Want more images or videos?
Request additional images or videos from the seller
1 of 5
Rudolph RuzickaThe Brooklyn Bridge1915
1915
About the Item
Born in Bohemia in what is now the Czech Republic, Rudolph Ruzicka emigrated to the United States when he was ten years old. His family settled in Chicago, where Ruzicka worked as a wood engraver and took classes at the Art Institute of Chicago. In 1903, he moved to New York to work as a wood engraver for a bank note company, remaining there until the 1940s, when he left for Massachusetts and, eventually, Vermont.
Ruzicka was an important printmaker, typeface designer, graphic artist, and book designer. Ruzicka designed typefaces and illustrations for the Merrymount Press, and for fifty years, produced typeface designs for Mergenthaler Linotype Company, including the typeface families of Fairfield, Lake Informal, Primer, and Ruzicka Freehand. In 1935, he won a gold medal from the American Institute of Graphic Arts.
- Creator:Rudolph Ruzicka (1883-1978, American)
- Creation Year:1915
- Dimensions:Height: 7.38 in (18.75 cm)Width: 7 in (17.78 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Established in 1952
1stDibs seller since 2010
32 sales on 1stDibs
Typical response time: 7 hours
Associations
Art Dealers Association of America
- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyThis item cannot be returned.
More From This SellerView All
- BrooksideLocated in New York, NYSigned (at lower right): C A WalkerCategory
Late 19th Century American Realist Landscape Prints
MaterialsMonotype
- Glebe House, MorningBy Randall ExonLocated in New York, NYUnframedCategory
2010s Contemporary Landscape Prints
MaterialsGouache, Monotype
- Strawberries Strewn on a Forest FloorBy William Mason BrownLocated in New York, NYWilliam Mason Brown was born in Troy, New York, where he studied for several years with local artists, including the leading portraitist there, Abel Buel Moore. In 1850, he moved to ...Category
19th Century American Realist Landscape Paintings
MaterialsCanvas, Oil
- Saint-Malo, BrittanyBy William Stanley HaseltineLocated in New York, NYThe career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began his art studies with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...Category
19th Century American Realist Landscape Paintings
MaterialsCanvas, Oil
- Figure in a LandscapeBy David JohnsonLocated in New York, NYSigned (at lower right): DJ [monogram]; (on back): David Johnson 1865Category
Mid-19th Century American Realist Landscape Paintings
MaterialsOil, Board
- San Gio, ComoBy Eleanor Parke CustisLocated in New York, NYEleanor Park Custis painted scenes as varied as the artist's travels: from her hometown of Washington, D.C., to the coastal towns of New England; from the prosperous fishing villages of Brittany, to Venice and the mountain villages and lakes of northern Italy. While Custis's subjects are diverse, her style is consistent and distinctive throughout this body of work. Her use of flat areas of color delineated by dark contours is reminiscent of the aesthetics of woodblock printing. Like many artists of the day, she was profoundly influenced by Japanese woodblock prints, and her adaptation of the aesthetic by 1924 led to her most productive artistic period. Eleanor Custis hailed from a socially prominent Washington, D.C., family. She was distantly related to Martha Custis Washington, America's first First Lady. Custis began three years of formal art training in the autumn of 1915 at the Corcoran School of Art in Washington, and was guided and inspired by Impressionist artist Edmund C. Tarbell, one of the Ten American Painters, who became the Corcoran School's principal in 1918. Custis exhibited widely in many of the Washington art societies and clubs for much of her career. She was also a frequent exhibitor at the Grand Central Art Galleries in New York City; her last one-woman show there was in April 1945. Custis's mature style emerged in scenes of the streets, wharves, and drydocks of seacoast villages from Maine to Massachusetts, which she visited during the summers of 1924 and 1925. She was working in Gloucester, Massachusetts in August 1924, and painted several gouaches of the town's wharves and winding streets, including In Gloucester Harbor and At the Drydock, Gloucester. During her stay, Custis may have met Jane Peterson or at least must have seen her work, the best of which was executed in Gloucester during the preceding ten years. The similarity between their styles is unmistakable, but, while it may be tempting to suggest that Custis was influenced by Peterson during her summer in Gloucester, the connection between their work is probably more a case of shared aesthetics and common European influences. Custis expanded her subject repertoire with three trips to Europe between 1926 and 1929, and was inspired by the Old World charm of Holland, northern France, Switzerland, and Italy, leading to such works as New Kirk, Delft, Holland, Market Day in Quimper, At the Foot of the Matterhorn, and The Town Square, Varenna. A Mediterranean cruise in 1934 introduced her to the Near East, and the bustling, colorful streets and bazaars of Cairo, captured in works like A Street in Cairo, Egypt and A Moroccan Jug...Category
20th Century American Realist Landscape Drawings and Watercolors
MaterialsPaper, Gouache
You May Also Like
- Walking in the WoodsBy Frank Arthur NankivellLocated in New York, NYFrank Arthur Nankivell (18691959), [Walking in the Woods at Night], drypoint, c. 1910, signed in pencil lower right. Printed on a cream laid paper. In good condition, with margins (s...Category
1910s American Realist Landscape Prints
MaterialsDrypoint
- 12th Street Walls — 1940s New York CityBy Armin LandeckLocated in Myrtle Beach, SCArmin Landeck, '12th Street Walls', etching, edition 100, first state, 1944, Kraeft 93. Signed in pencil. Initialed in the plate lower left. A superb, early impression, with all the ...Category
1940s American Realist Landscape Prints
MaterialsDrypoint
- Manhattan NocturneBy Armin LandeckLocated in Myrtle Beach, SCA superb, richly-inked, early impression, in warm black ink, on cream wove paper; the full sheet with wide margins (1 1/2 to 1 3/4 inches). Signed in pencil and dedicated by the art...Category
1930s American Realist Landscape Prints
MaterialsDrypoint
- Shadows, Garage at NightBy Martin LewisLocated in New York, NYMartin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...Category
1930s American Realist Landscape Prints
MaterialsDrypoint
- Tree, ManhattanBy Martin LewisLocated in New York, NYMartin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impress...Category
1930s American Realist Landscape Prints
MaterialsDrypoint
- Rainy Day, QueensBy Martin LewisLocated in New York, NYMartin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...Category
1930s American Realist Landscape Prints
MaterialsDrypoint