Arms, John TaylorBiblio.com
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19314731931. Etching and drypoint on cream-colored handmade laid paper with deckle edges 7 1/4 x 6 3/4 inches 185 x 171 mm edition of 100 full margins. Signed dated and numbered "Ed. 100" in pencil lower margin second state of three. Printed by Henry Carling New York. Extremely minor mat tone and some inky residue in the top right corner all unobtrusive and well outside of image area. An exquisite impression of this intricate image with astonishing detail and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. <br /> <br /> Illustrated: Dorothy Noyes Arms Hill Towns and Cities of Northern Italy p. 180; Anderson American Etchers Abroad 1880-1930; Eric Denker Reflections & Undercurrents: Ernest Roth and Printmaking in Venice 1900-1940 p. 116. <br /> <br /> Fletcher 233. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. <br /> <br /> In its most modern incarnation Palazzo dell'Angelo was constructed in or around 1570. The building which has a rich and storied history was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited as they are today. Having a background in architecture there's no question that Arms was moved by the beauty history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture and that is the fact that he focused on the building's Moorish entranceway balustrade and two mullioned windows and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture even documenting some of the remnants of a fresco and a funerary stele for the freedman Tito Mestrio Logismo and his wife Mestria Sperata visible above the water level to the left of the door behind the gondola which was first described in 1436. <br /> <br /> Among the many notable bits of history regarding the Palazzo it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements but not entirely to history. The empty frame-like structure appearing in the brickwork to the left of the doorway an area which now lays oddly bare would have originally housed a fresco but now sits like a ghost where an untold number of eyes once gazed at something beautiful. Most famously however is the story of the origin of a small hole which appears in the facade of the building atop the figure of the bas-relief angel. Folklore has it that in 1552 Friar Matthew Bascio was invited to dinner by the Pallazzo's then resident Iseppo Pasini. Pasini was a very successful albeit unscrupulous attorney who made his fortune exploiting the poor. Pasini's exploits were so egregious it was rumored that he was perhaps under the influence of an evil spirit. The disturbing legend says that to his complete surprise when Friar Bascio was seated to dine that night he was waited upon by Pasini's bewitched pet monkey who he recognized immediately as the Devil himself. Upon this recognition Bascio was moved to squeeze the table cloth with his hand and saw that blood had leaked out of the linen. In this moment he cast the demon out of the house and during its departure the Devil made a hole in the wall through which he fled. It is said that the angel was placed in the facade below the hole to prevent the spirit from reentering. The hole is visible to this day above the angel on the building which still stands along a small canal behind the Piazza San Marco. After the building's Neoclassical remodel it served at the the senatorial residence of Italy's noble Ratta family. <br /> <br /> Arms's Palazzo dell'Angelo was awarded the Member's Prize at the 22nd Annual Exhibition Chicago Society of Etchers Art Institute of Chicago 1932. unknown
19259111925. Etching on antique cream laid paper 1 7/8 x 3 1/8 inches 49 x 79 mm full margins. Signed dated and titled in pencil lower margin. From the edition of 150 impressions printed by Arms and Frederick Reynolds in 1925. An additional 25 impressions were printed 1938 by David Strang at Henry Carling's studio in London. In excellent condition with some minor handling creases.<br /> <br /> Fletcher 160. Miniature Series No. 11<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
199386110Academy. New. 1993. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 116 pages; 71 illustrations. -- with a bonus offer-- . Academy paperback
