The personal collection of Garric Baker. Click the title of the piece for an expanded gallery of the works.
Pierre Dieffenbach, early 1800’s
This piece includes over 90 original drawings by Pierre Dieffenbach and composed between 1837-1855. The drawings are combined into a single sketchbook covering a wide array of subjects. Pierre may have been a direct relative of listed artist Anton Dieffenbach, and has other obscure works that include exquisite floral still-life paintings.
1800’s Scottish Watercolors
This sketchbook originates in Scotland in the late 1800’s with some dates and places are listed. The artist is also unknown, but they provided several, high quality watercolor vignettes showcasing the Scottish countryside.
1897 W. Koeller Sketches
W. Koeller sketches based on instructional lessons published by Ivison, Blakeman, Taylor & Co. The instructions were published in 1876 as George White’s Progressive Art Studies and executed by W. Koeller in 1897.
Unknown Civil War Solider Sketchbook, 1800’s
Charles Stuart Sketches, 1860’s
Sketches were found at an estate auction for Charles Stuart, dated 1861. All sketches are pen or pencil on paper.
Albert Bierstadt (1830-1902), Sunset Study
This piece carries the signature of what appears to be famed artist Albert Bierstadt. It also carries the year 1901, which, if ever authenticated, could be one of Bierstadt’s final paintings as he later passed away in 1902. The piece was purchased from an estate in Glen Rock, New Jersey.
Edmund Darch Lewis (1835-1910)
Edmund Darch Lewis was trained in traditional oil painting, and he created beautiful oil paintings early in his career. Once he had mastered his techniques in oil, he later switched to oil paintings where he had less training. It was here that he created many works such as this one that features a beach-side scene. His signature is visible in the lower right hand corner.
Christopher Pearse Cranch (1813-1892), Venetian Scene
A beautiful Venetian sunset carrying the signature of Christopher Pearse Cranch. When originally purchased, the piece was heavily darkened from years of neglect, but cleaning brought the luminism back to life.
Eugene Delacroix (1798-1863), Untitled Watercolor Study
A small page from a sketchbook, a watercolor vignette of a figure playing an instrument with a woman, cherub, and sheep. This piece comes from an estate in Knoxville, Tennessee that was an avid collector of Asian artworks. On the reverse of the frame was a small note that read, “Ferdinand Victor Eugene Delacroix,” along with another inscription, “From the collection of Walter Weir.” Walter Weir was another notable artist himself that lived from 1803 to 1889. He studied in Italy between 1824 and 1827. He was the father of famed artist Julian Alden Weir (1852-1919) who studied in France in the early 1870s which is where he began collecting works to bring back to the United States which could have been when he brought this piece back as a gift to his father.
Thomas Reinagle, early 1800’s, Two Sketches
A little known artist from the early 1800’s, Thomas Reinagle of the Boston area drew these two sketches in 1843, and both have survived intact though incredibly fragile.
Alexandre Calame (1810-1864)
This piece – while small in size at only 2¾” x 4” – has an astounding level of intricate detail. It shows a small mountain village with church steeples arising from the valley. It’s hard to imagine painting such small details but the brushwork is deliberate and highly interesting. It’s signed in the lower right in red paint.
Samuel Colman (1832-1920), Untitled Mill Scene
Another work that was heavily soiled was cleaned back to a glowing state showcasing the work of Hudson River School artist Samuel Colman. The date of the work is unknown, but other famed Hudson River School artists have painted this very mill in other works making it a popular place to paint.
George Inness (1825-1894), Untitled Landscape
A small work by George Inness in 1888 depicts a somber landscape. A green meadow fades to distant hills as clouds float overhead. This was purchased through DuMouchelles who had acquired the piece through the Windorf Galleries, Mt. Clemens, Michigan.
Mont Blanc after Godfrey Nicolas Frankenstein (1820-1873)
This piece carries some mystery. The painting is of Mont Blanc by Godfrey Nicolas Frankenstein, and signed on the verso. Though it is difficult to say if it is in fact an original work by Godfrey, when compared with online images of the original, the resemblance is striking.
William Hart, 1823-1894
Harrison Bird Brown, 1831-1915 (Potentially)
An untitled river scene potentially painted by Harrison Bird Brown. Oil on board and unframed.
