A rare London pair-cased high relief repoussé "Oignon" Dimensions 54 mm, circa 1692, Weight 133 g, Origin England Case: Outer case - silver, allegory of hope in chased high relief. Inner case - silver, polished. Dial: Silver champlevé. Movm.: Fine full plate movement, chain/fusee, three-arm steel balance. This exquisitely finished pocket watch features a very decorative, elaborately chased outer case with baroque-style ornamentation and an allegoric representation of everlasting hope. James Girod was a native of France. According to the London City archives dating from 1689, he was freed from the Clockmaker's Company in 1692.
Hope (Alexander James Beresford, compiler) [Album of photographs of English Cathedrals & Churches], 48 actual photographs mounted on both sides of 19 leaves, some full-page, a few including captions, most captioned in pencil below, rather faded, a few with slight damage from adhesions, some foxing to mounts, signed by the compiler on front pastedown, contemporary half calf, [c.1870-90] § Buckler (J.C.) Elevations, Sections, and Details, of Saint Peter's Church, Wilcote, 6 engraved plates, one double-page, foxing, modern cloth, original wrappers bound in (soiled), Oxford, 1844 § Harrison (J.P.) Views & Details of Saint Giles' Church, Oxford, lithographed frontispiece, title and 14 plates, 6 double-page, a couple shaved at edge, contemporary cloth, spine faded, Oxford, 1842 § Architectural Notices of the Churches of the Archdeaconry of Northampton, 15 original parts, engraved plates, mostly mounted india paper proofs, original printed wrappers, a little soiled and frayed at edges, Oxford, 1846-49, all rubbed; and 11 others on churches, v.s. (29) *** Alexander James Beresford Hope (1820-87), author of English Cathedrals in the XIX. century, 1861 and other works, co-founder with J,.M.Neale and Benjamin Webb of the Cambridge Camden Society (later the Ecclesiological Society), patron & philanthropist, and President of the R.I.B.A. 1865-67.
(American, 1818-1892) Lookout Mountain, Tennessee, circa 1878, not visibly signed, oil on canvas, 30 x 40 in.; period composition frame, 54-1/2 x 44-1/2 in. Note: Landscape artist and Union Army officer, James Hope was one of several artists, Union and Confederate, who translated their combat experiences into distinguished paintings. However, Hope differed from some of his peers because he was already a successful artist and was well-embarked upon a noteworthy career when he joined the Union Army in May 1861 at the age of forty three. Having painted portraits and then landscapes in Canada and around his adopted home in Vermont, Hope began exhibiting works at the American Art Union in 1849 and at the National Academy of Design in 1854 and was elected an associate member of the NAD in 1871. Going to war gave Hope new subject matter and led him to embrace a genre that Sanford R. Gifford-another soldier-artist-called "historico-military" painting; that is, depictions of battles, battlefields, and other significant wartime people and events. His participation in the battles he depicted and his careful attention to geographical and historical verisimilitude made his historico-military works the hallmarks of his career. James Hope combined his time-and-place interest with his traditional landscape renderings in the painting that is now titled View from Sunset Rock, Lookout Mountain, circa 1878. The painting is a tranquil depiction of a place that had been the site of three Union victories that made up the Chattanooga Campaign. Victory at the Battle of Lookout Mountain, November 24, 1863, required Union forces both to scale Lookout Mountain south of Chattanooga and defeat Confederate troops atop it. The Battle of Wauhatchie, October 28-29, 1863, had taken place on the vast field that Hope depicted from atop Lookout Mountain. That battle secured the Union supply line that made possible the success at Lookout Mountain on twenty-fourth and the Battle of Missionary Ridge the following day. The Tennessee River at Moccasin Bend dominates the background; the small structure in the distant background is Fryar's Farm House, which is depicted on contemporaneous topographical maps; and the creek in mid-view is Lookout Creek. Hope also painted another scene titled Chattanooga from Lookout Mountain, 1878. That painting complements View from Sunset Rock because it depicts the eastern side of Moccasin Bend and the city of Chattanooga in the distant background. The conventional mountain top views of these paintings contrast greatly