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Arms, John Taylor
Dorothy and John Taylor Arms M.D. MCMXXV; Spanish Jewelry; Bijou D'Espagne
1925. Etching on cream wove paper 5 7/8 x 3 3/8 inches 150 x 86 mm. Signed and dated in pencil in the lower margin. First state of 2 before the removal of the inscription in the lower margin. Likely a signed trial proof aside from the editon of 258 Christmas Card impressions. Printed by David Strang. <br /> <br /> Fletcher 171. unknown
Referenz des Buchhändlers : 1264
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Arms, John Taylor
DOWNTOWN NEW YORK
Arms John Taylor American 1887-1953. DOWNTOWN NEW YORK. F.108. Etching and Aquatint 1921. Edition of 75. Numbered 19/75 and signed and dated 1921 all in pencil. 8 3/8 x 4 7/8 inches 214 x 125 mm plate plus margins. Framed to 16 1/4 x 12 1/2 inches with the label of The Old Print Shop.In excellent condition. unknown
Referenz des Buchhändlers : 13880
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Arms, John Taylor
Eglise Notre Dame Les Andelys
Miniature Print Society 1946. Etching and drypoint on greenish cream wove paper 3 1/4 x 1 15/16 inches 81 x 48 mm full margins. Signed dated and inscribed "III" in pencil. Number 46 from the French Churches series; number 37 from the Miniature series. In superb condition with all of the fine lines printing clearly. With the John Taylor Arms collectors stamp in the lower-center margin. <br /> <br /> Fletcher 409. 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. Miniature Print Society unknown
Referenz des Buchhändlers : 633
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Arms, John Taylor
Estaing Aveyron
1947. Etching on antique cream laid paper with a partial indiscernible watermark 2 7/8 x 2 1/2 inxhes 74 x 64 mm full margins. Signed dated and inscribed "III" in pencil lower margin. A trial proof impression from the first state of 2 aside from the regular edition of 204 printed by Charles S. White assisted by the artist. In excellent condition with minor uniform age tone. <br /> <br /> Fletcher 409. Miniature Series No. 39<br /> French Church Series No. 48<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
Referenz des Buchhändlers : 825
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Arms, John Taylor
Etching of the Herbert Lowell Dillon Gymnasium at Princeton NJ
Princeton NJ 1947. The total edition was 356 examples of which 53 were destroyed. 8 1/2 x 9 3/4" 15 x 20 inches matted. Signed in pencil in lower right corner "John Taylor Arms 1947". Inscribed in pencil in lower left corner "To J. From John Taylor Arms 1948" very slight foxing to matte else fine condition. The total edition was 356 examples of which 53 were destroyed. 8 1/2 x 9 3/4" 15 x 20 inches matted. A very detailed etching typical of the meticulous style of Arms renowned for his prolific printmaking specifically of Gothic architecture. <br /> <br /> Julian P. Boyd was a librarian 1940-52 and later history professor at Princeton University. His preservation work regarding the site of the Battle of Hastings led to his appointment of honorary Commander of the Order of the British Empire. His scholarship of The Papers of Thomas Jefferson edited from 1944 until his death have been deemed most influential and have set a new standard for reliability and accuracy in historical editing. unknown
Referenz des Buchhändlers : 308591
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Arms, John Taylor
Etching: French Lace West Portal of the Main Façade of the Church of Notre-Dame on the Place Notre Dame Villefranche-en-Rouergue Aveyron France. With cover leaf of text
New York: The Society of American Etchers Gravers Lithographers and Woodcutters Inc. Second State. Signed lower right "John Taylor Arms 1949 ". 19 x 14-1/2 inches. Fine. In envelope. Second State. Signed lower right "John Taylor Arms 1949 ". 19 x 14-1/2 inches. The Society of American Etchers, Gravers, Lithographers and Woodcutters Inc unknown
Referenz des Buchhändlers : 53185
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Arms, John Taylor; Ellen E Endslow (fwd), Roberta Hodgson (fwd)
Fairfield Printmaker John Taylor Arms: Visions of Home and Abroad
Fairfield: Fairfield Historical Society 1997. 8vo. c. 30pp. Very good. Black and white plates color cover. Fairfield: Fairfield Historical Society, 1997 unknown
Referenz des Buchhändlers : 73-1192
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Arms, John Taylor
Fiesole; An Ancient Tower Fiesole
1925. Etching on antique cream laid paper 7 7/8 x 5 1/8 inches 201 x 130 mm full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil lower right. Arms was assisted in the completion of this plate by Kerr Eby. In excellent condition with no visible defects to the sheet archival paper tape hinge at the top sheet edge affixed at the verso. <br /> <br /> Fletcher 169<br /> Illustrated: Page 86 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
