Arms, John TaylorBiblio.com
5 182 résultats
1942réf. 12621942. Superb. Etching on Japon paper 3 1/2 x 1 3/4 inches 89 x 44 mm full margins. Signed in pencil and inscribed "III" in the lower margin. Likely an unrecorded trial proof impression from the first state of 3 before the trimming of the plate Fletcher states only two trial proof impressions of the first state before the trimming of the plate. Printed by the artist. No visible defects. A beautifully inked impression with all of the fine details printing clearly. Miniature Series No. 31 Fletcher 378. Awards: Special Jury Award National Prints and Drawing Exhibition Laguna Beach Art Association Laguna Beach CA 1944. unknown
1946réf. 12651946. Superb. 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. Miniature Series No. 37. Fletcher 398. unknown
1925réf. 12641925. Superb. 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. Fletcher 171. unknown
1938réf. 8271938. Superb. Etching on antique Emberlin 1846 cream laid paper with a parial watermark of Britannia or Seated Victory set in a cartouche surmounted by the Crown of England 3 1/4 x 5 1/2 inches 83 x 140 mm full margins. Signed dated and inscribed "Ed. 150 II" in pencil lower margin. Non-archival tape tabs at the top corners recto well outside of the image area otherwise in excellent condition. Fletcher states an unknown number of first state proof impressions and 13 second state proof impressions; he also states a regular edition of 231 second state impressions. Arms's hand inscription regarding the numbering on this print remains slightly mysterious although Fletcher does descibe other instances in which recorded edition numbers appeared to be incomplete or incorrect so not an anomoly in this instance. The very special paper hand chosen for this impression would indicate that this is a proof impression perhaps a presentation proof of the second state aside from an unrealized run of 150. Fletcher 315. 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
1947réf. 8251947. Superb. 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. Fletcher 409. Miniature Series No. 39 French Church Series No. 48 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
1925réf. 9111925. Excellent. 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. Fletcher 160. Miniature Series No. 11 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
1942réf. 11411942. Superb. Etching on buff wove J Whatman handmade paper with a partial watermark 3 1/2 x 1 3/4 inches 89 x 44 mm full margins. Signed in pencil and inscribed "III" in the lower margin. A proof impression before the trimming of the plate Fletcher states only two trial proof impressions of the first state before the trimming of the plate. Printed by the artist. No visible defects. A beautifully inked impression with all of the fine details printing clearly. Fletcher 378. Miniature Series No. 31 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
1924réf. 8261924. Superb. 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. 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. 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
1944réf. 8201944. Superb. Etching on fine antique laid paper with a partial "Catalunya Spain" watermark 1 5/16 x 2 3/8 inches 34 x 61 mm full margins. Signed dated and inscribed "III" in pencil lower margin. A proof impression of the third state of 3 after the trimming of the plate before the regular edition of 90 impressions. Fletcher states 5 proof impressions of the third state 5 proof impressions of the second state and an unkown number of first state impressions. Printed by David Strang. In superb condition. Fletcher 384. Christmas Card Series No. 22 Miniature Series No. 33 Note: "Vermont" and "Normandy" were etched on the same plate 6 x 5; 153 x 127. The "Vermont" section of the plate was damaged during the process of etching which made it necessary to reduce the size. The plate was cut in half after the second state. 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
1940réf. 8211940. Superb. Etching on white laid paper with an "England" watermark 3 x 1 3/4 inches 76 x 45 mm full margins. Signed dated and inscribed "II" in pencil lower margin. One of 13 trial proof impressions of the second state of 2 aside from the regular edition of 551 signed and dated impressions. Fletcher states an unknown number of first state impression. Printed by Charles S. White. In superb condition. Fletcher 343. French Church Series No. 43 Minature Series No. 26 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
1928réf. 9721928. Good. 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. Fletcher 217. This work was commissioned by The Architectural Forum for their 1928 Christmas card. unknown
1946réf. 8241946. Superb. 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. Fletcher 397. According to Fletcher Arms spent 103 1/2 hours on the creation of the plate. No. 36 from the Miniature Series. unknown
1941réf. 8161941. Superb. 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. 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. Minature Series No. 29 Christmas Card Series No. 21 Mexican Series No. 2 Brooch Series No. 6 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