with the three battles that centered upon Lookout Mountain and Summit Rock, the large outcrop that dominates both paintings. Chattanooga from Lookout Mountain is in the collection of the Hunter Museum of American Art at Chattanooga, TN. James Hope was born November 29, 1818, at Drygrange Lodge, Roxburghshire, Scotland. He immigrated with his father to Canada and upon his father's death circa 1830 he found work as an apprentice wheelwright in Vermont. By 1843 he had discovered his artistic talent and began painting portraits and landscapes. He briefly settled in Montreal, Canada, and then returned to Castleton, Vermont, where he taught at the Castleton Academy and began to build his reputation. Answering the call to arms at the start of the Civil War, Hope helped to organize the Second Regiment of Vermont Infantry in May 1861. Elected captain of the regiment, he served with the regiment through nine battles, including the First Battle of Manassas Junction, July 21, 1861, and the Battle of Antietam, September 17, 1862, the bloodiest single day in American history. After the Battle of Fredericksburg, December 13, 1862, Hope resigned his commission because of persistent illness. The Second Vermont went on to fight in a total of twenty eight major engagements, including the Battle of Gettysburg, where, on July 3, 1863, it was in the center of the line that repulsed George Pickett's Charge. Retiring in the middle of the war, Hope immediately began creating fully-realized battlefield scenes, most of which were based upon his sketches, studies, and personal recollections. While he returned to landscape-painting and, in fact, listed his occupation as "landscape painter" in the 1880 Federal Census, he devoted much of the rest of his life painting large and small artworks that depicted the horrors and heroism he had witnessed in combat. One painting, General Slocum and Staff near Chickahominy, was painted in 1862, while he was still in service. He painted a finished Antietam battle scene, circa 1862, titled 7th Maine Attacking over the Sunken Road through the Piper Cornfield, and made a larger version of this work in later years. Winter Quarters of the 26th New Jersey Volunteers, was exhibited in March 1864. Hope's notes on the back of The Army of the Potomac, at Cumberland Landing indicate that he painted it in April 1865 "from a sketch taken by him on the spot." He had painted an earlier version of this work in 1864. In 1866 Hope collaborated with former Army surgeon George T. Stevens to produce illustrations for Stevens's Three Years in the Sixth Corps: A Concise Narrative of Events in the Army of the Potomac from 1861 to the Close of the Rebellion, April, 1865 (Albany: S.R. Gray, 1866; New York: Van Nostrand, 1870). The work contained twenty illustrations, seven of which Stevens stated he had prepared from his own sketches. At least seven of the remaining images were taken "from the pencil of the well-known artist, Captain J. Hope, and all have been submitted to him for his finishing touch." It is from this level of immediate engagement with images of war that Hope entered the conflict as an artist; practiced his craft while in the military; and immediately took up his profession when the guns had fallen silent. By far the summit of his achievement as a historico-military painter are his five large murals that depict the Battle of Antietam. During the battle Hope made many sketches and apparently some small-scale studies. With these in hand and relying upon published and unpublished accounts he worked for many years-starting and completion dates are uncertain- the works were finished and displayed at his studio at Watkins Glen, New York, prior to his death on October 29, 1892. Unsold, they were stored for decades in his studio but were damaged in a flood during the 1930s that also completely destroyed many of his works. After being owned by a private collector from the 1930s until 1979, the paintings were purchased by the United States National Park Service, which restored them and now display them at the NPS Antietam National Battlefield. Hope's Antietam paintings are large, first-hand representations of the great battle. Four of them are 5.5 by 12 feet and the fifth, After the Battle: Bloody Lane, is 8.5 by 16 feet. They are panoramic in size and offer views of the dynamics of the battle at five stages but their depictions of dead men piled up at Bloody Lane and strewn across the battlefield in Artillery Hell, Wasted Gallantry, and A Fateful Turn-names that Hope