Arms, John TaylorBiblio.com
5,012 results
1931ref. 5001931. Superb. Etching on antique cream laid paper 10 x 14 13/16 inches 254 x 377 mm full margins. Signed in pencil and inscribed "Ed. 100" from a total edition of 128. Third state of three. Number 22 from the Italian Series. In good condition with scattered light surface soiling and archival paper tape hinges at the top right and left corners verso. A beautiful impression of this extremely scarce image. Fletcher 238iii/III Illustrated: Page 138 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
1930ref. 7841930. Good. Etching and drypoint on antique cream laid paper 12 3/8 x 6 9/16 inches 315 x 167 mm full margins. Signed dated and inscribed "Edition 100" in pencil lower margin. In very good condition with minor marginal toning and several very small edge losses along the left sheet edge including a loss at the extreme top-right corner well outside of image area. An excellent impression with good inking on 19th century paper which was hand-chosen by the artist. Fletcher 227 Italian Series #15 Illustrated p. 170 in Dorothy Noyes Arms Hill Towns 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. 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. unknown
1992ref. 14829JNew York: Interview Inc May 1992. Laid in is a Typed Letter Signed from Richard Avedon to model & actress Brooke Shields dated April 22 1992 thanking her for Shield’s birthday tribute on page 72 of this magazine. Written on Avedon’s printed stationery “Dear Brooke in Avedon’s hand What a wonderful tribute to us in Interview by you and so beautifully written. then again in Avedon’s hand Really Thanks Dick.” The handwritten parts are very large and flamboyantly written. Both Shields and Avedon shared the month of May for their birthdays. Shield writes in the magazine with side by side portraits of them in part “.One of my best birthday parties was at Richard Avedon’s studio. I wish I had the Polariods. It was just Ariella the makeup artist Polly Mellen and Avedon - the group I grew up with. I could smell the Chinese food from the dressing room: chicken and pine nuts crispy shrimp with sugarcoated walnuts. I came out in a robe with a full face of make-up and there were the usual big blue seltzer bottles with silver pumps on the table and lots of nuts and raisins. And then they surprised me with a cake and champagne. It was really fun like a true birthday party. However I was underage so it was “just one sip for you.’ Twenty minutes later Dick was saying ‘Allright fun is over. Back to work.” When Dick walks into a room with his hair like Einstein’s and plays with his glasses a lot of people are intimidated. And he doesn’t like it if anybody else is around or speaking. But when he works he is so creative so sensitive. He hides behind the camera. It almost becomes a dance. There is a mutual vulnerability and a moment of fusion when he clicks the shutter. You either get it or you don’t.” Interview Inc unknown
1856ref. 0040151856 Bordeaux, Gounouilhou, & Paris, Dumoulin, 1856-60. Trois volumes grand in-8 (202 x 275 mm) demi-veau blond, dos quatre nerfs plats ornés d'un double filet doré, pièces de titre et de tomaison vert lierre (reliure de l'époque). Tome I : frontispice couleurs, VIII pages de faux-titre, titre orné d'une grande vignette gravée en noir et préface datée "1er juillet 1856", 483 pages, 49 blasons couleurs collés sur 46 planches de vélin fort ; Tome II : frontispice couleurs, 480 pages dont faux-titre et titre orné d'une grande vignette, 64 blasons couleurs collés sur 60 planches de vélin fort ; Tome III : (2) ff. de faux-titre, 626 pages, 24 blasons couleurs collés sur 23 planches de vélin fort, 52 blasons collés sur 3 pages de vélin fort et 2 planches en noir de blasons. Deux pages ont été remontées au tome I.
