Baker Fine Art

The personal collection of Garric Baker. Click the title of the piece for an expanded gallery of the works.

PIERRE DIEFFENBACH (French, active mid-19th century) A cohesive sketchbook comprising approximately 90 drawings

Graphite, pen and ink, and watercolor on paper. Including figure studies, theatrical compositions, religious subjects, genre scenes, decorative designs, and floral studies. Many sheets signed or monogrammed “P.D.” and dated between 1844 and 1853. This remarkable and cohesive group represents the working corpus of a mid-19th century French academic draughtsman, likely engaged in illustration, theatrical design, and decorative arts. The drawings demonstrate confident draftsmanship,
expressive figural construction, and a versatile command of both narrative and ornamental subject matter. Notable themes include troubadour-style medieval subjects, devotional imagery, character studies, and architectural ornament. The presence of dated works and consistent monogram strongly suggests a unified artistic identity and offers significant potential for further scholarly attribution. The
collection provides rare insight into the practice of a professional artist working within the Romantic and Gothic Revival traditions in France during the 1840s–1850s.
Estimate: $10,000 – $18,000

BRITISH SCHOOL, LATE 19TH CENTURY A WATERCOLOR SKETCHBOOK in the Ruskinian tradition

Watercolor and pencil on paper, bound sketchbook. Comprising approximately 33 sheets. The present sketchbook comprises a coherent group of landscape and topographical studies executed in watercolor and pencil, reflecting the disciplined observational approach associated with the teachings of John Ruskin and his circle. The works demonstrate careful attention to structure, light, and natural form, with an emphasis on direct study from nature. The sketchbook format suggests production during travel, functioning both as a visual record and as preparatory material. Such works are characteristic of late 19th-century British artistic practice,
particularly among artists engaged with architectural, geological, and topographical study.
Estimate: $4,000 – $8,000

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.

ANONYMOUS (AMERICAN SCHOOL, MID-19TH CENTURY), A Civil War-Era Topographical Sketchbook, Northeastern United States

This cohesive sketchbook represents a rare body of mid-19th century American field drawings, approximately 44 leaves, likely executed during or shortly after the Civil War (1861–1865), demonstrating a practiced hand working directly from nature to record topography with clarity and economy. The inclusion of inscribed locations such as “Long Pond,” “Bog Meadow,” and “Wood Lake” suggests on-site
observation within a defined Northeastern landscape, while the combination of landscape studies and occasional military figures aligns the work with the tradition of Civil War-era observational drawing practiced by artists, engineers, and soldier-draftsmen. The consistent hand throughout indicates a single trained individual—possibly a military engineer or illustrator—accustomed to rapid field notation, and the survival of the group in its intact form enhances its significance as a unified
visual record of landscape and experience during a pivotal period in American history.
Estimate: $15,000 – $30,000

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 (AMERICAN, 1835–1910) Coastal Landscape with Breaking Waves

Watercolor on paper. Sight size: (approx.) 4 x 8 in. (visible within mat) This finely observed coastal watercolor depicts a rocky shoreline with gently breaking waves and distant sailboats, rendered with the clarity and restraint characteristic of Edmund Darch Lewis. A member of the Hudson River School and later associated with the Luminist tradition, Lewis was known for his atmospheric landscapes and
refined handling of light and water. The present work demonstrates his sensitivity to coastal effects, with subtle tonal gradations and economical brushwork conveying movement across the water’s surface. The composition, with its low horizon and expansive sky, reflects the influence of mid-19th century American landscape aesthetics while maintaining an intimate, sketch-like immediacy. Signed
lower right. Condition: Minor toning consistent with age; otherwise appears well-preserved under mat and frame. Estimate: $1,500 – $3,000

ATTRIBUTED TO CHRISTOPHER PEARSE CRANCH (AMERICAN, 1813–1892) Venetian Lagoon at Sunset