Referenz des Buchhändlers : 495
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Arms, John Taylor
Fiesole; An Ancient Tower
1925. Etching on antique cream laid paper 7 7/8 x 5 1/8 inches 201 x 130 mm full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil lower right. Arms was assisted in the completion of this plate by Kerr Eby. In very good condition with minor toning otherwise no visible defects to the sheet archival paper tape hinge at the top sheet edge affixed at the verso. <br /> Fletcher 169 <br /> Illustrated: Page 86 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy. unknown
Referenz des Buchhändlers : 974
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Arms, John Taylor
From the Ponte Vecchio Florence
1925. Etching and aquatint on hand made F.J. Head & Co. watermarked cream laid paper 11 1/8 x 15 1/4 inches 281 x 382 mm full margins. Signed and dated in pencil lower right margin. From the edition of 160 from a total of 165 impressions. 1/4-inch edge loss at extreme sheet edge lower right extreme sheet edge. Scattered light handling creases minor uniform age tone. A beautiful dark and inky impression of this large extremely detailed image with all the fine lines printing clearly.<br /> <br /> Fletcher 159.ii <br /> <br /> References:<br /> Arms Hill Towns and Cities of Northern Italy by Dorothy Noyes: p. 90<br /> The Print Collector's Quarterly 21 1934: p.130. 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
Referenz des Buchhändlers : 318
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Arms, John Taylor
Gloria in altissimis deo
1936. Etching on cream wove paper with a deckle edges 1 x 1 inch 24 x 24 mm full margins. Signed in pencil lower margin. Number 18 from the Christmas Card series; number 19 from the Miniature series. In excellent condition with all of the fine lines printing in astonishing detail. 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
Referenz des Buchhändlers : 2495
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Arms, John Taylor
Gloria in altissimis deo
1936. Etching on cream wove paper with a deckle edges 1 x 1 inch 24 x 24 mm full margins. Signed in pencil lower margin. Number 18 from the Christmas Card series; number 19 from the Miniature series. In excellent condition with all of the fine lines printing in astonishing detail. 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
Referenz des Buchhändlers : 632
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Arms, John Taylor
Gloria Saint Riquier; The Church of Saint Riquier; Gloria Ecclesiae Antiquae
1937. Etching on antique cream laid paper with an "England" watermark; 13 7/8 x 8 5/8 inches 353 x 221 mm full margins. Signed dated titled numbered "III" and inscribed in pencil. One of approximately 175 third state of 4 impressions before the inscription was removed. In superb condition. French Church Series No. 39. 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
Referenz des Buchhändlers : 1039
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Arms, John Taylor
Grim Orvieto
1926. Etching on watermarked FJ Head cream laid paper with a deckle edge 11 1/8 x 8 3/4 inches 283 x 223 mm; sheet 14 3/4 x 11 1/2 inches 374 x 292 mm full margins. Signed and dated in the lower margin in pencil. From the edition of 100 printed by Frederick Reynolds in 1926. In very good condition with scattered light areas of minor discoloration unobtrusive and only visible when the sheet is viewed through raking light. <br /> <br /> Fletcher 176. 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
Referenz des Buchhändlers : 2050
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Arms, John Taylor
Guardians of the Spire; Amiens Cathedral Number 2
New York 1937. Etching and drypoint on watermarked F.J. Head cream-colored antique laid paper 6 3/4 x 9 7/8 inches 171 x 252 mm full margins. Signed and titled in French in pencil in the lower margin edition of 75. Printed by Frederick Thomas Reynolds New York. Plate number 4 from the Gargoyle Series. One small round pea-sized spot of paper thinning perhaps an innate defect in the paper well outside of image area and completely unobtrusive. A dark inky and rich impression framed handsomely with archival materials and museum grade glass in a wood gilt frame with a garland and flower motif. <br /> Illustrated: Dorothy Noyes Arms Churches of France p.20. <br /> <br /> Fletcher 102. 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
Referenz des Buchhändlers : 471
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Arms, John Taylor
Jewelry Choir Stalls of the Cathedral of St Cecilia Albi; The Reredos St. Cecilia Albi
