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John Taylor ArmsCoutances1926
1926
$800
£614.37
€704.06
CA$1,126.20
A$1,261.60
CHF 656.19
MX$15,388.86
NOK 8,354.13
SEK 7,877.35
DKK 5,254.88
About the Item
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 Frederick Reynolds. In very good condition with two or three very minor points of light discoloration in the lower left margin, outside of image area. Printing anomaly along the extreme left sheet edge, well outside of image area. A beautiful, inky impression. Comparable impressions of this work may be found in the permanent collections of the Art Institute of Chicago, the Toledo Museum of Art, and the Cleveland Art Museum.
[Fletcher 197]
- Creator:John Taylor Arms (1887 - 1953, American)
- Creation Year:1926
- Dimensions:Height: 9.25 in (23.5 cm)Width: 4.75 in (12.07 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:Seller: BH6851stDibs: LU1979210871372
John Taylor Arms
John Taylor Arms was born in Washington, D.C., in 1887. Arms studied architecture at Princeton and MIT and later became the country’s finest etcher of his age. His renderings of European and American architectural subjects are not only beautiful, but they are unrivaled in their technical virtuosity and nuanced light. In a recent exhibit, the Cleveland Museum noted, Arms believed that art could be a tool for the spiritual and moral improvement of mankind and that Gothic cathedrals represented the most significant expression of man’s aspirations. He viewed printmaking as a vehicle for disseminating images of subjects that would uplift and inspire contemporary society. He served as President of the Society of American Etchers and as an ambassador for American printmakers and printmaking throughout the world.
About the Seller
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Located in Middletown, NY
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...
Category
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By John Taylor Arms
Located in Middletown, NY
An impression printed by the artist
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...
Category
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Located in Middletown, NY
Etching on cream wove paper, 6 x 4 inches (153 x 102 mm), full margins. Signed in pencil, lower margin. From the edition of 150, printed by Frederick Reynolds.
[Fletcher 163]
This ...
Category
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Limoges (French Church Series #32)
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John Taylor Arms, 'Limoges (French Church Series #32)', etching, 1932, edition 142, third (final) state impressions, Fletcher 244. Signed, dated, and annotated 'Ed 100 III' in pencil. A superb, finely detailed impression, in warm black ink, on antique, pale gray laid paper, with full margins (1 1/16 to 1 1/2 inches); adhesive stains in the bottom left and right sheet corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed.
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Published references: "An Appreciation to John Taylor Arms 1887-1953", in PRINT, Vol. VIII #5 P. viii, Feb.-March 1954.
Impressions of this print are in the permanent collections of the Davis Museum at Wellesley College, National Gallery of Art, Saint John’s University, Smithsonian Institution, and Wake Forest University.
ABOUT THE ARTIST
“John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker
Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York.
In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...
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