gave to the works-dominate the content. A large study (4.5 x 10.5 feet) for a sixth large painting, Army of the Potomac Encamped at Cumberland Landing on the Pamunkey, had been near completion in January 1865, when General George B. McClellan saw it in Hope's studio and praised it for its authenticity and its ability to transport him to the scene. In 1904 a large number of Hope's paintings were presented for sale. They were described in a catalogue of Eighty-three Famous Canvases by the Late James Hope, A.N.A. [New York: Fifth Avenue Art Galleries, 1904]. The five Antietam paintings and Army of the Potomac were on offer and the catalog descriptions of each of these works had been written by Hope at some time prior to his death. A poet as well as a painter, Hope described the works as accurate records as well as valuable aids to recollection for veterans of the battle and for successive generations who had not witnessed the war. Hope's Lookout Mountain paintings are different: the significance of the location could never be lost on any nineteenth or early twentieth-century viewers but the scene is cleansed of battle and given back to nature and quiet human cultivation. When Chattanooga from Lookout Mountain, the companion piece of View from Sunset Rock, was offered for sale in 1904, it was described as a canvas that presents in all the freshness and aroma of its world-lauded loveliness, a scene of unrivaled panoramic effect. The winding Tennessee and its luxuriant, undulating slopes are seen from the craggy heights of Lookout. Bathed in radiant sunlight lies the City of Chattanooga close-clasped by Moccasin Bend. The same observation might well serve to describe View from Sunset Rock and to be certain, both differ greatly from the mammoth scenes of death and destruction that are his Antietam paintings. References Catalogue of Eighty-three Famous Canvases by the Late James Hope, A.N.A. [New York: Fifth Avenue Art Galleries, 1904] Harvey, Eleanor Jones. The Civil War and American Art. Washington, DC: Smithsonian Institution. 2012. (Source of S.R. Gifford's phrase "historico-military paintings") "James Hope," Smithsonian Institution Research Information Service, accessed February 3, 2017. Stevens, George T. Three Years in the Sixth Corps: A Concise Narrative of Events in the Army of the Potomac from 1861 to the Close of the Rebellion, April, 1865. Albany: S.R. Gray, 1866; New York: Van Nostrand, 1870
James Hope (American, 1818-1892). An antique 19th-century oil painting on canvas depicting a secluded Vermont lakeside landscape surrounded by mountains. The painting is hand-signed in the lower right and stamped on the verso. Provenance: Private Estate Collection - Palm Beach, FL. Work Size: 7.25 X 10 X 2 in. Dimensions: 10 x 13 in. Condition: Good overall condition having mild to average surface wear. Frame with mild storage wear to edges and corners. Estate fresh to the market. Shipping: Hill Auction Gallery offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $85 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request. Local Delivery: Florida door-to-door hand delivery service available for this lot; contact Toti@Zemaqua.com for an estimate.
HOPE, James Archi, (Scottish/American, 181-1892): "Spring of Seven Oaks near the White House, Va.", wooded landscape with African-American figure standing under trees, Oil/Canvas, signed and dated 1864, signed, dated, and titled verso, 12" x 16", unframed. Hope was a Captain for the 2nd Vermont Infantry during the Civil War and most likely executed while stations near Washington. Condition: Scattered inpaint, veneer loss, craquelure. From the Alexander Raydon Gallery, Madison Ave, Manhattan. New York. Mr. Raydon was a well-known collector and dealer and passed away in 2005. This piece has remained in the collection.
IX th British Commonwealth Games Edinburgh Scotland. 1970. Ask about train times and fares. 1970 Affiche entoilée/ Vintage Poster on Linnen T.B.E. A - HOPE JAMES Petyt Ltd Grande-Bretagne SPORTS 1970 T.B.E. A - 101 x 63 cm
IX th British Commonwealth Games Edinburgh Scotland. 1970. Ask about train times and fares. 1970 Affiche entoilée/ Vintage Poster on Linnen T.B.E. A - 101 x 63 cm T.B.E. A - SPORTS Petyt Ltd Grande-Bretagne 1970
American, 1818-1892 Watkins Glen, Castle Cliff, 1873 Signed J. Hope and dated 1873 (lr); signed J. Hope, dated 1873., and inscribed as titled on the reverse Oil on canvas 12 1/8 x 9 inches Provenance: Questroyal Fine Art, LLC., New York (Framed 19 3/4 x 17 inches) Craquelure.
