Etchings

Via Facchini, Pisa

Edition of 110. Catalog: Fletcher 194. C. 1927. Printed by Frederick Reynolds. Italian series #11. Pencil signed and dated 1917 in the bottom right. Plate titled in the lower right. Plate measures 11 1/4 x 5 1/2 inches on 16 1/4 x 10 1/4 inch blue laid type paper. This print has plate toning and enchanting linework.

Saint Benigne, Dijon

C. 1927. Catalog: Fletcher 195. Edition of 110. Printed by Frederick Reynolds. # 15 in his French church series. Plate inscribed in the lower left: "Saint Benigne, Dijon, 1924" Pencil signed and dated 1927 in the lower right. Plate measures 10 1/2 x 6 3/4 inches on 13 3/4 x 8 1/2 inch laid type paper. A captivating print with plate toning and meticulous detail.

Goin' Home

Pencil signed "Kerr Eby imp," indicating that he printed this himself, in the lower right. Editioned in pencil in the lower left. Plate measures 11 x 7 inches on 15 1/2 x 10 inch watermarked laid type paper. Catalog: Giardina 133. C. 1928. Edition of 90. The scene depicted was probably in Connecticut. An atmospheric print with good composition and plate toning.

Il Sacro Monte, Varese

Etching from 1927. #9 in his Italian series. Edition of 100. Printed by Frederick Reynolds. Pencil signed and dates in the lower right. Image measures 7 7/8 x 7 1/8 on 10 7/8 x 8 1/2 inch laid type paper. "Sacro Monte, Varese '26" inscribed on the plate on the bottom edge. In this wonderfully composed print, Arms knows when to use lots of detail and when to just suggest it.

Silhouette of Senlis

Etching from June 1931. Edition of 100, with 5 working proofs. Pencil editioned in the lower left, signed in the lower right. Image measures 5 3/4 x 8 1/4 inches in a 12 3/4 x 15 1/2 inch gold frame. An incredibly detailed scene with plate toning and a rich drypoint burr.

Stockholm

Etching and Aquatint from 1940. Likely printed by David Strang. Print #1 in his Scandinavian Series. Image measures 7 1/2 x 13 1/3 inches on 11 5/8 x 18 1/4 inch watermarked laid type paper. This very sharp print has a wide tonal range and captures the patterns in the columns and floor.

The Harborside, Friendship, Maine

Pencil signed in the lower right. Image measures 8 1/2 x 12 3/4 inches on 13 x 17 1/2 inch watermarked wove type paper. Edition of 300, as well as 16 working proofs. Presentation print for Chicago Society of Etchers, with their drystamp in the lower left. C. 1946. A captivating etching with very detailed linework and plate tone in the sky.

The Centenarian

Drypoint from 1930. Catalog: Appleby 144. Featured in Fine Prints of the Year in 1931. Plate signed on the bottom edge: "Blampied Jan. 1931". Signed in ink in the lower right, editioned in the lower left. Numbered 39 in an edition of 100. Plate measures 10 1/4 x 10 1/4 inches. This print is expressive in both line and content.

Barbizon Landscape

Pencil signed lithograph with extensive remarque in the lower left. Editioned in pencil in the lower right; number 5 in an edition of 40. Image measures 4 1/4 x 3 inches on 10 1/8 x 6 1/2 inch medium weight embossed wove type paper. This print has strong contrast and captures the sunlight in the landscape, even hinting at movement in the trees.

Salt Marshes

Plate signed and dated 1889 in the lower left. Image measures 4 5/8 x 13 1/2 inches on 7 7/8 x 19 7/8 inch medium weight wove type paper. An atmopsheric etching with a wide tonal range.

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