194022851940. Etching on antique watermarked fine Barcelona cream laid paper 1 7/8 x 2 /12 inches 49 x 64 mm full margins. Signed dated and inscribed "II" in pencil in the lower margin. In excellent condition with a 3-digit accession number written in pencil in the lower margin on the recto. Likely one of only 16 proof impressions of the second state of 2 aside from the regular edition of 276. Printed by Charles S. White. Miniature Series #27; Yucatán Series No. 1. <br /> <br /> Fletcher 344. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
1930194London: Henry Carling 1930. Etching on cream laid paper 1930. 7 1/2 x 3 7/8 inches 190 x 970 mm full margins. Signed and inscribed "Edition 100" of a total of 101 in pencil lower margin. In very good condition with minor surface soiling from handling no visible defects. Plate #17 from The Italian Series. <br /> <br /> Fletcher 230 ii. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. Henry Carling unknown
19468241946. Etching on light cream wove paper 2 5/8 x 2 11/16 inches 68 x 69 mm full margins. Signed titled and inscribed "IV" in pencil lower margin. Likely a proof impression of the third state of 4 printed by David Strang. With the John Taylor Arms ink stamp in black ink in the lower-center margin on the recto not in Lugt. In superb condition with a tab of linen tape at both the top and bottom corner on the left sheet edge verso. <br /> <br /> Fletcher 397. According to Fletcher Arms spent 103 1/2 hours on the creation of the plate. <br /> <br /> No. 36 from the Miniature Series. unknown
1946927Kansas City: Miniature Print Society 1946. Etching on antique cream laid paper 3 5/16 x 1 7/8 inches 84 x 49 mm full margins. Signed by the artist and with a "#" in pencil the area of the left margin. A proof impression aside from the edition of 260 printed by David Strang for the Miniature Print Society Kansas City Mo. With the John Taylor Arms collection ink stamp in black on the lower-center margin on the recto. Mounting tape tabs at the top right and left corners well outside of image area as well as some marginal toning. There is a 19th century inscription in brown ink on the verso which predates the impression. Miniature series no. 34. <br /> <br /> Fletcher 398. Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. Miniature Print Society unknown
194612651946. Etching on cream wove paper 3 5/16 x 1 7/8 inches 84 x 49 mm full margins. Signed dated and inscribed "II" in pencil lower margin. Likely one of eight trial proof impressions from the second state of 2. From a total edition of 305; 260 of which were published by the Miniature Print Society Kansas City MO. Printed by David Strang. <br /> Miniature Series No. 37.<br /> <br /> Fletcher 398. unknown
13105Arms John Taylor. PUERTA DEL OBISPO ZAMORA THE BISHOP'S DOOR ZAMORA. Fletcher 266. Etching 1933. Edition 160 of which this is likely one of the 25 printed by Rigal in 1933 135 were printed in 1937-38 by Strang. Listed by Flether as one of Arms' "Preferred Plates." Spanish Church Series #9. 12 1/2 x 7 1/8 inches 318 x 183 mm. plate framed to 23 x 17 1/4 inches. In excellent condition. unknown
19418161941. Etching on fine cream laid paper 7/16 x 5/8 inches 11 x 17 mm full margins. Signed dated and inscribed illegibly in pencil below the image and titled in pencil lower margin. A proof impression aside from the total regular edition of 635 signed impressions. A wonderful impression of this miniature work with minor toning. <br /> <br /> Fletcher 363. Fletcher states that there is no effort made to distinguish between the various signed and unsigned prints and editions of this work because of the discrepency between practice and the notes of Arms. <br /> <br /> Minature Series No. 29<br /> Christmas Card Series No. 21<br /> Mexican Series No. 2<br /> Brooch Series No. 6<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
1927103341927. Arms John Taylor. Arms John Taylor. ROCAMADOUR. Etching 1927; Fletcher 186; 13 3/4 x 9 5/8; signed titled and annotated "II" for Second State;" edition 100 in this state of a total edition of 150. This is #10 of the French Church Series. In excellent condition and nicely framed. The Calvary church at Rocamadour in the Auvergne was "perhaps the greatest pilgrimage spot of the twelfth cantury." The town is built vertically into the hillside. When John and Dorothy Arms visited the church "it was first necessary to go into our hotel by the front door climb three flights of stairs and go out by the roof.past a little garden.then on to the winding path which leads from one Station of the Cross to another." Dorothy Noyes Arms Churches of France Macmillan 1929 Pp 103-106. unknown