Oil on canvas. Unframed dimensions: (approx.) 12 x 18 in. This atmospheric Venetian view, depicting the Basilica of Santa Maria della Salute and the Grand Canal at sunset, reflects the tonal delicacy and poetic sensibility associated with Christopher Pearse Cranch’s mature work. Executed in a warm, golden palette, the composition emphasizes the interplay of light and reflection across the lagoon, with gondoliers and sailing vessels animating the foreground. Cranch, a member of the Hudson River School and closely associated with the Transcendentalist circle, traveled extensively in Europe during the mid-19th century, producing a number of Italian subjects that merge American luminism with European veduta traditions. The present work’s softened architectural forms, atmospheric diffusion, and restrained brushwork correspond closely with these later compositions. The painting bears a faint signature consistent in placement and character with known examples, though partially obscured by age and surface wear. Condition: Surface wear, scattered abrasions, and age-related craquelure; minor edge wear; canvas on period stretcher. Overall stable condition. Estimate: $3,000 – $5,000

FOLLOWER OF EUGENE FERDINAND VICTOR DELACROIX (FRENCH, 1798–1863) Pastoral Figure Study with Sheep

Watercolor and ink on paper. Unframed dimensions: (approx.) 6 x 10 in. This expressive watercolor depicts a reclining female figure with a child and sheep in a pastoral setting, rendered with fluid washes and energetic pen work. The composition and handling reflect the influence of Eugène Delacroix, particularly in the loose, improvisational line and rich tonal contrasts characteristic of Romantic-era
figure studies. A handwritten label affixed to the reverse of the frame identifies the work as “Eugene Ferdinand Victor Delacroix”; however, the attribution cannot be confirmed. The execution suggests a follower or later study in the manner of Delacroix, likely late 19th century, when such compositions were widely copied and studied. The gestural brushwork, abbreviated anatomy, and dynamic composition align with academic practice and workshop interpretation rather than a fully resolved autograph work. Provenance: Walter Weir Collection; thence by descent or sale; private collection, United States. Condition: Paper toned; minor handling wear and edge irregularities; some surface abrasion consistent
with age. Overall stable. Estimate: $600 – $1,200

THOMAS REINGALE (BRITISH, FL. EARLY 19TH CENTURY) Two Scottish Views

A pair of finely executed topographical drawings attributed to Thomas Reingale, depicting notable Scottish landscapes. The first illustrates Corra Linn on the River Clyde, rendered with dynamic cascading water and careful attention to geological structure. The second presents a view of Criffel with a prominent tower and village, animated by small figures and lively staffage. Both works demonstrate a confident handling of line combined with delicate application of color, characteristic of early 19th-century British topographical draughtsmanship. Such views were often
produced for travelers or as part of sketching tours, capturing picturesque sites across Scotland during a period of increasing romantic interest in the landscape.
The inscriptions identifying the subjects further support their function as documentary yet artistic studies, likely dating to circa 1820–1835. Estimate: $1,200 – $1,800 (for the pair)

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 (AMERICAN, 1832–1920) Watermill Landscape with Figures and Cattle

A luminous pastoral composition depicting a watermill set within a tranquil river landscape, with cattle wading in the foreground and mountainous terrain beyond. The work exemplifies Samuel Colman’s sensitivity to light, atmosphere, and reflective water surfaces, hallmarks of the later Hudson River School and associated American landscape traditions. Colman, a prominent member of the second generation of Hudson River School painters, was known for his refined tonal harmonies and interest in both American and European scenery. The present
composition reflects this dual influence, combining an American pastoral sensibility with a picturesque, almost European treatment of architecture and terrain.
The careful rendering of light across the water and the soft modulation of distant hills demonstrate a mature hand, consistent with Colman’s work from the later 19th century.
Estimate: $3,000 – $5,000

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.

AFTER GODFREY N. FRANKENSTEIN (1820–1873), POSSIBLY Mont Blanc from the Chamounix Valley

A finely composed Alpine landscape depicting the Mont Blanc massif rising above the Chamounix Valley, with a structured foreground of trees and rocky terrain opening onto a luminous, receding valley. The composition reflects the transatlantic exchange of landscape traditions in the mid-19th century, combining elements of Swiss Alpine painting with the compositional clarity associated with American
painters. An inscription on the reverse, partially legible, appears to read: ‘Mt Blanc from Chamounix Valley,’ indicating that the work was conceived after a known composition of this celebrated view. Such inscriptions are characteristic of 19th-century studio copies and Grand Tour works derived from exhibited or widely circulated originals. The structure and subject closely relate to Alpine compositions by Godfrey N. Frankenstein, an American painter active in Europe who produced views of Mont Blanc from the Chamounix Valley. While the handling suggests a copy or studio variant rather than an autograph work, the present painting is best understood within that artistic context.
Estimate: $1,500 – $3,000

