A Chimera
Etching, 1947, Fletcher 408; edition 226 plus 5 trial proofs. 2 7/8 x 2 1/2 in. Signed and dated in pencil. This is a fine, dark impression with full margins. The condition is also fine. This is plate #14 from the Gargoyle Series.
SOLD

Aspiration, La Madeleine, Verneuil-sur-Avre
Etching, 1939, Fletcher 329, edition 419 plus a few proofs. 15 1/2 x 10 in. Signed and dated in pencil. Inscribed "v" as in fifth state. Also inscribed, "sp" meaning a special proof. This is a fine, rich impression with full margins. The condition is excellent. This exemplary and large work was the recipient of eight prizes between 1941 and 1949.
$1,400

Chartres, The Magnificent
Etching, 1948, Fletcher 411 (iii/III); edition 270. 3 1/2 x 4 1/4 in. Signed and dated in the plate. Inscribed "III" referring to the third state and "sp" for special proof. Here we have a fine impression with substantial margins. The condition is fine apart from a faint suggestion of an old mat line in the outer margins. This exquisite print is one of Arms' best miniature etchings. It's listed as from the French Church series # 49.
SOLD

Crystal and Jade
Etching and aquatint, 1936-1940, Fletcher 301 (vi/VII), edition 377. 7 1/2 x 6 5/8 in. Signed in pencil and inscribed "VI" with "sp" below (special proof.) This is a fine impression with full margins. The condition is also fine. The catalogue description of this plate is ambiguous and there's no indication of any special proofs printed. This is a trial proof "iv" of the sixth state. There's no watermark. This is a lovely and unique image.
$300

Destroyers in Wet Basin
Etching, 1943, Fletcher 377 (iii/III), edition 875. 10 x 17 1/2 in. Signed and dated in pencil. A fine impression in fine condition with full margins. This is #2 from the U.S. Navy series. Depicted are the U.S.S. Radford, Quick & Mervine in South Kearney, N.J.
SOLD

Evening, East River, New York
Etching and aquatint, 1919, Fletcher 26 (vi/VI), edition 25. 3 1/2 x 5 1/4 in. Signed, dated and numbered in pencil. This is a fine impression printed on light cream laid paper. The margins are full. The condition is good other than for some toning within an early mat opening and traces of old hinges at the top corners. This early work was also printed in color in an edition of 50.
SOLD

From the Ponte Vecchio, Florence
Etching, 1925, Fletcher 159 (ii/II), edition 150. 11 x 15 1/16 in. Signed and dated in pencil. This is a superb, luminous impression printed on light cream laid paper with the watermark, HAND MADE. The margins are wide and probably full. The condition is excellent. This is from his Italian Series # 1, printed by Frederick Reynolds. It's possible to document a stone bridge here back to 966 and later in 1345 there was another reconstruction after the flood of that year. The last close call for this structure was in 1966 when the Arno River burst its banks and the assault of water and silt was tremendous. So, today, this beautiful bridge continues to florish as famous landmark in historic Florence.
$1,600

Gloria: Saint Riquier (Gloria Ecclesiae Antiquae)
Etching, 1937, Fletcher 307 (iii/IV), edition 75. 13 7/8 x 8 5/8 in. Signed and dated in pencil. Inscribed "Ed.75 III." This is a superb impression printed on J. WHATMAN watermarked paper. The margins are full and the condition is excellent. The raisonné lists an edition of 175 for this state. In the fourth state the plate was cut down slightly.
$1,200

Grim Orvieto
Etching, 1926, Fletcher 176, edition 125 plus 4 trial proofs. 11 x 8 5/8 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is very good apart from four old hinges on the top edge, verso, not noticeable from the front. This is # 5 from the Italian Series.
$550

In Memorium (The North Portal of Chartres Cathedral)
Etching, 1939, Fletcher 317 (ii/II), edition 312. 14 3/4 x 11 3/4 in. Signed, dated and inscribed "II" meaning the second state. (There's also a pencil dedication to Harry T. Peters II.) This is a superb impression with full margins and the paper bears a J WHATMAN watermark. The condition is fine apart from traces of old hinges at the top. This large and exquisite work is a tour de force of the etching medium.
SOLD

La Mangia, Siena
Etching, 1927, Fletcher 192, edition 115. 15 x 8 in. Signed, dated and titled in the plate. Signed and dated in pencil. This is an especially fine, luminous impression with full margins. The condition is excellent. This is plate #10 from the Italian Series. Located in Tuscany, the tower was built in 1338-1348 and was one of the tallest secular towers in Italy.
SOLD

