John Taylor Arms, N.A, R.E. 1887-1953.
Click on the pictures for larger images. The groupings are: America, Italy, Gargoyles, France, Spain, Sweden, Switzerland, England.
America
New York
American Cathedral (The Woolworth Building). 1921. Etching. Fletcher 107. 17 x 6 5/8 (sheet 21 1/2 x 9 1/8). Edition 75. Provenance: estate of David Llewellyn Reese, New York. An extremely rich tonal impression printed in dark brown ink, 1921, on cream laid paper with full margins. Signed and titled in pencil. Housed in a 26 1/2 x 15 3/4-inch gold and silver modernist frame. $5,500.
From Knoedler's Window MCMXXV. 1935. Etching and Aquatint. Fletcher 293.iv/v. 5 1/16 x 4 15/16 (sheet 12/7/8 x 9 1/8). Edition 271 in this state (total edition 377 in five states. An extremely rich tonal impression printed on the full sheet cream laid paper countermarked 'ENGLAND' with full deckle edges on all edges. Signed, dated and annotated 'IV' and titled in pencil. The work was a commission for a Knoedler Christmas card. $750.
Out of My Window. (Vista; My Own; De Ma Fenêtre). 1916. Etching. Fletcher 4, Library of Congress 254. 7 x 5 9/16 (sheet 9 3/8 x 9 1/2). Edition 75. Good condition apart from two remnants of glue stains in the right-hand margin, well outside the image. A rich impression printed on cream laid paper. Signed, dated, titled and numbered '4' pencil by artist. $950.
Connecticut
Out of Studio Window (Out of My Studio Window or De La Fenêtre de mon Atelier). 1920. Etching. Fletcher 77. 4 1/2 x 5 3/4 (sheet 8 1/16 x 9 3/8). Edition 75 (+ 4 trial proofs). A fine impression printed on the full sheet of [FJ Hea]d & Co cream wove paper by Frederick Reynolds. $150.
Italy
The Balcony (Venetian Gateway). 1931. Etching. Fletcher 237.iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs). Italian series #21. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy; Print Collector's Quarterly 21 (1934):138. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. $1,250.
Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state (+ 19 trial proofs). Italian Series #15. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 170; Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 115. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,200.
Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.ii/iii. 7 1/2 x 6 4/8 (sheet 15 2/4 x 10 1/2). Edition 12 in this state (total 147 + 9 trial proofs). Italian series #19. 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. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed by Henry E. Carling on handmade cream wove paper from an antique volume. Signed, dated, titled and annotated 'cp' in pencil. $2,750.
From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 90; The Print Collector's Quarterly 21 (1934): 130; American Etchers: John Taylor Arms. A rich impression on cream laid paper. Signed in pencil. $1,750.
Porta del Paradiso, Venezia. 1930. Etching. Fletcher 230.ii. 7 1/2 x 3 3/4(sheet 12 1/2 x 7 3/4). Edition 141 in this state (total edition about 151). Printed by Henry E. Carling. Italian series #17. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 184; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. A rich impression on antique laid paper. Signed, dated and titled in pencil. $1,250.
Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 11 x 7 3/16). Italian series #4. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper. Signed, dated,titled and annotated 'trial proof IV' and 'PT' "Peter Platt, printer' $1,20.
Shadows of Venice. (Il Ponte di Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 208; The Print Collector's Quarterly 21 (1934): 136; Fine Prints of the Year, 1931; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940.A fine impression on cream laid paper. Signed,dated and annotated 'Edition 100' in pencil. Shadows of Venice. was the artist's diploma print for his acceptance as a member of The Royal Society of Painter-Etchers in 1934. $2,300.
Gargoyles
A Devil of Notre Dame. 1929. Etching. Fletcher 222.ii. 8 x 5 1/2 (sheet 13 x 9). Gargoyle Series #13. Edition 255. Illustrated as a frontispiece for Churches of France by Dorothy Noyes Arms. 'Number 12 of the Gargoyle Series. Printed by Peter Platt at New York on cream-colored wove paper. A fine, well-inked impression. Signed in pencil. $1,950.