WILLIAM HART (AMERICAN, 1823–1894) Coastal Scene with Figure and Sailboat

Oil on board. Unframed dimensions: (approx.) 6 x 10 in. This small-scale coastal scene reflects the atmospheric sensitivity and tonal restraint associated with William Hart, a leading member of the Hudson River School. The composition depicts a solitary figure standing along a rocky shoreline, with a sailboat anchored nearby and distant figures gathered at the water’s edge. Hart’s work is often characterized by its poetic interpretation of nature, with emphasis on light, mood, and quiet observation. In the present work, the softened palette, delicate handling of sky and water, and understated narrative align with his later, more intimate landscape studies. Signed lower left. Condition: Surface wear, scattered abrasions, and visible craquelure; minor losses and age-related toning; overall stable but would benefit from cleaning. These factors are reflected in the estimate. Estimate: $2,000 – $3,500

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 (BRITISH, 1883–1963) Good Old August Oil

Signed and inscribed ‘Good Old August’ (lower right); further inscribed on the reverse. A fresh and atmospheric coastal landscape depicting a rocky shoreline with distant hills under a soft, expansive sky. The work captures the immediacy and spontaneity characteristic of plein-air painting, with confident brushwork and a restrained yet naturalistic palette. Stanley Delhi-Force Tytler, associated with early 20th-century British landscape traditions, is known for his sensitivity to light and seasonal atmosphere. The present work, likely executed during the late summer months as suggested by its title, demonstrates a direct engagement with nature and a modern painterly approach. The verso retains additional inscription, further supporting the work’s authenticity and period context.
Estimate: $1,200 – $2,000

FOLLOWER OF ANTONY VIOT (FRENCH, 1817–1887) After ‘Sunset in Dombes’, dated 1865

Dated 1865 (as indicated by inscription on the reverse). A pastoral sunset landscape depicting deer resting beside a wooded lakeshore, bathed in warm, atmospheric light. The composition closely relates to ‘Sunset in Dombes’ by the French painter Antony Viot, suggesting this work was executed as a period copy or studio derivation after the original composition. The handling of light and tonal transitions reflects mid-19th century academic landscape practice, with particular emphasis on the romantic treatment of nature. The presence of a Boston canvas supplier’s
stamp on the reverse indicates that the work may have been executed in the United States, possibly by an artist trained in the European tradition or working from prints or reproductions of continental works. Such transatlantic reinterpretations were common among American artists of the Hudson River School and their circle, many of whom studied abroad or worked from European sources. The work is therefore best catalogued as a 19th-century American or European follower of Antony Viot,
after his composition, executed circa 1865.
Estimate: $800 – $1,500

AMERICAN SCHOOL, 19TH CENTURY Sunset over a river landscape with figures and sailboat

A warm-toned river landscape at sunset, with figures gathered near a small craft in the foreground and a sailboat beyond. The composition reflects the influence of the Hudson River School tradition, with luminous atmospheric effects and a strong emphasis on reflected light across the water. The work demonstrates a competent hand working within the mid- to late-19th century American landscape idiom, likely produced as a cabinet-scale painting either for study or the decorative market.
Estimate: $600 – $1,200

F. LIEBL (ACTIVE EARLY 20TH CENTURY) Stag at the Forest Edge

Signed and dated ‘22 (lower right). Oil on canvas. In a period gilt frame. This atmospheric woodland scene depicts a stag emerging at the edge of a dense forest, with additional deer receding into a mist-laden clearing. The composition reflects a naturalistic approach to landscape painting, with particular attention given to light, depth, and seasonal tone. The handling suggests a skilled regional painter working within the Central European tradition of the early 20th century. The artist, identified only by the signature “F. Liebl,” appears to have been a self-taught or locally active painter, consistent with a number of accomplished but unrecorded practitioners working outside major academic centers during this period. Estimate: $400 – $1,200