1856ref. B119438Antwerpen (Anvers), Buschmann 1856-1871 Collectie van de eerste zes volumes, met vele illustraties in tekst en enkele platen buiten tekst, 33x27cm., uniforme intacte contemporaine gecart. banden (gemarbreerde platten, bruinlederen ruggen met titel in goudopdruk en twee labeltjes en met wat slijtage), gemarbreerde schutbladen, ex-libris stempel op titelblad, lichte roestplekjes, tweetalige uitgave: Nederlands-Frans, gewicht: 18 kg., [Inhoud/ contenu ; Volume I: Cathedrale kerk - Eglise cathédrale (xxxix + 463 + 8pp.) // vol.II: Antwerpen parochiekerken 1e afdeling - Eglises paroissiales 1e partie (clxii + 518pp.) // vol.III: Antwerpen parochiekerken 2e afd. - Eglises paroissiales 2e partie (cxxx + 609,[1] pp.) // vol.IV: Antwerpen abdyen en kloosters 1e afd. - Anvers abbayes et couvents 1e partie (ccix + 539pp.) // Vol.V: Antwerpen kloosters - Anvers Couvents (585pp. + 8pp. Rapport) // Vol.VI: Antwerpen kloosters der orde van St.Franciscus - Anvers couvents de l'ordre de St-François (xx + 312,[1] pp.)], [Edition bilingue: néerlandais-français, les premiers 6 volumes, avec de nombreuses illustrations dans le texte et quelques planches hors-texte, 33x27cm., reliures uniformes cart. contemporaines intactes (plats marbrés, dos en cuir brun avec titre doré et deux étiquettes et avec quelques traces dusage), cachet sur la page de titre, avec des rousseurs légères, bon état, poids: 18kg.] B119438
1888ref. h1121Glasgow: Oatts & Runciman. G : in good condition. Cover rubbed with edge-wear. Sporadic foxing. 1888. First Edition. Blue hardback cloth cover. 510mm x 390mm 20" x 15". 64pp plates. 32 colour plates. Heavy book extra shipping needed for overseas. . Oatts & Runciman hardcover
1779ref. 16522Turin, François-Antoine Mairesse, (1779) ; in-4 ; veau fauve marbré, dos décoré et doré, armes dorées des Pingon au centre du premier plat, triple filet d’encadrement, double filet sur les coupes, tranches dorées (reliure de l’époque) ; 58 pp., (1) f. d’errata, en arbre généalogique dépliant, 1 planche sur cuivre représentant les faces de la médaille d’Emmanuel Philibert Pingon et les blasons des branches aînée et cadette.
1731In -folio, pp. (8), 125, (3); frontespizio in cornice calcografica, un’incisione a piena pagina raffigurante Clemente XII precede il testo, due grandi testate incise in rame. Legatura in pergamena alle armi Falconieri, tagli spruzzati. Vellum binding with Falconieri arms; marbled edges.
ref. 15937Paris, Delloye, 1837-1838 ; 2 tomes in-4 ; demi-veau glacé mandarine, dos à quatre nerfs, fleurons à froid, titre doré (reliure de l'époque) ; LVI, 208, (2) pp. ; 261, (3) pp. et en tout 2 vignettes de titre, 18 planches hors-texte de costumes lithographiées, aquarellées et gommées, 69 gravures hors-texte en noir et blanc, 2 planches lithographiées de blasons coloriés (les cartes et quelques planches n'ont pas été reliées).
1667In -4°, pp. (8), 468; vignetta calcografica al frontespizio, ritratto in rame inciso da G. Federico Pesca. Legatura in piena pelle alle armi Carafa della Stadera. Full calf binding with arms of Carafa della Stadera.
1664In -4°, pp. 533 (3); il volume pubblica le prime tre parti; la numerazione comprende il primo frontespizio inciso. Legatura in marocchino rosso alle armi del cardinale Chigi. “Seconde édition augmentée”. Red morocco binding at Chigi arms.
1675In -4°, pp. (8), 126, (2), 200, 254 (i.e. 256). Legatura in marocchino rosso con stemma inciso ai piatti di Jacques-Nicolas de Colbert, tagli spruzzati. Al frontespizio nota di possesso manoscritta (“Bibliotheca colbertina”); ex libris “Wican free public library”. Ex libris Biblioteca Colbertina. Red morocco binding witha arms of De Colbert, marbled edges.
1750ref. 000402Vienne Vienne: , 1750 1750 Couverture rigide
1724In -4°, pp. (24), 542, (6), front. in rosso e nero. Legatura alle armi Pamphilj (probabilmente Cardinale Benedetto P.), tagli spruzzati. Binding with Pamphilj arms, marbled edges.