The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' cream laid paper. Signed and annotated in pencil. $2,750.
The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated: Print Collector's Quarterly 21 (1934):126; American Etchers: John Taylor Arms. A glowing impression printed on Japanese mulberry paper with deckle edges on two sides. Signed in pencil. $2,750.
Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms, Churches of France p.20. A rich impression printed on cream-colored antique laid paper.Signed and dated in pencil. $2,500.
Le Penseur de Notre Dame (The Thinker of Notre Dame Cathedral). 1923. Etching. Fletcher 136.ii. 12 1/2 x 10 1/15 (sheet 17 x 12 3/8). 'Private collection b I' apart from the edition of 185. Gargoyle series #11.e collection b I' apart from the edition of 185. Gargoyle series #11. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $4,500.
Watching the People Below, Amiens Cathedral. 1921. Etching. Fletcher 101. 4 7/8 x 8 (sheet 7 11/16 x 9 1/2). Edition 75. Gargoyle series #3. Illustated: Dorothy Noyes Arms, Churches of France p.20; Beall, American Prints in the Library of Congress, p. 34. A fine impression printed on cream laid paper. Signed in pencil. $2,500.
France
Abside de la Cathédrale de Saint Pierre et Saint Paul, Troyes (Apse of the Cathedral of Saints Peter and Paul, Troyes). 1929. Etching. Fletcher 224.ii. 12 1/2 x 7 3/8 (17 3/4 11 7/8). French Series, #29. Edition 127 in this state + 2 printed by Griggs in 1932 and 5 by Strang in 1937-38 (+ 20 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 156; Fine Prints of the Year, 1930. A fine impression printed in 1929 by Henry E. Carling with plate tone on pale blue/green laid paper. Signed, dated, titled 'Cathédrale de Saint Pierre et Saint Paul, Troyes' and annotated 'cp' (Carling printed) in pencil. $800.
Gloria: Saint Riquier. (The Church of Saint Riquier; Gloria Ecclesiae Antiquae). 1937. Etching. Fletcher 307.iii/iv. 13 7/8 x 8 5/8 (sheet 8 1/16 x 11 3/8). Edition 175 (Total 237+ 12 trial proofs). French Church series # 39. Illustrated: Fine Prints of the Year, 1938. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'Third state' and 'sp' (Strang printed) in pencil. $850.
Lescure, Une Tour des Remparts. (A Rampart Tower in Lescure). 1928. Etching. Fletcher 217. 6 3/8 x 3 15/16 (sheet 10 3/8 x 7 3/16). Commissioned as a card for The Architectural Forum, 1928. A fine impression printed by Frederick Reynolds on pale blue/green laid paper. Signed, dated and titled in pencil. $250.
Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. Illustrated: Prints vol. VII, no. 3, 1937, p. 170. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.
Notre Dame de Laòn. 1929. Etching. Fletcher 219.iii. 14 x 9 5/8 x (sheet 17 1/4 x 11 1/4). Edition 135. French Church Series #26. Illustrated: Dorothy Noyes Arms, Churches of France, p. 174; American Etchers: John Taylor Arms. 2 professionally-repaired tears in the right-hand margin, one extending just into the image. A fine impression printed cream laid paper by Henry E. Carling. Signed and dated in pencil. $375.
Notre Dame du Val, Provins (La Tour, Notre Dame du Val, Provins and Thibaut) 1931. Etching. Fletcher 240.ii. 8 11/16 x 5 1/8 x (sheet 13 x 8 5/8). Edition 155 (+ 19 trial proofs). French Church Series #30. A fine impression printed cream laid paper by Charles S. White. Signed, dated, titled 'Tour, Notre Dame du Val, Provins' and annotated 'Plate etched for Frontispiece of limited Edition (150 copies) of "Contemporary American Etching" 1931. Published by American Art Dealers Association' and 'WI' (Charles White)' in pencil. $375.
Rodez. (The Tower of Notre Dame). 1927. Etching. Fletcher 189. 11 7/8 x 4 15/16 (sheet 15 1/4 x 7 3/4).Edition 120. French Church Series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 114; American Etchers: John Taylor Arms. A fine impression printed cream laid paper by Frederick Reynolds. Signed and dated in pencil. $350.