1938. Etching with aquatint on cream wove paper 1 3/4 x 5 inches 178x 127 mm full margins. Signed dated and inscribed "Ed. 150" in pencil lower margin. Second state of 3 before the addition of drypoint and the ornament on the reredos. Although this impression is inscribed with an edition number of 150 in the artist's hand Fletcher states an edition of 204 impressions of the second state before the added ornamentation on the reredos. Printed by David Strang. With an unidentified accession number written in pencil on the verso 73.27993. <br /> <br /> No. 21 from the Minature Series; No. 3 from the Brooch Series.<br /> <br /> Fletcher 316A. unknown
Referenz des Buchhändlers : 1263
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Arms, John Taylor, Fletcher, William Dolan
John Taylor Arms A Man For All Time: The Artist And His Work
The Sign of the Arrow. Collectible - Very Good. Condition: Very Good; Hardcover no dustjacket as issued. One of 1000 copies issued. Green cloth. 319 pages. A Catalogue Raisonne. The book is in Very Good condition with clean covers and pages sharp corners and a tight square binding. Light wear only. Photos upon request. The Sign of the Arrow hardcover
Referenz des Buchhändlers : 1509394
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Arms, John Taylor and [essay by Bassham, Ben L ]
John Taylor Arms : American Etcher Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee
Art Center. As New. 1975. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Corresponds to ASIN: B000VUMBAQ. 76 pages; 28 illustrations. Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Art Center paperback
Referenz des Buchhändlers : C86111
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Arms, John Taylor
John Taylor Arms: American Etchers V5
hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
Referenz des Buchhändlers : 125871535X.G ISBN : 125871535X 9781258715359
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Arms, John Taylor; Arthur W Heintzelman
John Taylor Arms: in Memoriam
Library. As New. 1954. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - 8 pages; 1 illustrations. -- with a bonus offer-- . Library paperback
Referenz des Buchhändlers : 86113
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Arms, John Taylor and [essay by Bassham, Ben L ]
John Taylor Arms American Etcher
Art Center. As New. 1975. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Corresponds to ASIN: B003X6154S. 76 pages; 28 illustrations. -- with a bonus offer-- . Art Center paperback
Referenz des Buchhändlers : 86112
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Arms, John Taylor and [essay by Bassham, Ben L ]
John Taylor Arms : American Etcher Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee
Art Center. As New. 1975. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Corresponds to ASIN: B000VUMBAQ. 76 pages; 28 illustrations. Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee -- with a bonus offer . Art Center paperback
Referenz des Buchhändlers : 86111
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Arms, John Taylor
La Bella Venezia
New York: John Taylor Arms 1930. Etching on antique cream laid paper with a fancy "G" watermark 7 1/8 x 16 1/2 inches 182 x 442 mm full margins. Signed dated and inscribed "Ed. 70" in pencil lower margin. From a total edirion of 81 plus 5 trial proofs. Printed by Henry E. Carling. Number 18 from the Italian Series. A superb impression of this scarce print with all of the subtleties and details of the reflections in the water printing clearly. <br /> <br /> Fletcher 232<br /> Illustrated: Page 192 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy". Along with his constant companion and wife Dorothy Noyes Arms spent decades exploring and documenting gothic structures throughout Europe. Noyes an accomplished travel writer had gifted Arms an etching set for Christmas in 1913 during the time that the couple called New York home. Arms having been trained in architecture was sparked and fascinated by the potential for exceptional precision that etching provided as a media. His immediate projects focused on the architectural wonderland that Manhattan presented but he quickly realized that it was no love affair for him. Jane Glaubinger PhD. Curator of Prints Cleveland Museum of Art quotes a manuscript owned by the Museum in which Arms confides "I can admire the skyscrapers of New York that unbelievable city which is a very gold mine for the architectural etcher but I do not love them and I cannot etch what I do not love." Glaubinger explains in her 2012 essay Images of Inspiration that Arms opined that the creation of art furthered the spiritual and moral improvement of mankind and he believed that Gothic cathedrals represented "the most significant expression of man's aspirations." Arms a dedicated