James Hope (1818-1892) American, Oil on Canvas. Rural scene with maple trees and cows grazing. Overall Size: 26 1/2 x 40 1/2 in. Sight Size: 17 1/2 x 31 1/2 in. #1369 . James Hope (1818 - 1892) was active/lived in Vermont, New York. James Hope is known for Landscape, portrait, and battle scene painting. James Hope was born on November 29, 1818/19 in Drygrange, Roxboroughshire, Scotland. After moving to the United States he became a noted portrait, landscape, and historical genre painter. After the death of his mother, he was brought to Canada by his father, who died of cholera about 1831. According to tradition James Hope was fifteen when he walked from the Canadian farm where he had spent his boyhood to Fairhaven, Vermont, to begin his five-year apprenticeship to a wagon-maker. With the money he saved, he was able to spend a year at Castleton Seminary. Apparently an accident to his ankle, which temporarily confined him to his home, gave him the leisure to try his hand at portraiture, and his first efforts were successful enough for him to set up as a professional artist at West Rutland in 1843. From 1844 to 1846, he painted portraits in the more lucrative market of Montreal and then returned to Castleton, where he built a house in 1851 and supported his family by teaching painting and drawing at the Seminary. Landscape painting soon began to occupy all his spar. The catalogue of his paintings sold some years after his death mentions that at this period 'two famous landscape artists- one great through color-power, the other through majesty of line, came into his life with most grateful results to him and them.'
It is unsigned in the style of James Hope. James Hope (1818 - 1892). Hope was born in Roxboroughshire, Scotland and immigrated to Canada with his father in 1831. Tradition has it that Hope walked from his boyhood farm to Fairhaven, Vermont, where he was apprenticed to a wagon-maker. At the end of his five-year apprenticeship, he used his money to spend a year at Castleton Seminary (now Castleton State College). An injury to his ankle kept him homebound, where the luxury of leisure time saw him practicing portraiture. Hope served as a Captain with Regiment B of the 2nd Vermont Infantry during the American Civil War. He made battle scene sketches, most notably of the bloody battle of Antietam, which he translated into a series of five large paintings following the war. In 1872, Hope moved to Watkins Glen, New York and opened a gallery where he displayed his famous Civil War panoramas and his other artworks, most notably those of the Rainbow Falls. The gallery fell into disrepair after his death in 1892 and in 1932 was flooded destroying much of his work and inflicting heavy damage on his battle scene paintings. During his lifetime he was a member of the Brooklyn Art Association, American Art Union and elected an associate member of the National Academy of Design where he also exhibited. In addition, Hope exhibited at the Pennsylvania Academy of the Fine Arts. Please ask specific questions on details, condition, and shipping prior to bidding, ALL ITEMS ARE SOLD AS IS, and the bidder will be responsible for payment. We box and ship what we can to keep costs low, and use USPS and UPS. Large items, extremely fragile, and high value items will be packed by UPS. Quotes available on request
James Hope (1818 - 1892) Oil on board, Signed Lower Left, Measures ( 8 x 10 inches) w/frame ( 12 x 14 inches) James Hope was born on November 29, 1818/19 in Drygrange, Roxboroughshire, Scotland. After moving to the United States he became a noted portrait, landscape, and historical genre painter. After the death of his mother, he was brought to Canada by his father, who died of cholera about 1831. According to tradition James Hope was fifteen when he walked from the Canadian farm where he had spent his boyhood to Fairhaven, Vermont, to begin his five-year apprenticeship to a wagon-maker. With the money he saved, he was able to spend a year at Castleton Seminary. Apparently an accident to his ankle, which temporarily confined him to his home, gave him the leisure to try his hand at portraiture, and his first efforts were successful enough for him to set up as a professional artist at West Rutland in 1843. Hope married Julia M. Smith of West Rutland on September 20, 1841.
After James Hope (Vermont 1818-1892) Sheldon's and Slason's Marble Quarry West Rutland VT published by EF Walling NY - plate 8 x 10" 15 x 16" as framed
c. 1860, overview of Vermont village, near Castleton, mountains in distance o/c (relined); 26 by 38 in; walnut frame 33 by 45 in. Collection of G.W. Samaha.