192620491926. Etching on extremely delicate antique Japon laid paper 12 x 5 305 x 127 mm; sheet 15 3/4 x 7 1/8 inches 400 x 178 mm full margins. In very good condition. A magnificently detailed and rich impression with rich burr and good inking on rare paper. Fletcher states that even though the plate was completed in 1926 it was not published until 1927.<br /> <br /> Fletcher 189. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
192710441927. Etching on antique wove Catalunya-Spain watermarked paper 12 x 5 inches 305 x 127 mm full margins. Signed and dated in pencil lower margin. In excellent condition with light toning along the left margin outside of the image area. An impression from the regular edition of 120 printed by Frederick Reynolds. <br /> <br /> Fletcher 189. Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. <br /> <br /> -William Dolan Fletcher A Man For All Times p. 15. unknown
19262701926. Etching on F.J. Head & Co. watermarked cream laid paper 8 1/8 x 7 5/8 205 x 184 mm full margins. Edition of 150. Signed and dated in pencil lower margin. Illustrated in Dorothy Noyes Arms Churches of France p. 50; Fine Prints of the Year 1925.<br /> <br /> Fletcher 162. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
192720451927. Etching on antique blueish-gray antique laid paper with an unknown crown watermark 10 1/2 x 6 7/8 inches 268 x 175 mm; sheet 13 3/8 x 8 5/8 inches 349 x 224 mm full margins. Signed and dated in pencil in the lower right margin. From the published edition of 110 impressions printed by Frederick Reynolds. In superb condition with excellent detail and inking. Minor light toning at the extreme sheet edges and printing creases in the lower margin. A fine impression. French Church Series No. 15. Illustrated on p.136 Dorothy Noyes Arms Churches of France<br /> <br /> Fletcher 195. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
193210421932. Etching on elaborately watermarked antique cream laid Dard Hunter paper 13 5/8 x 7 1/78 inches 347 x 181 mm full margins. Signed titled dated and inscribed "Ed. 100 II." From the edition of a total of 162 impressions printed by Henry Carling in 1932. In excellent condition with natural toning and no visible defects. A fine impression with all of the fine lines printing cleary.<br /> <br /> Fletcher 248; French Church Series No. 34. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. unknown
193323431933. Etching on cream laid paper 6 7/8 x 4 7/8 inches 178 x 127 mm; sheet 11 7/8 x 8 3/16 inches 302 x 213 mm full margins. From Demonstration Series #32. Printed on January 14 1933 at The University of New York City and inscribed in pencil "To Mr. and Mrs. Kennedy with my compliments John Taylor Arms 1933 Demonstration." In excellent condition. A very scarce work from an edition of less than 20 impressions. <br /> <br /> Fletcher 255. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
19336141933. Ecthing in black ink on cream laid paper with a partial watermark 6 7/8 x 4 7/8 inches 174 x 125 mm full margins. In excellent condition. A very scarce work from an edition of less than 20 impressions. Signed dated and inscribed in pencil lower margin. From the Demonstration Series. <br /> <br /> Fletcher 255. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
194410151944. Etching on bluish-grey antique laid paper 5 x 3 5/8 inches 127 x 93 mm signed dated and inscribed "III" in pencil lower margin. A proof impression from the third state of 3 after the reduction of the plate and before the regular edition of 72. Printed by David Strang. In very good condition with some minor reddish toning around the extreme sheet edges and in a stripe occurring diagonally across the top sheet area all well outside of image area.<br /> <br /> Fletcher 340B. Demonstration Series No. 93<br /> Mexican Series No. 1 3rd state<br /> <br /> Note: Fletcher states that there is confusion regarding the third state in its edition. On prints in the Arms family collection the size is 3 proofs plus an edition of 36 however Fletcher reports that in 1949 Arms told him there were only two proofs and an edition of 72. Fletcher states to own an impression of this work which is annotated "III Ed. 72."<br /> <br /> Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave.<br /> <br /> The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia.<br /> <br /> His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