and industrious devotee to detail saw printmaking as a vehicle for inspiring joy and uplift in contemporary society. Glaubinger continues "Over several decades Arms traveled throughout France Italy England and Spain drawing Gothic structures. These studies were the basis for the etchings he produced back in his Connecticut studio. Arms admired the craftsmanship of medieval art and aided by magnifying glasses used fine-gauge sewing needles set into wooden handles to draw the elaborate churches on copper plates. Extremely dedicated and industrious Arms rendered each building with exceptional precision spending 1000 hours or more on a single plate. He was a gifted draftsman and technical virtuoso who created compositions full of keenly observed details and nuanced light." <br /> <br /> Glaubinger Jane "Modern Gothic: The Etchings of John Taylor Arms" Cleveland Museum of Art 2012. John Taylor Arms unknown
Referenz des Buchhändlers : 482
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Arms, John Taylor
LA CHIESA BORGIO
Arms John Taylor. Arms John Taylor. LA CHIESA BORGIO. F. 178. Etching 1926. Edition of 106 printed by Frederick Reynolds. Signed "Arms 1926" in the plate and signed in pencil in the margin. This Number 7 in the Italian series and is illustrated on page 8 of Dorothy Noyes Arms' "Hill Towns and Cities of Northern Italy." 6 1/8 x 4 1/2 inches 156 x 115 mm. In excellent condition. unknown
Referenz des Buchhändlers : 11331
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Arms, John Taylor
LA COLEGAITA TORO
Arms John Taylor American 1887-1953. LA COLEGAITA TORO. Fletcher 284. Etching 1935. Edition of 153. Signed by Arms in ink lower right and inscribed by him in ink lower left "Private Collection b ii." In excellent condition. 9 3/4 x 12 3/4 inches 248 x 324 mm. plate framed to 18 3/4 x 21 1/2 inches. Spanish Church series #12. Fletcher lists this as one of Arms' "Preferred Plates" and which he apparently kept in his own collection. unknown
Referenz des Buchhändlers : 13103
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Arms, John Taylor
La Rue de Change Tours
1924. Etching on antique cream laid paper 5 x 2 inches 127 x 52 mm full margins. Signed and dated in pencil lower margin. From the editoin of 156 printed by Frederick Reynolds. In superb condition an excellent impression with good inking. <br /> <br /> Fletcher 141. 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
Referenz des Buchhändlers : 826
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Arms, John Taylor & Kerr Eby
La Rue Sauton Paris; Rue Sauton
1924. Etching on laid paper 13 1/2 x 7 1/2 343 x 191; sheet 16 1/2 x 11 inches 420 x 280 mm full margins. Signed and dated by Arms in the lower right corner. From the edition of 150 impressions printed in 1924 by Frederick Reynolds. Another edition of 50 impressions was subsequently printed by David Strang in 1938. According to Fletcher Arms mentioned a second state of the collaborative print but there appears to be no evidence of this in any known collection.<br /> <br /> Fletcher 144. 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
Referenz des Buchhändlers : 2320
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Arms, John Taylor
La Tour D'Horloge Dinan
1932. Etching on green-hued antique laid Japon paper 9 7/16 x 4 1/16 240 x 104 mm full margins. Signed dated and inscribed "Ed. 100 II." One of a total edition on 124 impressions printed by David Strang. French Series No. 33. In superb condition with one spot of light brown discoloration in the lower right margin well outside of image area.<br /> Fletcher 246. This etching was awarded the Bronze Medal of Honor in Graphics Annual Exhibition Painters and Sculptors Society of New Jersey Jersey City NJ 1951.<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. 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
Referenz des Buchhändlers : 1043
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Arms, John Taylor
LE PENSEUR DE NOTRE DAME
Arms John Taylor. Arms John Taylor. LE PENSEUR DE NOTRE DAME. F.136. Etching 1923. 1st State edition of 150. 12 5/8 x 10 1/8 inches; 322 x 252 mm. Signed in pencil. In excellent condition. Framed. unknown
Referenz des Buchhändlers : 7751
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Arms, John Taylor
Le Pont Notre Dame Mende
1927. Etching on antique watermarked Arches laid Japon paper with a deckle edge 8 x 12 1/2 inches 204 x 318 mm; sheet 12 1/4 x 17 3/4 311 x 451 mm full margins. One of only three recorded trial proof impressions aside from the regular edition of 100 printed by Frederick Reynolds. Signed dated and inscribed "Trial Proof No 3" in pencil in the lower margin. Age tone and one area of light soft rust colored discoloration in the lower left image area. A magnificent impression.<br /> <br /> Fletcher 205. unknown