1940réf. 8221940. Superb. Etching on antique laid paper with a large heraldic watermark. 4 1/4 x 2 3/8 inches 109 x 61mm full margins. Signed dated and inscribed "III" in pencil lower margin. The nature of the rare and special paper this impression is printed on leads us to believe that it is an unrecorded trial proof impression of the third state of 3. Fletcher states only one impression of the third state and an unknown number of first and second state impressions aside from the regular edition of 342 signed and dated impressions. In superb condition. Fletcher 335. English Series No. 7 Miniature Series No. 24 Based on a drawing made at Wilby on May 14 1936. 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
1935réf. 8191935. Superb. 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. Fletcher 290. Christmas Card Series No. 17 Miniature Series No. 18 French Church Series No. 37 Brooch Series No. 1 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. 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
1944réf. 8181944. Superb. Etching on fine antique laid paper 1 5/16 x 2 3/8 inches 34 x 61 mm full margins. Signed and dated in pencil lower margin. A Christmas card from Dorothy and John Taylor Arms from the year 1944; presented in the original handmade paper folder inscribed with the title God's Mirror" and an excerpt from Psalm CXXI as issued by the couple. Printed by David Strang from an edition of 90. In superb condition. Fletcher 384. Christmas Card Series No. 22 Miniature Series No. 33 Note: "Vermont" and "Normandy" were etched on the same plate 6 x 5; 153 x 127. The "Vermont" section of the plate was damaged during the process of etching which made it necessary to reduce the size. The plate was cut in half after the second state. 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
1939réf. 8151939. Superb. Etching on fine laid antique Head & Co. paper with a partial watermark. 1/2 x 13/16 13 x 21 mm full margins. Signed dated and inscribed "II" in pencil lower margin. A trial proof impression from the second state of two printed by the artist aside from the regular edition of 519. In superb condition with excellent inking and inky plate edges. Fletcher 330. Fletcher states a discrepency in the number of impressions in the regular edition of this plate. Arms in two different places lists the edition size as 471; yet his notes indicate an additional 48 impressions. French Church Series No. 42 Christmas Card Series No. 20 Miniature Series No. 23 Brooch Series No. 4 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
1942réf. 8231942. Superb. Etching on fine light cream laid paper 2 1/4 x 2 15/16 inches 58 x 75 mm full margins. Signed and inscribed "II" in pencil lower margin. A trial proof impression of the second state of 2. Aside from the signed and numbered edition of 365 impressions plus an edition of 250 unsigned unnumbered impressions which were discovered after Arms's death. Fletcher 369. English Series No. 9 Miniature Series No. 30 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
réf. 0415040914.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0449222306.Gmass_market. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. unknown
1946réf. 927Kansas City: Miniature Print Society 1946. Superb. 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. 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
1930réf. 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
2019réf. 106567Toronto Munich and New York: Art Gallery of Ontario; Prestel; DelMonico Books 2019. Pictorial boards 243 pages illustrations chiefly colour; 29 cm. Firm binding clean inside copy. OVERSIZE! Additional shipping charges may be requested for international & priority orders. A large-format coffee-table book.Richly illustrated with colour plates. "This generously illustrated book examines the relationship between 19th-century Impressionism and industry in Europe. The late-19th century was a time of new technology industry and modernity. People were enthralled with their changing world and artists were not an exception. Fascinated by progress in every form artists depicted factories trains and construction sites. Artists such as Claude Monet Edgar Degas Vincent van Gogh and Camille Pissarro began to paint the world around them from laundresses in the basements of Paris to rural laborers in fields. This book focuses on how Impressionist artists engaged and treated the topic of industry in their art. Chapters discuss how Paris was transformed into a bustling modern city the role of women in labor and the demographic shift from rural to urban centers. Paintings drawings and prints along with archival photographs help to illustrate this rich and complicated moment in art history." - Publisher. CONTENTS: Director's foreword by Stephan Jost; Geographies of Impressionism in the age of industry: an introduction by Caroline Shields; That great brouhaha: picturing sound in nineteenth-century France by Joseph L. Clarke; White collars and working bodies in the age of industry by Mary Hunter; Industry and labour at the Impressionist exhibitions by James H. Rubin; Figuring industry in the photographic archive by Monique L. Johnson; Appendix: collecting representations of Industry in the after of Impressionism by Caroline Shields. 1st. Hardcover. Fine. 4to. Collectible. Art Gallery of Ontario; Prestel; DelMonico Books Hardcover
1946réf. 633Miniature Print Society 1946. Excellent. 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. 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
1936réf. 6321936. Excellent. 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