(Vermont/New York, 1818-1892) The Battle of First Bull Run, signed lower right "J. Hope A.N.A./Capt. Co. B 2nd Vt.", also inscribed verso "1st Bull Run. July 21, 1861./2nd Vt in foreground' Co B on skirmish line./Henry house on hill. J. Hope. Capt. Co. B. 2nd Vt", oil on canvas, 16-1/2 x 28 in.; carved burl wood frame, 19-3/4 x 31-1/2 in.
(American, 1818-1892) The Rostrum, 1882, signed and dated lower left "J. Hope A.N.A. 1882", extensively inscribed verso, oil on canvas, 18 x 24 in.; period carved gilt wood frame, 24-1/2 x 29-3/4 in. Note: Inscription verso reads: "The Rostrum"/Garfields first audience. This scene is in the woods, west of the old log school house, where the school children were in the habit of assembling in Summer for declamation. J.A. Garfield while quite young became noted as their best speaker. Sketch from nature by J. Hope. ANA 1882." After serving as President of the United States for five months, Garfield was assassinated and subsequently died on September 19, 1881. It is therefore presumed that Hope "sketched from nature" the landscape portion of the painting, adding Garfield and the other figures as something of a memorial to the slain President. Provenance: Bourgeault-Horan Antiquarians, Portsmouth, New Hampshire, August 7, 2005
James Hope (American, 1818-1892), "Vermont Landscape," 1851, oil on canvas mounted on board, signed and dated lower right, board: 29.75"h x 24"w, overall (with frame): 24"h x 30"w
JAMES HOPE (VERMONT / NEW YORK, 1818-1892), ATTRIBUTED PORTRAIT OF A GIRL, oil on canvas, bust-length depiction of a girl with light brown hair and dark blue eyes, wearing an off-the-shoulder white dress with blue trim, holding a rose in her left hand and having a gold ring on her ring finger, background featuring a dark sky with clouds within a painted oval vignette frame, no signature located. Housed in a period, possibly original gilt-molded frame.
Four Civil War letters from James Hope (Vermont 1818-1892). Hope served as a Captain with the 2nd Vermont Volunteer infantry- Most dated 1861 with six sketches of camp life including drawings of batteries, tent interior, camp during Peninsula Campaign with Thaddeus Lowe's balloon "reconnoitering" in background, Images of Camp Marey and Camp Griffin- Letters are mostly addressed to his daughter Jessie (1850-1894) with one to Jessie and Addie (1848-1871). The content of the letters describe camp life and written in a fatherly style encouraging the girls to help their mother while he is away at war and fielding requests for toys. while describing the goings on of soldier's life.
James Hope (Vermont 1818-1892) Benson Vermont Landscape oil on canvas signed lower left 1883 and identified reverse 16 x 24" presented in original ornate gilt gesso frame
Attributed to JAMES HOPE (American, 1818-1892) oil painting on canvas titled on top stretcher "Seneca Falls New York". No found signature. New York American Folk Art. Measuring approx 22" wide x 18" tall sight size. Condition is very good and consistent with age, see photos.
JAMES HOPE (VT/NY, 1818-1892) Vermont Autumn Scene with Covered Bridge, oil on canvas, signed on stretcher, in a gold molded oval frame, OS: 15 3/4" x 17 3/4", SS: 9 1/2" x 11 1/2". Cleaned and retouched, repaired puncture in hills on left.