Referenz des Buchhändlers : 2331
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Arms, John Taylor
Lescure Une Tour Des Remparts
1928. Etching on antique laid paper 6 9/16 x 3 15/16 inches 167 x 100 mm signed and dated in pencil lower margin. Potentially a trial proof impression aside from the unsigned edition of 1459. Non-archival tape residue along the top and bottom sheet edges recto well outside of image area. Scattered handling creases and general scattered soiling in the margins minor and unobtrusive. <br /> <br /> Fletcher 217. This work was commissioned by The Architectural Forum for their 1928 Christmas card. unknown
Referenz des Buchhändlers : 972
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Arms, John Taylor & Kerr Eby
Medieval Pageantry
1933. Etching on cream laid paper with a deckle edge 12 5/8 x 8 11/16 322 x 222 mm; sheet 18 x 11 1/2 inches 457 x 291 mm full margins. Signed by both Arms and Eby in the lower right margin dated by Arms. In excellent condition with no visible defects. <br /> <br /> This plate was the work of both Arms and Eby: Arms doing the buildings Eby the figures and trees.<br /> It is for this reason the most problematic plate of either artist. According to Fletcher there were 6 states each of which was printed and reworked by both artists. Between the 5th and 6th state the plate was steeled desteeled rebitten and had additional work done by Eby and then refaced in steel. The 6th state edition resulted in 100 total impressions printed by Eby 50 for Eby 50 for Arms. Those for Eby were for distribution through Frederick Keppel & Co. and those for Arms for Kennedy & Co. After 62 pullings of the 5th state Eby stopped the edition; defaced the plate rebit the surface in the center of the plate particularly in the area of the figures resteeled the surface and finished the edition with 38 pullings. Since the plate was reworked this is considered an additional state bringing the total to 6. This impression appears to be one of the last state impressions from either the edition of 62 5th state impressions or the group 38 6th state impressions. In the lower right there appear the letters "sb" whether this lends a clue to this particular print's origin is something lost to history. <br /> <br /> Fletcher 270B. 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
Referenz des Buchhändlers : 2042
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Arms, John Taylor
MEMENTO VIVARE NOTRE DAME EVREUX
Arms John Taylor American 1887-1953. MEMENTO VIVARE NOTRE DAME EVREUX. Fletcher 407. Etching 1947. Number 47 of the French Church Series. This is Proof No. ii of four Trial Proofs printed by Charles White of the First State. There was an edition of 198 printed of the Second State. This proof is Numbered "ii" titled and signed by Arms all in pencil and further inscribed signed and dated 1948 "To my friend Martin Lewis with deep appreciation." A rare association copy. In excellent condition. unknown
Referenz des Buchhändlers : 14036
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Arms, John Taylor
Modern American Etchers: Arthur William Heintzelman
New York: Minton Balch 1927. Etched frontispiece signed by Heintzelman. Illustrated with twelve black & white plates. Bound in buff paper boards. Very good condition. <br/><br/> Minton, Balch hardcover
Referenz des Buchhändlers : 874
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Arms, John Taylor
MONT ST. MICHEL
Arms John Taylor. Arms John Taylor. MONT ST. MICHEL. Fletcher 182. Etching 1926. Edition of 100. Signed and dated in pencil. 15 x 11 3/4 inches 381 x 299 mm. plus full margins. Framed to 23 x 19 inches. Number 9 of the French Church series illustrated on page 64 of Dorothy Noyes Arms "Churches of Framce." In very good condition. unknown
Referenz des Buchhändlers : 13885
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Arms, John Taylor
MONT ST. MICHEL
Arms John Taylor. Arms John Taylor. MONT ST. MICHEL. Fletcher 182. Etching 1926. Edition of 100. Signed and dated in pencil. 15 x 11 3/4 inches 381 x 299 mm. Number 9 of the French Church series illustrated on page 64 of Dorothy Noyes Arms "Churches of Framce." In very good condition. unknown
Referenz des Buchhändlers : 10665
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Arms, John Taylor
NORTH PORTAL SENS
Arms John Taylor. NORTH PORTAL SENS. Fletcher 218. Etching 1929. Edition of 100 printed by Frederick Reynolds and Peter Platt in 1929 a later edition of 40 was printed in 1939. Signed and dated and inscribed "Second State" in pencil and signed dated and titled within the plate and also inscribed in the plate "North Portal Sens." Number 25 of the French Church series; illustrated in Dorothy Noyes Arms "Churches of France." 15 1/4 x 9 1/8 inches plate plus margins. Framed to 21 3/4 x 15 1/4 inches. In excellent condition. unknown
