which was discouraged by his family, who placed him, in 1707, with a solicitor ; but at the age of 17 he abandoned the law, and marrying the fol- lowing year, trusted to art for the future. He was for 10 years a student in the Painters' Academy in Great Queen Street, and attended the lectures of Cheselden, the great anatomist, and made the drawings for his 'Anatomy of the Human Body/ published in 1722. He resided at first in the City, and was much employed in paint- ing family groups. Then, nis practice in- creasing, he removed to Lincoln's Inn Fields.

Upon the revival of the Order of the Bath in 1725, on a commission from Pine, the engraver, he painted the portraits of several of the knights, some of them whole- lengths ; and a portrait of the Duke of Richmond, attended by three Esquires, which is now at Goodwood. He also

Sainted, for the King, a portrait of the >uke of Cumberland, which was mezzo- tinted by Smith. In 1732 he visited the principal galleries in Holland, and in 1734 made an excursion to Paris. In 1742 the Prince and Princess of Wales sat to him. He also produced some subject pictures. ' Hagar and Ishmael/ which he presented to the Foundling Hospital ; ' The Finding of Moses/ 'The Good Samaritan/ ana others. He made the designs for the original edition of bis friend Richardson's ' Pamela/ published in 1745, and painted the portraits of the author and his wife, which hang in Stationers' Hall. They are good specimens of his art ; in the Jervas manner, they are better in colour and more powerful, less hard in the face painting, the hands good, and well drawn.

He continued in practice as a portrait painter for 46 years, painting many persons of distinction, and in 1761 retired from the profession. His art collection was sold in the following year. He lived in his retire* ment at Canterbury, never revisiting the Metropolis, and died there March 3 2 1780, in his 88th year ; he was buried in the south aisle of the cathedral. He was a keen geometer, and had some distinction as a writer. He published ' A Critical Exami- nation of Rubens's Paintings at the Banqueting House, Whitehall/ 1764; 'Observations on DodsweU's Pamphlet against Christianity/ ' The Practice of Per- spective/ 'Moral and Religious Essays/ and a translation ' On the Immortality of the Soul/

HIGHMORE, Anthony, landscape painter. Was the son of the foregoing, and educated by his father for his profes- sion, but his works are now unknown. Some views by him of Kensington and Hampton Court were engraved by John
 * Tinney.