Etching Landscape Prints

Etching on antique cream laid paper with a partial watermark, 9 5/8 x 4 1/4 inches (246 x 109 mm); full margins. Signed and dated "1928" in pencil, lower margin. Inscribed "Street in Porto Maurizio...

Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pen...

Ecthing in black ink on cream laid paper with a partial watermark, full margins. In excellent condition. A very scarce work from an edition of less than 20 impressions. Signed, date...

Etching on cream laid paper, 3 3/16 x 1 9 1/6 inches (81 x 41 mm), full margins. Signed, dated, and inscribed "II" in pencil, lower margin. From the second state (of 2) before the re...

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 ...

Etching on antique cream laid paper, 5 x 2 inches (127 x 52 mm), full margins. Signed and dated in pencil lower margin. From the editoin of 156, printed by Frederick Reynolds. In s...

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 for handles. Fletcher 284. Ed...

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 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 ...

This image is by America's greatest etcher, John Taylor Arms. The Spanish cathedral in Zamora is an impressive example of Romanesque architecture located on the hilltop by the river ...

A superb impression in warm black ink, on cream, laid paper; the full sheet with margins (1 5/8 to 2 3/4 inches); original brown paper hinges on the top sheet edge recto, in excellen...

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...

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 for handles. Made during Worl...

This image is the 3rd etching created by Arms. It was printed byGrederick Reynolds in an edition of 116. Referenced as Fletcher #3 the image is the second in his Gable series. Lis...

From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher catalog 159. state ii. Image: 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition...

This image is stamped as being rom the personal collection of Arms Referenced as Fletcher #386 the image is signed .and inscribed in pencil and is from a small edition of 16. The An...

Signed and dated in pencil, inscribed " Ed 100 I." In excellent condition, except for tape remains at upper margin corners on verso. Also called South Portal of The Collegiate Church...

Basilica of Madeleine, Vezelay Etching, 1929 Signed and dated lower right (see photo) Annotated: "Third State" lower left Printed on a sheet of old book paper From: French Church Ser...

Etching on antique cream laid paper, 10 x 14 13/16 inches (254 x 377 mm), full margins. Signed in pencil and inscribed "Ed. 100" (from a total edition of 128). Third state (of three...

Arms, John Taylor (American, 1887-1953). MEMENTO VIVARE, NOTRE DAME, EVREUX. Fletcher 407. Etching, 1947. Number 47 of the French Church Series. This is Proof No. ii of four Trial Pr...

Arms, John Taylor (American, 1887-1953). DOWNTOWN, NEW YORK. F.108. Etching and Aquatint, 1921. Edition of 75. Numbered 19/75 and signed and dated 1921, all in pencil. 8 3/8 x 4 7/8 inches, 214 x 125 mm (plate) plus margins. Framed to 16 1/4 x 12 1/2 inches with the label of The Old Print Shop...

Arms, John Taylor. ARCH OF THE CONCA, PERUGIA. Etching, 1926. 10 1/4" x 14 5/8 plus margins. Framed to 18 x 22 inches. Signed in pencil and annotated "Trial Proof No. 6"; only state...

Arms, John Taylor. PUERTA DEL OBISPO, ZAMORA (THE BISHOP'S DOOR, ZAMORA). Fletcher 266. Etching, 1933. Edition 160, of which this is likely one of the 25 p...

Arms, John Taylor. BEAVER HOUSE (AU NORD). Fletcher 88. Etching, 1920. And Artist's Proof, printed by Fredrick Reynolds. Signed and dated in pencil by Arms, lower right, and incscri...