John Taylor Arms
1887-1953, American

The Birdman
1887-1953, American

This 1919 etching and aquatint by John Taylor Arms measures 7 1/2 x 5 inches. This is the third state in an edition of 50. Printed by Frederick Reynolds, it is pencil signed by both the artist and the printer on the lower margin. Framed. John Taylor Arms was one of the foremost American printmakers of the 20th century, known for his exquisite compositions and exacting details which gave his etchings a very realistic, almost photographic appearance.


Spanish Jewelry
1887-1953, American

A finely detailed original etching, this image measures 5 x 3 1/4 inches, published 1925, Spanish Church Series #6, 2nd State, cat: Fletcher-171, pencil signed and dated. John Taylor Arms was one of the foremost American printmakers of the 20th century, known for his exquisite compositions and exacting details which gave his etchings a very realistic, almost photographic appearance. He specialized in images of European architecture and cathedrals, such as this ornately carved Spanish doorway.


Battle Wagon- U.S.S. Alabama Outfitting at Norfolk Navy Yard
1887-1953, American

A great image of a WWII battleship by John Taylor Arms, this etching with aquatint measures 12 x 18 inches, #1 of Arms' "U. S. Navy Ship Series," published in 1943, state 3 of 6, pencil signed and dated lower right, numbered "VI" lower left, cat: Fletcher-376. This is a rare early state proof before the plate was steel-faced for the fourth state. John Taylor Arms was an extremely talented and successful artist in the early 20th century, known especially for his exquisite renderings of French cathedrals and other European architecture.


Bark 'Metis' Making Harbor
1887-1953, American

This remarkable color etching and aquatint was created by John Taylor Arms in 1923, after a painting by D. W. Smith of a Newburyport, Massachusetts boat. The image size is 12 x 18 inches, printed by Frederick Reynolds in an edition of 200, cat: Fletcher-133, pencil signed. John Taylor Arms was one of the foremost American printmakers of the 20th century, known for his exquisite compositions and exacting details which gave his etchings a very realistic, almost photographic appearance.


Wilby Church
1887-1953, American

Etching, image size 4 1/4 x 2 3/8 inches, 1940, pencil signed ans dated l.c. "John Taylor Arms 1940", ed. 150.


Corbel of the Gate House, Stokesay Castle
1887-1953, American

Etching, sight size 3 x 1 9/16 inches, 1944, Fletcher #383, French Church Series, edition of 71, Charles S. White, printer, Miniature Series #35, pencil signed and dated by the artist l.r. with annotated "II" l.l., artist seal l.r, framed, AAA label on back.


The Piazza, Venzone
1887-1953, American

Etching, image size 5 1/8 x 7 3/8 inches, 1931, second state of two, edition of 127, Fletcher 239, signed and dated in pencil l.r. "John Taylor Arms-1931", on blue toned laid paper, from the "Italian Series #23".


Notre Dame de Laon
1887-1953, American

Etching, image size 13 7/8 x 9 3/8 inches, 1929, third state of three, from the 1929 edition of 100(Fletcher 219) from the French Church Series #26, plate signed l.r. "Arms, 1929" and titled l.l. "Notre Dame de Laon", pencil signed l.r. "John Taylor Arms - 1929", provenance Kennedy & Co., NYC.


Gerona
1887-1953, American

Etching, image size 12 1/4 x 7 3/4 inches, 1925, edition of 150, cat: Fletcher- 164, pencil signed and dated. Spanish Church Series #5.


Puerta Del Obispo, Zamora
1887-1953, American

Etching, image size 12 1/2 x 7 1/8 inches, 1933, edition of 100, cat: Fletcher- 266, pencil signed, dated and editioned. Spanish Church Series #9.


Chapiteau Gothique, Dorothy et John Taylor Arms, A.D. MCMXXVI
1887-1953, American

Etching, image size 4 7/8 x 3 1/2 inches, 1926, 1st State, cat. Fletcher-185A, pencil signed and inscribed "To my friend Samuel Chamberlain / John Taylor Arms."