Stanley Delhi Force Tytler (1857-1948)
A small oil painting on a wood plank that came from an estate in Vancouver, British Columbia is by noted artist and arts supporter Stanley Delhi-Force Tytler. He received his name due to the legend that he was born in the back of a cart pulled behind British batteries during the siege of Delhi in 1857. Delhi-Force was the name of the unit in which his father served.
Sunset at Dombes, after Voit, 1865
After purchasing this piece, research led to fascinating discoveries. The back has an inscription of “en 1865 Copies Viot.” It turns out, the original was titled “Sunset in Dombes” by Antony Viot, only a few years before his death. However, this did not determine who made the copy. The canvas was made by a Baltimore art supply but the subject matter and original artist were in Marseille, France. Hudson River School artists were known to travel to Europe for training from great masters of the time. As it turns out, the only Hudson River School artist that traveled to Marseille, France in 1865 was Frederic Edwin Church. He was known for copying the works of other artists to learn techniques and skills; therefore, this piece, if indeed a work by Church would be a magnificent find.
Untitled Hudson Sunset
An untitled, unsigned oil painting on board is nearly identical to a work on canvas by E.H. Collins in 1871. Whether it is a study of the original piece or the predecessor is unknown but the detail and composition match quite well.
Frank Liebl (Late 1800’s)
Original investigations into this artist alluded to a little-known man that resided in the forests of Germany at the end of the 1800s. He worked at a timber mill during the day but often found himself searching for a way to harness his energy in the evenings. He was a self-taught artist and wanted to capture the beauty of nature that he often saw while living and working in the remote wilderness and forests.
Wetterhorn (1), Date Unknown
A small, roughly 6×9 oil painting of Wetterhorn peak in the Swiss Alps. The writing on the verso indicates the location but lacks the artist and date. The writing at the top could indicate that the piece was possibly painted by William Archibald Wall who painted “Matterhorn” around 1850 in a very similar style and composition. The scene itself consists of nearly identical components though rendered in slightly different manners. Similarly, the two paintings are roughly the same size and have the same materials. It could possibly be that this piece was the plein air study before a studio copy was completed. However, Hubert Sattler painted “Eine Berglandschaft” (“A Mountain Landscape”) which also resembles this piece. The blue atmospheric qualities match more than Wall’s work.
Wetterhorn (2), Date Unknown
Wetterhorn (2) also carries the same mystery. This could be another plein air piece done by either William Archibald Wall or Hubert Sattler. Either way, the writing on the verso indicates that this is another view of Wetterhorn peak along with a small figure walking along a mountain stream.
Melvern Link, 1887, Artist Unknown
This work was executed in 1887 near Malvern Link which is a small parish located in Worcestershire, England. The artist of the work is unknown but resembles the style of James Charles Ward (1830-1875). He worked around Melvern Hills, and his works “Returning from the Day’s Work” which was painted in 1873, and “View of the Malvern Hills” painted in 1846 both show landscapes similar to this piece. However, the date excludes him as the artist due to it being painted twelve years after his death. Therefore, it is suggested that the work is a study of one of his paintings.
Study of “Among the Green Mountains,” Date Unknown
This piece is likely a student study of Charles Lanman’s painting “Among the Green Mountains,” which was painted in 1884; or it could be a precursor to the piece itself. No date or artist is listed but does resemble the work greatly.
Croxton, Unknown Date
An oil painting was acquired through an auction in Alaska. It’s signed Croxton on the lower left, although, no listed artist has this name. It is painted with some skill but was not a well-known artist.
Hackfall, Yorkshire, England
This piece is unique in many aspects. The name plate indicates Vicat Cole, referencing George Vicat Cole who was a listed artist. It also carries the monogram VC along the lower edge which was in the manner of George Vicat Cole’s style. However, the quality and manner in which the piece is done is not representative of his classic style. This appears to be a piece made to entice buyers to perceive it as an original by a listed artist, though not truly.
J. Alexander, Unknown Date
An undated oil painting on paper is signed J. Alexander though no listed artist is documented. The shadows are heavily painted with brief highlights to add detail and depth.
Charles Obas
Charles Obas was a Haitian artist around the 1950s and 1960s. His legacy was cut short in 1969 when he went to the Haitian dictator to protest the execution of his cousin. The confrontation was the last time Obas was seen alive. His career as a painter began with bright colors showcasing artworks that tourists sought; however, following a deadly hurricane, his style turned darker to reflect the oppressive Haitian life. The two works in the collection show his two styles, one bright and free while the other is ominous and dark.