1708ref. 000312Amstelaedami (Amsterdam) Ex Officina Wetsteniana (Wetstein) 1708
1926ref. 23181926. Fine. Etching with drypoint on watermarked FJ Head & Co. handmade laid paper 10 3/4 x 9 7/8 inches 272 x 252 mm; sheet 18 1/8 x 14 1/8 inches 461 x 360 mm full margins. A trial proof aside from the regular edition of 100. Signed dated inscribed "I" in pencil in the lower margin. From the small batch of impressions printed by Frederick Reynolds. With both the artist's moniker ink stamp and the Collection John Taylor Arms ink stamp both in black ink in the lower margin. There is also a New York Public Library accession number in the lower right as well as a pencil inscription indicating that the print was once in the Eddie Welch Estate collection 1975. Small loss at the top-left sheet edge well outside of the image area otherwise in excellent condition. Fletcher 181. 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
1955ref. 60-1091American Society of Arms Collectors 1955 - 2017. 1955. Unbroken run. Nos. 1- 20 are reprinted c. 1980 in two brown Imitation leather volumes with indexes. Remainder are large wraps. Scholarly articles on antique arms primarily American. Numerous photos of guns and the meetings. First editor was Harry Knode. Also an index of Bulletins 1- 70 1955 to 1994. Very heavy. All Fine copies. Large Paperback. Fine/None. Book. American Society of Arms Collectors, 1955 - 2017. Paperback
1925ref. 9741925. Very good. 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. Fletcher 169 Illustrated: Page 86 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy. unknown
1925ref. 4951925. Superb. 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. Fletcher 169 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
1854ref. List3733Vandalia Springfield and Coles County Illinois 1854. Eight documents totaling about 75 pages 7 ¾ x 12 ½ inches and 7 ½ x 12 inches. Generally folded with toning at folds occasional small stains and minor damage to margins; one with more extensive repairs made with thread; entirely legible. Overall excellent. A collection of official documents from the Illinois auditor's and Coles County collector's offices recording mainly lists of properties in Coles County that had become subject to taxation with two recording properties owing back taxes and one recording tax delinquencies caused by assessment error. The lists of properties newly subject to taxation generally indicate the year in which the land was entered-that is when a settler had filed a claim with the federal land office registering intent to settle-and the year in which that land became subject to taxation. These lands were not immediately taxable as the settler first had to meet certain legal requirements such as living on and cultivating the land before the government would issue a patent transferring the title of the property from the federal government to the individual and thereby making them liable for taxes on it. The first Euro-American settlers had come to what would be Coles County in 1824 and it was set off from Clark County in 1830. That same year the Indian Removal Act passed Congress and the remaining Indigenous tribes in the region-many had already left following treaties earlier in the century-were pushed west of the Mississippi River. The federal government could then survey and map the land and open it to entry and patent by settlers like those represented in these tax rolls. The earliest dated entries recorded in these documents are from 1835 and were patented in 1841 though some entries likely occurred earlier as one document lists entries patented in 1838 but does not list entry date representing some of the earliest legal Euro-American settlements in the county. These documents thus record the incorporation of newly federally-owned "frontier" land into private ownership and into the county and state economy and implicitly the placement of previously tribally stewarded land into the hands of its first settlers. Also of interest in the documents are the signatories themselves. These include Albert Compton William Lee D. Ewing and Thomas Hayes Campbell prominent early Illinois political figures; but also Levi Davis a close friend of Abraham Lincoln's and James Shields one of Lincoln's best-known political rivals. Shields and Lincoln nearly fought a duel in 1842 after Lincoln criticized Shields' work as Illinois State Auditor-the same office in which Shields signed one of the Coles County tax rolls preserved here. Men like these occupied a layer of early Illinois society distinct from many of the settlers whose lands appear in the records: lawyers auditors legislators and political figures who linked frontier communities to the emerging institutions of state government. Coles County itself also held personal significance within Lincoln's world as the home of his father Thomas Lincoln and stepmother Sarah Bush Lincoln. Documents as follows: 1838: Lands newly subject to taxation in 1837 and 1838. 