CONTINENTAL SCHOOL, 19th Century Manner, Wetterhorn Mountain Landscape

Oil on artist board. This evocative alpine landscape depicts a dramatic mountain formation, likely inspired by the Wetterhorn in the Bernese Alps, rising above a wooded valley with a flowing stream in the foreground. The composition emphasizes verticality and atmospheric depth, with softened transitions between rock faces and sky, and delicately rendered coniferous trees framing the scene.
The handling of light and mist, combined with the romanticized grandeur of the terrain, reflects strong affinities with 19th-century European and American landscape traditions, including the Düsseldorf School and Hudson River School painters. The reverse bears an inscription referencing “Wetterhorn,” suggesting either the subject or a working title. While unsigned, the work demonstrates a confident academic hand and may represent a studio study or later period work executed in homage to earlier alpine landscape painting. Condition: Visible craquelure and surface wear; stable support with age-appropriate patina. Minor abrasions and scattered losses. Estimate: $800 – $1,500

POSSIBLE SWISS SCHOOL, late 19th Century, Alpine Landscape with Figures (Wetterhorn)

Oil on artist board (postcard format). This intimate alpine composition depicts a glacial mountain—likely the Wetterhorn—rising dramatically above a wooded valley with a rushing stream. In the foreground, two small figures animate the scene, adding scale and narrative to the rugged terrain. The crisp rendering of snow-capped peaks contrasts with the darker coniferous framing, while atmospheric haze
softens the middle distance. The reverse bears a handwritten inscription referencing “Wetterhorn” and a partially legible note suggestive of a European origin. The style and format are consistent with late 19th-century alpine souvenir studies or studio works produced in Switzerland or southern Germany for the tourist market, often influenced by Düsseldorf-trained painters. Condition: Noticeable surface wear,
scattered spotting and discoloration, with age-related craquelure. Stable support. Estimate: $700 – $1,400

FOLLOWER OF THE BARBIZON SCHOOL, circa 1850–1870, Landscape with Figures on a Country Path

Oil on paper laid down on board. Unframed dimensions: (approx.) 9 x 18 in. This atmospheric landscape reflects the tonal and compositional qualities associated with the Barbizon School, notably in its soft handling of light, naturalistic palette, and emphasis on rural subject matter. The composition features a lone figure traversing a winding path, framed by loosely rendered trees and foliage, opening into a mist-laden distance. The brushwork—particularly in the foliage and sky—suggests an artist working in the manner of mid-19th century French plein-air practice. The reverse bears an inscription referencing “Mr. Maleson Link” and dated October 18, 1887, possibly indicating a later ownership or exhibition history rather than authorship. While the work does not support a firm attribution to a named
master, it aligns closely with the circle and followers of artists such as Rousseau, Diaz de la Peña, and Corot. Condition: Extensive surface wear, abrasions, and losses along the edges; laid down; visible age toning and restoration. These factors are reflected in the estimate. Estimate: $800 – $1,500

After Charles Lanman (1819–1895) Study after ‘Among the Green Mountains’ (1884)

Oil on board. Unframed dimensions: (approx.) 8 x 12 in. This landscape appears to be a period student or studio copy after Charles Lanman’s ‘Among the Green Mountains’ (1884), reflecting the Hudson River School tradition in its treatment of expansive mountainous terrain, atmospheric sky, and solitary figure within nature. The composition retains the essential structure of Lanman’s original work, including the elevated foreground ledge and distant rolling peaks, though executed with a more restrained and simplified handling. The brushwork suggests an academic or workshop context, likely late 19th century, when copying established compositions formed part of artistic training. The palette and tonality remain consistent with Lanman’s pastoral sensibility, though the execution indicates a follower rather than the master’s hand. Condition: Surface wear, minor abrasions, and age-related
toning; consistent with an unvarnished study. Reverse shows an early support with later reinforcement.
Estimate: $400 – $800