Referenz des Buchhändlers : 13887
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Arms, John Taylor
Notre Dame de Paris
1925. Etching with aquatint on watermarked handmade F.J. Head & Co. laid paper 12 3/8 x 13 15/16 inches 315 x 354 mm full margins. Signed and dated in pencil lower right margin. Edition of 150 printed by Frederick Reynolds. In excellent condition with some minor toning and minor edge wear well outside of the image area. <br /> <br /> Fletcher 167<br /> <br /> French Church series #7; illustrated in Dorothy Noyes Arms Churches of France p. 4. unknown
Referenz des Buchhändlers : 1222
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Arms, John Taylor
Notre Dame du Val Provins; Thibaut
1931. Etching on bluish-grey wove paper 8 5/8 x 5 1/8 inches 221 x 130 mm full margins. Signed and dated in pencil. In good condition with light mat tone on the recto and various framer's notations in pencil in the lower margin on the verso. Second state of 2. Printed by Charles S. White. <br /> French Church Series No. 30.<br /> <br /> Fletcher 240. Illustrated as the frontispiece Contemporary American Etching American Art Dealers' Association New York 1931 limited edition. unknown
Referenz des Buchhändlers : 1266
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Arms, John Taylor
Notre Dame The Tiny; The West Facade of Notre Dame Paris; West Facade of Notre Dame Cathedral
1935. Etching on watermarked R Glover cream laid paper 11/2 x 7/8 inches 39 x 23 mm full margins. Signed and dated in pencil directly under the image and signed dated and titled in pencil in the lower margin. One of 12 trial proof impressions from the third state of 3 aside from the regular edition of 417. A superb impression with inky plate edges. <br /> <br /> Fletcher 290. Christmas Card Series No. 17<br /> Miniature Series No. 18<br /> French Church Series No. 37<br /> Brooch Series No. 1<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.<br /> <br /> On an impression belonging to William Fletcher Arms stipulates that only Head thin ivory medium paper should be used for the editon. - William Dolan Fletcher A Man For All Times p. 187. unknown
Referenz des Buchhändlers : 819
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Arms, John Taylor
Old Corner Rouen
1925. Etching on cream wove paper 6 x 4 inches 153 x 102 mm full margins. Signed in pencil lower margin. From the edition of 150 printed by Frederick Reynolds. <br /> <br /> Fletcher 163. This work was commissioned by The Print Connoissuer and served as the frontispiece for the October 1925 issue.<br /> <br /> Illustrated on p. 52 Dorothy Noyes Arms Churches of France<br /> <br /> Note: according to Fletcher Arms was assisted in work on this plate by Kerr Eby both concluding "neither very successful. unknown
Referenz des Buchhändlers : 829
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Arms, John Taylor
Palazzo dell'Angelo
1931. 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
Referenz des Buchhändlers : 473
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Arms, John Taylor
Place Plumereau Tours
1925. 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
Referenz des Buchhändlers : 911
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Arms, John Taylor
Plates of Perfect Beauty
Academy. 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
Referenz des Buchhändlers : 86110
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Arms, John Taylor
Plumed Serpent Chichén Itzá
1940. 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
Referenz des Buchhändlers : 2285
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Arms, John Taylor
Porta del Paradiso Venezia
London: 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
Referenz des Buchhändlers : 194
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Arms, John Taylor
Portait of a Romanesque Capital; The Portrait of a Mediaeval Nobleman Romanesque
1946. 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
Referenz des Buchhändlers : 824
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Arms, John Taylor
Precious Stones; Église Notre Dame - Les Andelys
Kansas 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
Referenz des Buchhändlers : 927
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Arms, John Taylor
Precious Stones; South Transeptal Portal of the Church of Notre Dame des Andelys
1946. 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
Referenz des Buchhändlers : 1265
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Arms, John Taylor
PUERTA DEL OBISPO ZAMORA THE BISHOP'S DOOR ZAMORA
Arms 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
Referenz des Buchhändlers : 13105
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