Old Rouen
1887-1953, American

Etching, image size 6 7/8 x 3 3/4 inches, 1917, pencil signed and dated, framed


Lace Place Victor Hugo, Lisieux
1887-1953, American

Etching, image size: 7 x 9 1/2 inches, 1919, 3rd state, printed by Frederick Reynolds, numbered 21/50, cat. Fletcher-20, pencil signed lower right. Also titled "Lacet, Place Victor Hugo, Lisieux." An unusually abstract street scene for an artist known for exacting accuracy.


Red Mill
1887-1953, American

Etching and aquatint, 11 1/8 x 7 1/4 inches, 1922, printed by Frederick Reynolds, 2nd state, edition of 25, cat. Fletcher-127, pencil signed lower right. A rare black and white version of the print also known as "The Red Barn, Southport."


Reflections at Finchingfield, England
1887-1953, American

Etching, image size: 7 1/16 x 17 1/8 inches, 1938, second state, trial proof, printed by David Strang, inscribed in the plate "John Taylor Arms 1938" lower right, cat. Fletcher-311, pencil signed lower right


Aspiration, La Madeleine, Verneuil-Sur-Avre
1887-1953, American

Etching, image size 15 1/2 x 10 inches, pencil signed and dated 1939, inscribed Roman numeral V in pencil and dedicated "To my friend Timothy Parforman in deep and lasting appreciation, from John Taylor Arms - 1943." Also called Fraternite, Egalite, Liberte.


Chartres the Magnificent
1887-1953, American

Etching, image size: 3 1/2 x 4 1/4 inches, 1948, # 49 of the French Church Series, cat. Fletcher-411, pencil signed


Mont Saint Michel
1887-1953, American

Etching, image size: 15 x 11 3/4 inches, 1926, ed. 100, printed by Frederick Reynolds, French Church Series #9, cat. Fletcher-182, pencil signed


Somewhere in France
1887-1953, American

Etching, 1919, signed, dated and titled in pencil, image size: 12 1/8 x 6 "


Segovia
1887-1953, American

Etching,1929,edition of 150 Spanish Church Series, Image size 13 5/8 X 17 5/16",pencil signed


Place Plumereau Tours
1887-1953, American

Etching,1925,Miniature series,edition of 150,image size 1 7/8X3 1/8",pencil signed,fosterbros frame.


Angouleme
1887-1953, American

Etching, 1924, image size 6 1/4 X 11 1/4", edition of 150, printed by F.Reynolds, French Church Series, pencil signed. Also called "Byzantine Revsisited, Angouleme" and "The Cathedral of St. Pierre"


Stokesay Castle
1887-1953, American

Etching,1942,image size 2 1/4X2 15/16",edition of 365,Miniature print society of Kansas,pencil signed, on blueish tinted paper


St Paul Alpes Maritimes
1887-1953, American

Etching,1927, ed.250, 7 1/2" x 11 5/8", pencil signed


Chateau Stockalper Brique
1887-1953, American

Etching,1927,ed.100,f.202,10 1/4X4 7/8",pencil signed


Cavendish Common
1887-1953, American

Etching, image size 6 3/8 X 14 9/16 inches, printed in 1942 by Charles White in an edition of 150, 2nd state proof, numbered "II", cat: Fletcher-370, pencil signed and dated. This atmospheric etching is a great example of the delicate lines precise detail for which Arms was known. This image won several awards in the early 1940s; the Mrs. Henry F Noyes Memorial Prize for best print at the 27th Annual Exhibition of the Society of American Etchers, New York, N.Y.

Painting

Cascade de Glandieu

Watercolor on paper, image size 14 1/4 x 18 1/4 inches, laid down on board, unsigned but information on back in French denotes location.

Print

Little Porcupine
1922-2000, American

This wood engraving by Leonard Baskin measures 1 x 1 inch, printed on a sheet size of 17 1/2 x 17 inches. Published in 1951, this unsigned proof is #124 in the Fern and O'Sullivan catalogue. After serving in the Navy during WWII, Baskin began his career as a printmaker in the late 1940s, beginning with simple linocuts, but quickly progressing to dramatic wood engravings, then later etchings and lithographs. Known for his graphic images created by the simple interplay of black on white, combined with his dramatic use of line, Baskin remains one of America's greatest printmakers.

Drawing

Monadnock Nursery Sketch
1872- c.1950, American

A pencil sketch for "The Monadnock Nursery" by Dexter Dawes measures 9 1/4 x 6 1/2 inches on lightweight paper.