Lace in Stone, Rouen Cathedral
Etching, 1927, Fletcher 200, edition 100. 13 7/8 x 10 1/8 in. Signed, dated and titled in the plate, lower right. Signed in pencil. This is a fine, luminous impression with full margins. The condition is very good apart from very subtle discoloration in the lower right and upper right corners. This remarkable print is a tour-de-force of detail and exquisite observation. It's one of the artist's finest prints and # 18 from the French Church Series.
SOLD

Le Penseur de Notre Dame
Etching, 1923, Fletcher 136 (i/II), edition 150. 12 1/2 x 10 in. Signed and dated in pencil. This is a superb impression printed on a light cream laid paper. The margins are full and the condition is excellent. This iconic image epitomizes Arms' fascination with medieval architecture and it's a remarkable tribute to it. The plate was rebitten in 1937 and that constitutes Fletcher's description of the second state. Thirty-five impressions were then printed in addition to the one hundred and fifty from 1923.
SOLD

Louviers Lace
Etching, 1936, Fletcher 303 (iii/III), edition 150 (?). 12 1/8 x 3 1/2 in. Signed and dated in pencil, lower right, and inscribed "Ed.100 III," lower left. This is a superb, luminous impression with full margins. The condition is excellent. The edition information listed in the Fletcher catalogue is confusing, and this is compounded by that which is written on the print. The book says either 149 or 150 impressions were printed in 1936 and then 16 more in 1937-38. As mentioned above, the print says 100 impressions. In any event, this is a very fine example of his work and the plate is # 38 from the celebrated French Church series.
SOLD

Memento Vivere (Notre Dame, Evreux)
Etching, 1947, Fletcher 407 (i/II); extremely rare trial proof of the first state; one of four. 13 1/2 x 7 in. Signed and dated in pencil. A fine impression inscribed "Very light tone overall. Dragged up fourth of four trials of first state of plate." (Stamped "Collection E John Taylor Arms"). Full margins and in fine condition.
SOLD

Memento Viviere (Notre Dame, Evreux)
Etching, 1947, Fletcher 407 (ii/II); edition 198. 13 1/2 x 7 in. Signed and dated in pencil. The print is also inscribed "II" for second state. This is a superb, rich impression printed on an antique laid paper. The margins appear to be full and the condition is excellent. This stellar print is the recipient of five Awards and they are listed in the catalogue by Fletcher.
SOLD

Puerto del Obispo, Zamora
Etching, 1933, Fletcher 266, (ii/II), edition 160. 12 5/8 x 7 1/8 in. Signed and dated in pencil and with a pencil dedication (partially erased). A fine impression on antique French paper. Full margins. Very good condition other than the faintest trace of discoloration from an earlier mat.
SOLD

Segovia
Etching, 1924, Fletcher 143, only state. Edition 150 as printed by Frederick Reynolds. 13 5/8 x 17 5/16 in. Signed and dated in pencil. Titled in the margin, lower left. A fine, luminous impression in fine condition. Full margins. Spanish Church Series #3.
SOLD

Sentinels
Etching, 1922, Fletcher 123; edition 135 plus 3 trial proofs. 4 1/4 x 7 3/8 in. Signed and dated in pencil. A superb impression printed on a nice old sheet of greenish laid paper. The margins are wide and probably full. The condition is very good other than a subtle stain in the lower margin, well away from the image, and a tiny spot(rust?) in the upper left corner margin.
SOLD

Shadows of Venice
Etching with aquatint, 1930, Fletcher 229 (ii/II), edition 100 (140?) 10 1/8 x 12 1/2 in. This is a fine, luminous impression printed on an old sheet of cream laid paper, probably an end leaf from a book or ledger. The margins are full and the condition is fine. (There's a soft crease in the upper margin at left and another in the upper right margin corner; both not affecting the image. This very desirable print depicts the Ponte di Rialto, a favorite subject of etchers in modern times. (Note: the catalogue lists a printing of 127 impressions in 1930 and then an additional 13 proofs between 1930 and 1938. This impression is inscribed "edition 100.")
$2,000

Spanish Profile, Palencia
Etching, 1948-1950, Fletcher 418 (iii/III), edition 308. 13 5/8 x 6 3/4 in. Signed and dated in pencil. Inscribed "III" for the third state (of three). This is a superb, luminous impression with full margins. The condition is excellent as the work has never been matted or framed before now. This exquisite print is # 15 from his Spanish Church Series. The Cathedral was built from 1321 to 1504.
SOLD