7 ¾ x 12 ½ inches. 22pp. Affixed with thread. Toned and worn with tears especially at folds and with damage to margins repairs made with thread. Very good plus. March 6 1838: Lands newly subject to taxation in 1838. Signed by Levi Davis Vandalia IL. 7 ¾ x 12 ½ inches. 4 pp. Affixed with ribbon. Folded with minor damage to edges. Excellent to Near Fine. March 1 1841: Lands entered in 1835 newly subject to taxation in 1841. Signed by James Shields Springfield IL. 7 ¾ x 12 ½ inches. 10 pp plus docket. Affixed with ribbon. Folded with minor damage to edges. Excellent to Near Fine. February 1 1845: Lands entered in 1839 newly subject to taxation in 1845. Signed by William Lee D. Ewing Springfield IL. 7 ¾ x 12 ½ inches. 7 pp plus docket. Affixed with ribbon. Folded with some staining toning at folds. Excellent to Near Fine. August 24 1846: Properties for which back taxes for 1844 and 1845 were owed. Signed by Albert Compton Coles County IL. 7 ¾ x 12 ½ inches. 4 pp. Toned with minor damage to edges. Excellent. 1846: Properties for which back taxes for 1844 and 1845 were owed likely a continuation of the previous. 7 ¾ x 12 ½ inches. 4 pp. Slight stains and toning at folds. Excellent to Near Fine. March 25 1853: Lands newly subject to taxation in 1853. Signed by Thomas Hayes Campbell Springfield IL. 7 ½ x 12 inches. 18 pp plus docket. Affixed with thread. Folded with toning some damage to margins. Excellent. June 8 1854: Delinquencies caused by assessment error with insolvencies removals etc. of personal property 1853. Signed by Thomas Lytle and James McCrory Coles County IL. 7 ½ x 12 inches. 3 pp. Delinquencies in Near Fine condition; Insolvencies etc. with damage to margins excellent. N.d.: Properties for which back taxes were owed undated. 7 ½ x 12 inches. 4 pp. Folded else Near Fine. .
1854ref. List3733Vandalia Springfield and Coles County Illinois 1854. Eight documents totaling about 75 pages 7 ¾ x 12 ½ inches and 7 ½ x 12 inches. Generally folded with toning at folds occasional small stains and minor damage to margins; one with more extensive repairs made with thread; entirely legible. Overall excellent. A collection of official documents from the Illinois auditor's and Coles County collector's offices recording mainly lists of properties in Coles County that had become subject to taxation with two recording properties owing back taxes and one recording tax delinquencies caused by assessment error. The lists of properties newly subject to taxation generally indicate the year in which the land was entered-that is when a settler had filed a claim with the federal land office registering intent to settle-and the year in which that land became subject to taxation. These lands were not immediately taxable as the settler first had to meet certain legal requirements such as living on and cultivating the land before the government would issue a patent transferring the title of the property from the federal government to the individual and thereby making them liable for taxes on it. The first Euro-American settlers had come to what would be Coles County in 1824 and it was set off from Clark County in 1830. That same year the Indian Removal Act passed Congress and the remaining Indigenous tribes in the region-many had already left following treaties earlier in the century-were pushed west of the Mississippi River. The federal government could then survey and map the land and open it to entry and patent by settlers like those represented in these tax rolls. The earliest dated entries recorded in these documents are from 1835 and were patented in 1841 though some entries likely occurred earlier as one document lists entries patented in 1838 but does not list entry date representing some of the earliest legal Euro-American settlements in the county. These documents thus record the incorporation of newly federally-owned "frontier" land into private ownership and into the county