POSSIBLY GEORGE H. CROXTON (AMERICAN, 1858-1924), Wooded River Landscape

Oil on canvas. Unframed dimensions: (approx.) 12 x 9 in. This intimate woodland landscape reflects the tonal sensitivity and compositional structure associated with late 19th-century American landscape painting. The composition centers on a quiet riverbank framed by overhanging trees, with sunlight filtering across a hillside beyond, creating a warm interplay of light and shadow. The handling of foliage,
subdued palette, and atmospheric depth relate to the work of George H. Croxton and his contemporaries working in the later Hudson River School tradition. While the painting appears to bear a faint signature in the lower left, it is partially obscured by surface condition and cannot be definitively confirmed. Condition: Surface wear, scattered paint losses and abrasions, particularly in the foreground
and water; visible craquelure and age toning; would benefit from conservation. These factors are reflected in the estimate. Estimate: $800 – $1,500

ENGLISH SCHOOL, MID-19TH CENTURY, Hackfall, Yorkshire, with figures fishing

Watercolour and gouache on paper, circular format. A charming pastoral view depicting a wooded river landscape at Hackfall in Yorkshire, with two figures
seated in the foreground engaged in fishing. The composition reflects the picturesque sensibility popular in mid-19th century British landscape painting, with softly modulated foliage and warm atmospheric tonality. Inscribed verso “Hackfall Yorkshire”. The frame with a later plaque inscribed “Vicat Cole”.
Estimate: $400 – $900

J. ALEXANDER (19TH CENTURY) Wooded Landscape with Cascading Stream

Signed “J. Alexander”. This atmospheric landscape depicts a wooded ravine with a
cascading stream flowing through rocky terrain, framed by dense foliage and opening into a distant mountainous horizon. The composition demonstrates a confident handling of tonal contrast and naturalistic light, particularly in the rendering of moving water and mist. The work reflects the influence of both the Hudson River School and the British Romantic landscape tradition, sharing affinities with artists such as Thomas Creswick in its intimate scale and structured naturalism. While the artist remains unidentified, the painting represents a skilled 19th-century hand working within these established landscape conventions. Estimate: $800 – $2,000

Three works on board
(i) Coastal Scene with Fishermen, (ii) Boats on Shore with Mountainous Landscape, (iii) Processional Scene with Figures. Oil on board. Each signed lower right.
The present group of three paintings by Charles Obas exemplifies the vibrant narrative tradition of mid-20th century Haitian painting. Characterized by bold coloration, simplified figuration, and a strong sense of storytelling, the works reflect everyday life and ceremonial culture with immediacy and charm. The first composition, a lively coastal scene, captures fishermen at work with expressive, almost sketch-like brushwork. The second painting, depicting boats against a mountainous shoreline, demonstrates a more structured composition with heightened contrasts of light and atmosphere. The third and most ambitious work presents a ceremonial procession, densely populated with figures rendered in rhythmic arrangement, highlighting the artist’s ability to convey both movement and communal identity. Together, these works illustrate the breadth of Obas’ approach, ranging from spontaneous observation to fully realized narrative composition, and situate the artist within the broader context of Haitian
modernist painting traditions that gained international recognition in the mid-20th century. Estimate: $2,500 – $5,000

CONTINENTAL SCHOOL, probably 18th century

Rocky riverbank with wind-shaped trees, a boat and distant buildings
probably etching or etching with drypoint, on laid paper A finely observed landscape composition structured around a dramatic rock outcrop at right, its weathered mass crowned by sharply silhouetted trees and scrub. The foreground is
rendered with dense, confident hatching, while the middle distance opens onto calm water animated by a small boat and low shoreline structures. The handling suggests an artist working within the Dutch and Flemish landscape print tradition, where rugged foreground repoussoir elements are used to lead the eye toward a quieter, expansive horizon. The sheet presents well as an atmospheric cabinet-sized print and appears, from the supplied image, to be an old impression with strong plate tone and pleasing contrast. In the absence of a visible signature, inscription,
dimensions, watermark or first-hand examination, a conservative catalogue
description is most appropriate. Estimate: $300 – $500.

