Dogs in the Roman Countryside - Original Etching After Charles Coleman - 1992

1992

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 ...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

Etching on F.J. Head & Co. watermarked cream laid paper, 8 1/8 x 7 5/8 (205 x 184 mm), full margins. Signed and dated in pencil, lower margin. Illustrated in Dorothy Noyes Arms, Chur...

Etching on handmade cream laid paper, 3 1/2 x 4 1/4 inches (890 x 108 mm), full margins. Signed, dated and inscribed "III" in pencil, lower margin. Edition of 150, third state (of th...

Etching on thin, bluish-green cream laid paper, 9 1/4 x 4 3/4 inches (233 x 120 mm), full margins. Signed and dated in pencil, lower margin. First and only state. Printed by Frederi...

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" in pencil, lower margin. In very good condition with minor s...

Etching on cream laid paper with an unknown watermark with an AL inside a ribbon. 10 1/4 x 7 7/8 inches (258 x 187 mm), full margins. Signed, titled, and dated in pencil lower margin. In good condition with one small, very minor 1/4- inch horizontal tear in lower-center quadrant of the image area, in the area of the doorway beneath the arch, very difficult to discern, and completely unobtrusive. 1/2-inch minor horizontal edge tear center sheet edge, bottom margin (outside of image area). Paper tape from a previous hinge at top right and left sheet edges. Light scattered age tone and surface soiling. __________ Perhaps now most famous for one particular illustration for an edition of The Rubaiyat of Omar Khayyam, Sullivan's etching of a skeleton crowned in roses was appropriated by Stanley Mouse and Alton Kelley...

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 wa...

Etching and aquatint on antique laid paper, wide margins. Signed, dated and inscribed "Edition of 100" in pencil, lower margin. Second state (of 2)....

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. 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. [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. 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. 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...