1926142571926. Arms John Taylor. Arms John Taylor American 1887-1953. SHADOWS OF VENICE - IL PONTE DI RIALTO VENEZIA. Etching 1930. Edition of 140 14 Artist's Proofs. 10 x 12 inches Plate 11 3/8 x 157/8 inches sheet. Signed in pencil and inscribed "Edition 100." Fletcher 229. Printed by Henry E. Carling on green laid paper. In excellent condition. This is Number 16 of Arms' Italian Series. It is illustrated: Dorothy Noyes Arms Hill Towns and Cities of Northern Italy p. 208; The Print Collector's Quarterly 21 1934 at page 136; Fine Prints of the Year 1931 and Eric Denker Reflections & Undercurrents: Ernest Roth and Printmaking in Venice 1900-1940. This print. was the Arms submission for his application toThe Royal Society of Painter-Etchers in 1934. unknown
19304981930. Etching and aquatint on antique laid paper 10 1/4 x 12 1/8 inches 262 x 308 mm wide margins. Signed dated and inscribed "Edition of 100" in pencil lower margin. Second state of 2. A rich and inky impression of this extraordinary image. Bottom edge is irregularly trimmed with the Conseil Départemental de la Haute-Garonne's tarriff stamp on the verso in two places. Areas of minor toning paper tape hinges at the top sheet edge some minor scattered surface soiling.<br /> <br /> Fletcher 229ii/II <br /> Illustrated: Page 208 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy". Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
191910351919. Etching on antique cream laid paper with a partial watermark likely Arches 12 1/8 x 6 1/8 inches 308 x 156 mm full margins. Signed and dated in pencil in the lower right margin. First state of 6. One of only approximately 23 impressions before steel facing printed by Frederick Reynolds. Minor area of rubbing in the top right corner of the image area along with some general age tone and a few inscriptions in pencil in the lower margin well outside of the image area. The impression itself is rich and extremely detailed with excellent inking and rich burr. <br /> <br /> Fletcher 32. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. An impression of this work may be viewed in the permanent collection of the Smithsonian Museum of American Art. unknown
193920361939. Etching on blue laid watermarked "Hand Made" paper 7 3/8 x 3/14 inches 188 x 83 mm; sheet 11 1/2 x 8 1/4 inches 292 x 209 mm full margins. Signed dated and inscribed "II" in pencil in the lower margin. From a small unknown number of second state of 3 proof impressions aside from the regular 3rd state edition of 210. Printed by David Strang. A truly superb impression with no visible defects. According to Fletcher this image is based on a drawing done by Arms on October 4 1936. <br /> <br /> Fletcher 323. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
193922841939. Etching on cream wove paper 2 3/8 x 3/14 inches 61 x 83 full margins. Signed dated and inscribed "IV" in the artist's hand. In superb condition with the numerals "365" written in pencil in the lower right corner well outside of the image area. Fletcher states only two trial proofs this is perhaps an unrecorded proof aside from the additional edition of 101 printed by David Strang. <br /> <br /> Fletcher 324. This plate was the section cut from Stanwick becoming a separate plate after the additional work had been done on it edges beveled. William Dolan Fletcher p 206. unknown
193912691939. Etching on cream wove paper 2 3/8 x 3 1/4 inches 61 x 83 mm full margins. Signed dated and inscribed "IV" in the artist's hand. In very good condition. Fletcher states only two trial proofs this is perhaps an unrecorded proof aside from the additional edition of 101 printed by David Strang. <br /> <br /> Fletcher 324. This plate was the section cut from Stanwick becoming a separate plate after the additional work had been done on it edges beveled. William Dolan Fletcher p 206. unknown