St. Paul, Alps-Maritimes (France)
Etching, 1927, Fletcher 201 (ii/II); edition 259. 7 1/2 x 11 5/8 in. Signed, dated and titled in the plate. Signed and dated in pencil. This is a fine impression printed on a thin Japanese paper. The margins are full. The condition is very good other than slight lightening within a previous mat opening. This work was published by the Print Club of Cleveland and the edition was printed in New York by Frederick Reynolds. Marc Chagall lived here and the Fondation Maeght is nearby.
$800

Stockholm
Etching, 1940, Fletcher 346, edition 395. 7 1/2 x 13 1/2 in. Signed and dated in pencil. Also inscribed "III" for third state and below "sp" for special proof. This is a fine, luminous impression of this stellar work. The margins are full and the condition is excellent. This print won multiple prizes from 1941-48.
$1,500

Study in Stone, Cathedral of Orense
Etching, 1933, Fletcher 257 (ii/II); from the edition of 162. 7 3/8 x 5 1/2 in. Signed and dated in pencil. A fine impression with full margins. Old hinges at top corners. (Stamped "Collection E John Taylor Arms).
SOLD

Sunlight on Stone, Caudebec-en-Caux
Etching, 1931, Fletcher 241, (ii/II), total edition this state 164. 14 3/8 x 7 1/2 in. Signed, dated and titled in pencil. A superb, luminous impression of this major print from the French Church series. Full margins. In very good condition apart from the trace of a small stain in the upper left corner of the image, barely noticeable. (Note: This impression is dated 1931 and inscribed "Ed. 100" but the catalogue raisonne has other ideas. It lists a 1931 printing of 140 by Henry E. Carlin.)
SOLD

The Balcony (Venetian Gateway)
Etching, 1931, Fletcher 237 (iii/III), edition 110. 8 1/16 x 5 1/16 in. Signed and dated in pencil. This is a fine, luminous impression printed on cream antique laid paper with an illegible watermark. The margins are wide and probably untrimmed. This stellar Venetian print is one of several views of this famous city which exemplify his work in the etching medium.
SOLD

The Butterfly
Etching and aquatint printed in colors, 1920, Fletcher 48 (ii/II); edition of 100 printed in colors. 10 3/8 x 7 1/4 in. Signed and dated in pencil, lower right. This is a fine impression in fine condition with probably the full (1") margins. The condition is excellent. This is an outstanding print, especially as seen here with color. The scene is a lake in Italy, possibly Lake Maggiore.
SOLD

The Enchanted Doorway, Venezia
Etching, 1930, Fletcher 227, edition 148 (ii/II). 12 3/8 x 6 1/2 in. Signed and titled in pencil. There's an additional pencil dedication by the artist, lower left. This fine impression is printed on antique laid paper with probably full margins. There's a trace of an old adhesive on the edges, verso, barely visible.
SOLD

The Gothic Spirit
Etching, 1922, Fletcher 120, edition 130 plus 5 trial proofs. 11 3/4 x 7 1/8 in. Signed in pencil, lower right. This is a superb, luminous impression printed on off-white, fibrous Japanese paper. The margins are full. The condition is excellent. This large print is number eight from this celebrated series of gargoyle studies.
SOLD

Through Wind and Weather (Notre Dame Gargoyle)
Etching, 1922, Fletcher 118, edition 75. 7 1/8 x 8 in. Signed in pencil, lower right. This is a superb, luminous impression printed on laid paper with the watermark "F.J. Head & Co." Full margins. Very good condition. (There's a thin spot in the upper margin which is an inherent paper flaw.) This is plate # 7 from the celebrated Gargoyle series.
SOLD

Ugly Devil (Gargoyle Studies)
Etching, 1924, Fletcher 148; edition 100 plus two trial proofs). 3 1/4 x 3 1/8 in. Signed and dated in pencil. A fine impression printed on a cream-colored wove paper. The margins are full and the condition is very good. (There's a bit of toning on the bottom edge of the sheet.) This is plate #12 from the Gargoyle Series.
SOLD

Venetian Mirror
Etching, 1935, Fletcher 289 (ii/II); edition 169. 6 3/8 x 14 in. Signed and dated "1935" in pencil. Also inscribed "II" and "Private Collection 6." Arms also has written below and to the right the title, that this is number 27 from his Italian series and this is a "SP"; a special proof from the 1937-38 printing of 23 impressions. The margins are full and the condition is excellent. This is clearly one of the artist's best prints as seen here is a stellar impression.
SOLD