James Hope (American, 1818-1892), Adirondack Waterfall, 1873, oil on board, signed and dated lower right, board: 12"h x 9.25"w, overall (with frame): 17.5"h x 14.75"w
19th century oil painting by famed civil war painter James Hope (Vermont/New York 1818 – 1892) | Oil on Canvas | Painting depicts a panoramic view of a Union encampment on the Potomac River with tents, soldiers, flags, gun emplacements, etc. | Measures 43 x 14 inches (Image Only), 48 x 20 inches (with Antique Frame) | Painting is in good condition, has been relined, with some restoration. James Hope was born on November 29, 1818 in Drygrange, Roxboroughshire, Scotland. After moving to the United States, he became a noted portrait, landscape, and historical genre painter. After the death of his mother, he was brought to Canada by his father, who died of cholera about 1831. According to tradition James Hope was fifteen when he walked from the Canadian farm where he had spent his boyhood to Fairhaven, Vermont, to begin his five-year apprenticeship to a wagon-maker. With the money he saved, he was able to spend a year at Castleton Seminary. Apparently an accident to his ankle, which temporarily confined him to his home, gave him the leisure to try his hand at portraiture, and his first efforts were successful enough for him to set up as a professional artist at West Rutland in 1843. Hope married Julia M. Smith of West Rutland on September 20, 1841. Four of their children survived to adulthood: Henry F.; J. Douglass, who became a photographer; Jessie; and Addie, who married George A. Stearns and died in Argentina in 1871. From 1844 to 1846, he painted portraits in the more lucrative market of Montreal and then returned to Castleton, where he built a house in 1851 and supported his family by teaching painting and drawing at the Seminary. Landscape painting soon began to occupy all his spare moments, combining as it did his love for the country with his newfound talent. The catalogue of his paintings sold some years after his death mentions that at this period “two famous landscape artists- one great through color-power, the other through majesty of line, came into his life with most grateful results to him and them.” The first in this reference was Frederick Church, who in the summer of 1849 visited the spa at Clarendon Springs, Vermont, only a few miles from Castleton, and exhibited two Vermont scenes at the Academy the following year. It seems likely that he influenced Hope to focus his attentions on New York City, and may have exerted a strong influence on the Vermont painters career. In the early eighteen-fifties Hope abandoned teaching entirely and took a studio in New York, where he painted during the winter, returning to Castleton in the summer. Hope sent a Castleton landscape to the 1849 exhibition of the American Art Union, and by 1854 had work accepted by the National Academy of Design. Thereafter, for more than twenty-five years, he was a frequent contributor to the exhibitions there and at the Brooklyn Art Association. There are paintings of the Yosemite Valley by Hope, probably after Bierstadt sketches, and of Jerusalem, the sea of Galilee, and Joppa after photographs by Bierstadt (in this case presumably Edward Bierstadt, the photographer and brother of the painter). An occasional exhibitor in Boston, Hope also sent paintings to shows in Philadelphia, Buffalo, Cincinnati, Detroit, Utica, Chicago, and St. Louis. Hope was among the group of artists who saw active duty in the Civil War, participating in eleven battles. After the war he acquired popularity as a painter of battle scenes. He served in the Union army and sketched many battle scenes, which he later converted to large paintings that he exhibited throughout the country. One example is his work, In Search of General Sumner. After living much of his life in Vermont, he moved in 1872 to Watkins Glen, New York where he built a studio and art gallery. James Hope is known for landscape, portrait, and civil war related paintings. Hope was elected an Associate Member of the National Academy of Design in 1871. Sources: George Groce and David Wallace, The New-York Historical Society’s Dictionary of Artists in America, 1564-1860, p. 325, Peter Falk, Editor, Who Was Who in American Art, p. 1613
Artist: James Hope Title: Untitled Landscape Medium: Oil on Canvas Year or Era: c. 19th C.Signature: Lower right Approx Sight Area: 14" x 20" Frame Measurement: 24" x 30" x 1.25"
IX th British Commonwealth Games 1970 1 Affiche Non-Entoilée / Vintage Poster on Paper not lined B.E. B + Plis. Déchirures. / Folds. Tears Edinburgh Scotland. 1970. Ask about train times and fares.Petyt Ltd Grande-Bretagne
Cavern Cascade Falls, oil on canvas, 20 x 15 in., signed lower left, Literature: "Seneca Hope the Life and Landscapes of James Hope, by Frank W. Steber, ill. pg. 114; Provenance: Estate of the late Marga Helman; by descent to the present owner
James A. Hope (American 1818-1892), oil on canvas, forest landscape with falls, signed and dated LL, signed, titled "Rainbow Falls" and dated "1875" verso, some white paint drips, some rippling to canvas, and area of paint loss right of center of approximately 1/2" x 1/2"; in period gilt frame, not examined out of frame, ss: 12" h. x 7 1/2" w.
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