and state economy and implicitly the placement of previously tribally stewarded land into the hands of its first settlers. Also of interest in the documents are the signatories themselves. These include Albert Compton William Lee D. Ewing and Thomas Hayes Campbell prominent early Illinois political figures; but also Levi Davis a close friend of Abraham Lincoln's and James Shields one of Lincoln's best-known political rivals. Shields and Lincoln nearly fought a duel in 1842 after Lincoln criticized Shields' work as Illinois State Auditor-the same office in which Shields signed one of the Coles County tax rolls preserved here. Men like these occupied a layer of early Illinois society distinct from many of the settlers whose lands appear in the records: lawyers auditors legislators and political figures who linked frontier communities to the emerging institutions of state government. Coles County itself also held personal significance within Lincoln's world as the home of his father Thomas Lincoln and stepmother Sarah Bush Lincoln. Documents as follows: 1838: Lands newly subject to taxation in 1837 and 1838. 7 ¾ x 12 ½ inches. 22pp. Affixed with thread. Toned and worn with tears especially at folds and with damage to margins repairs made with thread. Very good plus. March 6 1838: Lands newly subject to taxation in 1838. Signed by Levi Davis Vandalia IL. 7 ¾ x 12 ½ inches. 4 pp. Affixed with ribbon. Folded with minor damage to edges. Excellent to Near Fine. March 1 1841: Lands entered in 1835 newly subject to taxation in 1841. Signed by James Shields Springfield IL. 7 ¾ x 12 ½ inches. 10 pp plus docket. Affixed with ribbon. Folded with minor damage to edges. Excellent to Near Fine. February 1 1845: Lands entered in 1839 newly subject to taxation in 1845. Signed by William Lee D. Ewing Springfield IL. 7 ¾ x 12 ½ inches. 7 pp plus docket. Affixed with ribbon. Folded with some staining toning at folds. Excellent to Near Fine. August 24 1846: Properties for which back taxes for 1844 and 1845 were owed. Signed by Albert Compton Coles County IL. 7 ¾ x 12 ½ inches. 4 pp. Toned with minor damage to edges. Excellent. 1846: Properties for which back taxes for 1844 and 1845 were owed likely a continuation of the previous. 7 ¾ x 12 ½ inches. 4 pp. Slight stains and toning at folds. Excellent to Near Fine. March 25 1853: Lands newly subject to taxation in 1853. Signed by Thomas Hayes Campbell Springfield IL. 7 ½ x 12 inches. 18 pp plus docket. Affixed with thread. Folded with toning some damage to margins. Excellent. June 8 1854: Delinquencies caused by assessment error with insolvencies removals etc. of personal property 1853. Signed by Thomas Lytle and James McCrory Coles County IL. 7 ½ x 12 inches. 3 pp. Delinquencies in Near Fine condition; Insolvencies etc. with damage to margins excellent. N.d.: Properties for which back taxes were owed undated. 7 ½ x 12 inches. 4 pp. Folded else Near Fine. . books
1925ref. 3181925. Superb. 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. Fletcher 159.ii References: Arms Hill Towns and Cities of Northern Italy by Dorothy Noyes: p. 90 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
ref. c6808A Paris , Chez Claude Magneney, Rue St Germain de Lauxerrois Près la Roze, 1633 ; In-4° , plein veau blond de l'époque, double filet doré encadrant les plats, dos à nerfs, caissons de filets et pointillés dorés très ornés de petits fers dorés, titre doré sur étiquette de maroquin rouge “ Armes et Blasons “, ex-libris armorié collé à l' intérieur du 2ème plat et à l'envers, avec la devise “A Virtute Viry “ (peut-être Jean Marien, Comte de Viry. ?). 3ff.nch. ( titre gravé et orné, épitre à Monseigneur de la Villeauxclercz avec armoiries gravées en entête, et privilège gravé) et 209 planches gravées de 6 blasons chacune.( Plusieurs erreurs de pagination : les numéros 53, 54 et 91 manquent, les numéros 106, 107 et 108 figurent 2 fois sur des planches différentes. ). ( Cf. Brunet, Saffroy, BNF).Pour cet ouvrage le Privilège du 18 mai 1633 fut octroyé à Claude Magneney, graveur à Paris. (Achevé d'imprimer daté 30 juillet 1633.).
ref. 14036Arms 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
1927ref. 82598MINTON BALCH & CO. As New. Hardcover. 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 - - 31 pages 12 plates chronological list of etchings done from 1915 -1926 "Modern American Etchers" Series 4to. -- with a bonus offer-- . 1927. MINTON BALCH & CO hardcover
