John Taylor Arms

John Taylor Arms, Le Collegiate, Toro, also known at 'Collegiate Church'

1935

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks ...

The dimensions are for the image. There are large margins. Signed in pencil. A native New Yorker, Ann Nooney (1900-1970), recorded the urban scene while on the Works Progress Admini...

The dimensions are for the image; there are large margins. This lithograph is signed in pencil. A native New Yorker, Ann Nooney (1900-1970) recorded the urban scene while on the Wo...

S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...

Artist: John Ross Title: City of Dreams Medium: Collagraph, signed, numbered, and titled in pencil Edition: AP Size: 38.5 x 27.5 in. (97.79 x 69.85 cm)

HAROLD L. DOOLITTLE (1883 - 1974) MORNING IN YOSEMITE c 1938 Aquatint, signed and titled in pencil by the artist. Plate size 13 3/8 x 9 3/4". Sheet 16 x 11 1/8" with deckle edges. Doolittle was a renaissance man. His day job was as an engineer for the Edison Electric Co. But he produced an outstanding body of prints for 5 decades as well as photographs. His very rare arts and crafts furniture is highly sought after. He was a long time member and officer in the California Print...

Beautiful early 20th Century etching on vellum of the Monterey Bonifacio Adobe known as The Old Sherman Rose House, with climbing roses, by Ferdinand Burgdorff (American, (1881 - 1975), 1923. As in many of the artist's works, this piece conveys a mysterious and dark mood. Artwork has been professionally conserved. Titled, signed and dated lower edge. Archival mat and backing. Image size: 9.75"H x 11.75"W. Born in Cleveland, Ohio, Ferdinand Burgdorff studied at the Cleveland School of Art and in Paris with Rene Menard and Florence Este...

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. A view of Limoges, France and the Saint-Martial Bridge from the far side of the Vienne river. According to Fletcher, author of the catalogue raisonné on the artist's graphic work, this etching is among the artist’s preferred plates. 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...