The Rose, Beauvais. 1925. Etching. Fletcher 161. 12 x 7 (sheet 15 1/4 x 10). Edition 156. French Church Series #3. Illustrated: Dorothy Noyes Arms, Churches of France, p. 22. A fine impression printed on cream laid paper with full margins. Signed and dated in pencil. $600.
Rouen; The Cathedral of Notre Dame from the South. 1925. Etching. Fletcher 162. 8 1/8 x 7 5/8 (sheet 14 1/4 x 9 1/8). French Church Series #4. Edition 150. Illustrated: Dorothy Noyes Arms, Churches of France, p. 50; Fine Prints of the Year, 1925. A fine impression printed on antique cream laid paper. Signed and dated in pencil. $500.
La Rue Sauton, Paris (The South Transept of Notre Dame, Seen from the Rue Sauton and Viguereune) 1924. Etching. Fletcher 144. 13 1/2 x 7 1/2 (sheet 18 1/4 x 11 5/8). French Church Series #1. Edition 200. Illustrated: Dorothy Noyes Arms, Churches of France, p. 4. A fine impression printed on Made [in England] cream laid paper. Signed and dated in pencil. $950.
Sunlight on Stone, Caudebec-en-Caux. 1931. Etching. Fletcher 241.ii. 14 1/4 x 7 1/2 (sheet 16 1/2 x 11 5/8). French Church Series #31. Edition 164 (+ 28 trial proofs). Illustrated: Print Collector's Quarterly 21 (1934): 140; Arms, "Aristocracy in Prints", Prints (May 1932, p. 40. A rich impression with plate tone printed by Henry E. Carling on 'Dard Hunter' cream laid paper. Signed, dated, titled and annotated 'cp (Carling printed) in pencil. $1,750.
A Tower of St. Front, Perigueux (Perigueux's Tower of Saint Front). 1928. Etching. Fletcher 212. 11 7/8 x 5 5/8 (sheet 13 1/2 x 8 3/8). French Church Series #22. Edition 200 (+ 2 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 96. A fine impression printed on cream laid paper. Signed, dated and titled in pencil. $400.
Spain
Burgos (A Spanish Town Revisited) 1924. Etching. Fletcher 142. 8 5/8 x 13 1/8 (10 1/2 x 15 3/4). Spanish Church Series, #2. Edition 175 (+ 2 trial proofs). A fine impression printed on FJ Head and Co. laid paper with a partial countermark. Signed and dated in pencil. $400.
Puerta del Obispo, Zamora (The Bishop's Door, Zamora). 1933. Etching. Fletcher 266.ii. 12 1/2 x x 7 1/8 (17 x 11 3/8). Edition 160 (+ 30 trial proofs). Spanish Church series, #9.A rich impression printed in red/brown ink on cream laid paper. Signed, dated, titled and annotated 'Second and published state' and 'sp' indicating a proof printed by David Strang in 1937-38. $600.
John Taylor Arms (1887-1953) is one of the foremost American printmakers of the first half of the 20th century. Arms was born in Washington, DC in 1887. He studied law at Princeton University, transferring to the Massachusetts Institute of Technology, Boston, to study architecture, graduating in 1912. After serving as an officer in the United States Navy during World War I, he devoted himself full-time to etching. He published his first original etchings in 1919.
His initial subject was the Brooklyn Bridge in New York City near which he worked. Arms developed a successful career as a graphic artist in the 1920s and 1930s, specializing in series of etchings of Gothic churches and cathedrals in France and Italy. In addition to medieval subjects, Arms made a series of prints of American cities. He spent the majority of his 50-year career documenting Europe's great Gothic churches. 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 used sewing needles and magnifying glasses to get a fine level of detail. A member of many printmaking societies, Arms served as president of the American Society of Graphic Artists. An educator, Arms wrote the Handbook of Print Making and Print Makers (1934) and did numerous demonstrations and lectures. Arms was elected into the National Academy of Design as an Associate member in 1930, and became a full member in 1933.
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