AMERICAN SCHOOL, LATE 19TH CENTURY, White Mountain landscape at sunset

A softly rendered White Mountain landscape at sunset, with distant peaks bathed in warm atmospheric light and a foreground of trees and rocky terrain. The composition reflects the influence of the Hudson River School and its later followers, emphasizing tonal harmony and the poetic treatment of light across the landscape.
The work suggests a studio piece or plein-air study produced within the broader tradition of late 19th-century American landscape painting.
Estimate: $800 – $1,500

19TH CENTURY CONTINENTAL SCHOOL, BARBIZON INFLUENCE, Wooded Landscape with River

A finely observed wooded landscape opening onto a distant river, framed by dense foliage and punctuated by vertical tree forms. The composition balances a shaded foreground with a luminous middle distance, guiding the eye toward a tranquil waterway beyond. The handling of paint—particularly in the foliage and atmospheric transitions—reflects the influence of the Barbizon School, with its
emphasis on tonal unity and naturalistic observation. The present work demonstrates a confident yet restrained painterly technique characteristic of mid-19th century Continental landscape painting. Such compositions were widely produced within the circle and influence of artists associated with Barbizon, and later absorbed into both European and American landscape traditions. The reverse reveals a period stretcher and canvas consistent with mid-19th century manufacture.
Estimate: $800 – $1,800

AMERICAN SCHOOL, LATE 19TH CENTURY, In the manner of the Hudson River School, Sunset landscape with figure and fence

This atmospheric landscape exemplifies the transition from the Hudson River School to Tonalist tendencies in late 19th-century American painting. The composition emphasizes warm, diffused light and a harmonious palette, with a small staffage figure providing scale within a pastoral setting. The work demonstrates a confident handling of light and atmosphere characteristic of regional American painters working in the orbit of the Hudson River tradition. Estimate: $800 – $1,200

AMERICAN SCHOOL, CIRCA 1870–1890, In the manner of the Hudson River School, Autumn river landscape with distant mountains

A tranquil autumnal landscape depicting a reflective river bordered by wooded banks and distant mountainous terrain. The composition reflects the enduring influence of the Hudson River School, with particular emphasis on atmospheric recession and tonal harmony characteristic of late 19th-century American landscape painting. The warm autumnal palette and controlled handling of light suggest a
painter working within the transitional period between Hudson River traditions and early Tonalism. Estimate: $1,000 – $1,500

AMERICAN SCHOOL, 19TH CENTURY, Lake George, White Mountains

Oil on canvas. In a period gilt frame. This expansive landscape depicts a tranquil lake set before a dramatic mountain range, likely inspired by the White Mountains of New Hampshire and the Lake George region— subjects closely associated with the Hudson River School tradition. The composition, with its luminous sky, reflective water, and carefully structured recession into the distance, reflects the influence of mid-19th century American landscape painting. While the hand suggests a competent and practiced artist, the work is best classified within the broader American School, drawing upon the stylistic language established by artists such as Thomas Cole, Asher B. Durand, and later practitioners of the Hudson River School circle. Estimate: $1,000 – $3,000

CONTINENTAL SCHOOL, 19TH CENTURY, Pastoral Scene with Cattle and Sheep

A charming pastoral composition depicting cattle, sheep, and figures gathered within a gently rolling landscape. The scene is framed by tall, slender trees and a distant horizon, evoking the rustic tranquility of rural life. The painterly handling, warm tonal palette, and emphasis on livestock place the work within the tradition of 19th-century Continental animal painting, particularly associated with French and
Barbizon-influenced schools. The informal grouping of animals and the naturalistic setting suggest a study derived from direct observation, rather than a highly finished academic composition. Works of this type were widely produced throughout the mid-to-late 19th century, reflecting a broader European interest in agrarian life and pastoral subjects. The present work is best catalogued as Continental School, 19th century. Estimate: $400 – $800

FOLLOWER OF ALEXANDRE CALAME (1810–1864) Two Alpine Views: Geneva and Mountain Village

Oil on panel, each of small cabinet scale, both bearing faint signatures of “Calame”. The first depicting a refined topographical view of Geneva with a bridge spanning the Rhône and Mont Blanc rising in the distance; the second showing an Alpine village nestled between twin peaks, likely in the Austrian or Swiss regions. Executed with delicate precision and a restrained palette, these works reflect the commercial adaptation of Calame’s influence within mid-19th century European studio practice. While lacking the dramatic scale and chiaroscuro of the master’s autograph works, the paintings exemplify the period’s demand for finely rendered Alpine views intended for collectors and travelers. Presented in matching period-style frames, the pair forms a cohesive and decorative ensemble representative of the wider Calame circle. Estimate: $3,000 – $5,000 (the pair)