Le Penseur de Notre Dame
JOHN TAYLOR ARMS
American, (1887-1953)
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

Gloria: Saint Riquier (Gloria Ecclesiae Antiquae)
JOHN TAYLOR ARMS
American, (1887-1953)
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

Through Wind and Weather (Notre Dame Gargoyle)
JOHN TAYLOR ARMS
American, (1887-1953)
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

The Balcony (Venetian Gateway)
JOHN TAYLOR ARMS
American, (1887-1953)
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

Spanish Profile, Palencia
JOHN TAYLOR ARMS
American, (1887-1953)
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

In Memorium (The North Portal of Chartres Cathedral)
JOHN TAYLOR ARMS
American, (1887-1953)
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
JOHN TAYLOR ARMS
American, (1887-1953)
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

Evening, East River, New York
JOHN TAYLOR ARMS
American, (1887-1953)
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

Aspiration, La Madeleine, Verneuil-sur-Avre
JOHN TAYLOR ARMS
American, (1887-1953)
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

Shadows of Venice
JOHN TAYLOR ARMS
American, (1887-1953)
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.")
SOLD

Crystal and Jade
JOHN TAYLOR ARMS
American, (1887-1953)
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.
SOLD

Grim Orvieto
JOHN TAYLOR ARMS
American, (1887-1953)
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.
SOLD

From the Ponte Vecchio, Florence
JOHN TAYLOR ARMS
American, (1887-1953)
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

Memento Viviere (Notre Dame, Evreux)
JOHN TAYLOR ARMS
American, (1887-1953)
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

Venetian Mirror
JOHN TAYLOR ARMS
American, (1887-1953)
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

The Last Trumpet
BORIS ARTZYBASHEFF
Russian/ American, (1899-1965)
Wood engraving, 1937, edition 200. 11 3/8 x 7 7/8 in. Signed and titled in pencil. This is a fine impression printed on a cream wove paper. The margins are full. The condition is very good apart from old adhesive on the top corners, verso, where the sheet was attached to the accompanying portfolio. This potent image was published by the Woodcut Society of Kansas City with an introduction by Carl Carmer. Artzybasheff was a gifted set designer and illustrator and he created more than 200 covers for Time magazine before his death. This potent image was perhaps partially inspired by his early time in the front lineswhen the Russian Revolution broke out in 1917. He was drafted into the German sponsored Ukranian army and was forced to fight for a separatist Ukranian Republic. With his life at risk, he eventually escaped and made it to New York and commenced his career as an artist. This is a universal statement about war and destruction against the background of a large metropolis.
$3,500

Came's House (Woodstock)
GEORGE C. AULT
American, (1891-1948)
Lithograph, 1934, edition 25. 14 x 10 in. Signed, dated and numbered in pencil. This is a fine impression in very good condition. The margins are slightly uneven but this appears to be the full sheet as printed. This rare print by the artist reflects his interest in precisionist painting and drawing. Came's house was also done in an oil version and it depicts the Woodstock home of Ault's friend and patron, Cambridge Lasher. This impression was exhibited at the Arkansas Arts Center, November 30-December 30, courtesy of James Reinish Gallery & Associates, NY.
SOLD

Three Birds
MILTON AVERY
American, (1893-1965)
Woodcut printed in blue and black, 1952, Lunn 43ii, edition of 15. 9 1/2 x 25 in. Signed, dated and numbered in pencil. This is a superb, luminous impression printed on Japanese paper. The margins are probably full and untrimmed. The condition is generally fine. (There's some stray printers ink in the margins which is not uncommon with Avery's woodcuts.) This captivating, large work is one of his finest prints done in the woodcut medium, particularly in this color combination. (There were also fifteen impressions in black and twenty in yellow and black.) Avery loved depicting whimsical birds as subject and there are paintings that relate to this image. Avery was introduced to the medium by fellow artist, Steve Pace. He printed his own blocks, sometimes with the assistance of his wife and daughter.
SOLD

Drawbridge
MILTON AVERY
American, (1893-1965)
Drypoint, 1936, Lunn 10, edition 60. 6 3/8 x 12 7/8 in. Signed, dated and numbered in pencil. This is a superb, rich impression of this view of the Harlem River Bridge. The margins are full and the condition is fine. (There's just an extremely faint suggestion of toning within an early mat opening.)
SOLD

Haunted House
PEGGY BACON
American, (1895-1987)
Drypoint, 1940, Flint 134, edition 250. 7 x 4 15/16 in. Signed and titled in pencil. This is a fine impression with full margins. The condition is fine other than for the old hinges and two very minor printing wrinkles in the upper left and lower left corner margins extending away from the plate corners.
SOLD