P.G. Ruskin Company LLC Prints

Jean François Millet (French, 1814–1875) La Couseuse (The Seamstress), circa 1855 Etching in dark brown ink on laid paper A quietly powerful etching by the renowned French Realist J...

Jerome Myers (American, 1867–1940) "Virginia Modeling," ca. 1912–1920 Hand-colored etching on paper, pencil signed Jerome Myers imp. with pencil notation on the back left corner of VIRGINIA MODELING Possibly an artist’s proof outside the edition of 50 Description: An exceptional and intimate hand-colored etching by Jerome Myers, a foundational member of the Ashcan School and one of early 20th-century America’s most lyrical chroniclers of urban life. Virginia Modeling depicts Myers’s young daughter seated at a table forming a small clay figure beside a lush floral arrangement—a tender scene of childhood creativity rendered with the artist’s characteristic delicacy. This composition is based on a 1912 preparatory drawing now held in the Cooper Hewitt Smithsonian Design Museum. The etching was created around 1920 and is hand-colored in subtle tones, likely by the artist himself or in collaboration with his wife, artist Ethel Myers. The work is pencil signed and marked imp, indicating that the artist printed or supervised the printing of this impression himself—suggesting a personal connection to this particular work. Virginia Myers...

Artist: Eugène Pechaubès (French, 1890–1967) Titles: India – Body Guards – Officer and 1er Empire Garde Impériale – Trompette du 2e Lanciers Medium: Offset lithographs or gravure wit...

"Dancer” – Artist’s Proof Serigraph by Bertha Vincent Walls (American, 1917–2010) Bertha Vincent Walls (American, 1917–2010). Edition: Artist’s Proof (A.P.), pencil signed lower right, edition notation lower left. A striking silkscreen print by noted American artist Bertha Vincent Walls, whose work explores dynamic human forms through bold color blocking and dramatic silhouette. In Dancer, a muscular male figure is caught mid-leap, arm raised with theatrical flair against an abstract red and ochre background. The visual tension between motion and stillness reflects Walls’ deep engagement with modern dance, movement, and the expressive human body. This vibrant Artist’s Proof exemplifies the artist’s command of color and form in mid-century printmaking. Attribution Note: Stylistically, Dancer aligns with the mid-20th-century figurative expression seen in the works of Charles Wilbert White...

Lakwena Maciver (British, b. 1986), The Best is Yet to Come, 2017 Silkscreen in colors with foil stamping on Kodak paper. Signed and dated lower right, numbered 40/100 lower left. Un...

Set of Four 18th Century Animal Engravings After Jacques E. de Sève, Framed A beautifully presented set of four 18th-century animal engravings after Jacques Eustache de Sève (French...

Collection of 19th Century American and European Lithographs & Engravings Featuring Native American Subjects A compelling group of four framed 19th-century prints, including two fin...

1960's Salvador Dalí's Cerberus Inferno 6, is part of Dalí’s larger series of illustrations for Dante Alighieri’s Divine Comedy. This series was commissioned to mark the 700th annive...

Late 20th C, England, a set of three reproduction prints depicting architectural engravings based on the temples found at Kew Gardens, London. The designs are attributed to Sir Willi...

Gustavo Novoa (Chilean-American, b. 1941), "Interlude", a lithograph pencil signed, titled and numbered "5/275" lower margin, matted and framed under glass, This Gustavo Nova litho...

Artwork titled "The Susquehanna" by Caroline Stone (American, b. 1936) is an etching with color on paper, created in 1983. The piece is signed and numbe...

Jack Duganne (American, 1942-2020), "Hebridas", a serigraph on heavyweight wove paper. An ethereal mountainscape in colors ranging from golden yellow to brownish mauve. It is pencil ...

Ibram Lassaw (Egyptian/American, 1913-2003), a striking monochrome lithograph, untitled, from Peace Portfolio I, pencil signed and dated "Lassaw, 1970", and numbered "67/175", with a...

Fabio Hurtado (Spanish, b. 1960), "Montreaux Crossing" is a limited edition serigraph on deckle edge paper, numbered 94/385. It is nicely framed and matt...

[English Gentlemen], from Vanity Fair chromolithograph, on wove papers. Printed by Vincent Brooks Day & Son., with various dates from 1875 to 1897. Professionally framed with black and gilt frames and beige silk mats, with margins, apparently in excellent condition, not examined out of the frames. Vanity Fair was a weekly magazine published in London, founded & edited by Thomas Gibson Bowles. His aim was to expose to contemporary vanities of Victorian society. From 1868 to 1914, full page colour lithographs appeared in most weekly issues, frequently lampooning or lauding their subjects which included artists, athletes, royalty, politicians, scientists, authors, actors, sportsmen, lawyers, diplomats, soldiers, clergy, scholars and other celebrities of the day - mostly British, but also many other internationally significant personalities. Over 2,300 of these colour cartoons were printed, and they are considered the chief cultural legacy of the magazine, forming a pictorial record of many of the most significant public figures of the period. They are renowned throughout the world and highly collectible and recognisable. Famous artists contributed to Vanity Fair, typically under pen names. The best remembered today is Leslie Ward (1851-1922), who signed his works as "Spy", and whose caricatures account for well over half of those featured in Vanity Fair. So famous have these fabulous prints become, Vanity Fair caricatures today often are referred to simply as "Spy Cartoons...

A framed set of 13 pages from "The Lu Lu Alphabet", a chapbook from 1851 published by Samuel Ragnot, NYC. This set comprises the letters N through Z, each with a short rhyming descri...

A framed set of 13 pages from "The Lu Lu Alphabet", a chapbook from 1851 published by Samuel Ragnot, NYC. This set comprises the first letters A through M, each with a short rhyming ...

After Montague Dawson (British, 1895-1973), colour lithograph, matted and framed under non-glare glass. "The Thermopylae Leaving Foochow", published 1962 Frost & Reed Limited of Bristol & London, England. Born in Chiswick in West London in 1895, Montague Dawson was the grandson of the eminent Victorian landscape painter Henry Dawson (1811-1878). He studied under the celebrated seascape artist Charles Napier Hemy (1841–1917) at the Royal Academy and also worked in an art school in Bedford Row. Dawson joined the navy...

Philip Tarlow, an American Postwar and Contemporary painter who was born in 1940. New York City lithograph of Grand Central Terminal (1984), p...

From Selby's Illustrations of British Ornithology (London: 1841-1846). Likely a restrike printing (20th c.,) hand-colored prints, embossed with plate marks, includes two after Pridea...

Selby's Illustrations of British Ornithology (London: 1841-1846). Likely a later restrike printing (20th c.,) hand-colored prints, embossed with plate marks, includes: "Eider Duck, M...

After Samuel A. Kilbourne (American, 1836-1881), "Game Fishes of the United States", uniformly matted and framed under glass. Clockwise from upper left, The Mackerel, The Spanish Mackerel. The Weakfish, The Sea Bass...

After Samuel A. Kilbourne (American, 1836-1881), "Game Fishes of the United States", uniformly matted and framed under glass. Clockwise from upper left, The Kingfish and The Whitin...

After Montague Dawson (British, 1895-1973), colour lithograph, matted and framed under non-glare glass. "Horn Abeam", Sir Francis Chichester's yacht Gypsy Moth IV published in 1967 b...

American 1945, a striking offset lithograph of "Dauntlesses" flying on their way to the Battle of Midway during the second World War." Below the illustration is an inscription reading "A few against many, Dauntlesses from far-off carriers race to the Battle of Midway, June 1942", signed in ink "Frank Lemon...

Antique German architecture print on heavy paper showing an illustration of a portion of a ceiling painting in the Uffizi Gallery, Florence, 16th centur...

Early 17th century, French hand colored equestrian engraving. After Antoine de Pluvinel (French, 1552-1620), "Henry IV, Mounted", figure 42 from "L'Instruction du Roy en l'Exercice de Monter a Cheval", c. 1625, matted and framed under UF-3 plexiglass (blocks approx. 97% of UV) , gallery label verso. Figures from this publication have sold at Christie's. Those were not hand colored. A highly detailed engraving with the French King Henry 1V the central figure. Mounted on horseback, Le Roy (the King) is watched by no less than 10 courtiers some of whom are mounted on horseback, all of which are named in the engraving. Antoine de Pluvinel (1552, Crest, Dauphine - 24 August 1620) was the first of the French riding masters, and has had great influence on modern dressage. He wrote L’Instruction du Roy en L'exercice de Monter à Cheval ("instruction of the King in the art of riding"), was tutor to King Louis XIII, and is credited with the invention of using two pillars, as well as using shoulder-in to increase suppleness. In 1594, Pluvinel founded the "Academie d'Equitation" near what is now Place des Pyramides. There, the French nobility was trained not only in horsemanship, but also in all the accomplishments (dancing, fashionable dressing, etc.) It can be said that Pluvinel's influence on the aristocracy lasted from the late 16th century to the 17th century. Richelieu, the future Prime Minister of King Louis XIII attended the Academie; so did William, Duke of Cavendish. Pluvinel's book was published posthumously by the Flemish engraver Crispijn van de Passe II and the royal valet de chambre...

18th century German, a hand-colored engraving of a dressage horse and rider from Description du Manège Moderne by Friedrich Wilhelm, Baron Rais d' Eisenberg (German, ca. 1700-ca. 1770). Engraved by Bernard Picart (French, 1673-1733). Titled "Le Brillant", this dressage engraving is plate XXXIII. There is a gallery label verso. The print is matted and framed under UF-3 plexiglass, which offers the maximum amount of UV protection (approx. 97%). This print was originally part of an illustrated book Baron d'Eisenberg made describing the art of the cavaliers and depicting the different breeds of horses- The full title of the book is L'Art de Monter a Cheval: ou Description du Manége Moderne, Dans sa Perfection, published in Leipzig: Arkstée et Merkus, 1747). A set of 7 framed engravings from the same book sold at Sotheby's for $9,500 (plus tax and buyers premium). Reference: The author, a German horseman and artist, spent some of his youth at the manège of Saxe-Weimar before entering into the service of the Emperor. He then spent six years in Naples as the Master of Horse of the Viceroy before returning to Vienna where he studied under M. de Regenthal, the imperial Master of Horse. He participated in the coronation of the Emperor Charles V at Frankfurt in 1711, then spent some time in England, but was back in Germany before 1753. He probably died in Tuscany where he was Director and Master of the Horse at the Academy in Pisa. Brunet II, 957; Mennessier de la Lance I, p. 438. The Baron wrote several important and lavishly illustrated books on horses: his Description du manège moderne dans sa perfection, London 1727, and Dictionnaire des termes du manège moderne, 1747, being the best well-known. He dedicated Description du Manège Moderne to King George II and to his son, His Royal Highness the Prince of Wales. Subscribers to the book included royalty and nobility from all over Europe. The engraver was Bernard Picart, born in Paris in 1673. He gained honors at the Academy of Paris at the age of sixteen. He was a master designer and engraver and worked in Paris and Amsterdam until his death in 1733. Dimensions: 9"h x 12"w (sight), 16.5"h x 19.25"w (frame) Condition: Good, some rippling to sheet, not examined out of frame. Provenance: Lombard Antiquarian Maps & Prints, Cape Elizabeth...