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John Taylor Arms

John Taylor Arms - Bury St. Edmunds

Bury St. Edmunds

John Taylor Arms ' "Bury St. Edmunds" is a veritable tour de force within his artistic oeuvre. His written inscription tells the story: "Sketch, "Bury St. Edmunds" -- from demonstration plate drawn, etched and printed in two hours at Wells College, Aurora, NY., Sept. 27, 1940. With the compliments of the artist, John Taylor Arms, 1941." The number '1' written by Arms before the inscription relates that this is a first state of "Bury St. Edmunds". Only a handful of these initial s were taken. Arms then made some very slight changes to the plate before the second state was published in an edition of 100 late in 1941.

Only a master such as John Taylor Arms could within the space of two hours draw, etch and print a plate of such artistry. In the end one can only gaze in awe at such a feat. "Bury St. Edmunds" stands as a superb, original example of the etched art created by the American artist, John Taylor Arms

 
Title: Bury St. Edmunds
Artist: Arms, John Taylor (Washington, DC, 1887 - Fairfield, Connecticut, 1953)
Date: 1940
Medium: Original Annotated Etching
Note: John Taylor Arms: During the 1920's, 30's and 40's, the etchings and aquatints of John Taylor Arms provided the standard for other American architectural artists to follow. No artist, however, could match Arms's superb technical skills and, to this day, his incredibly precise and detailed etchings raise feelings of astonishment.
  Given the quality of his work it is not surprising that John Taylor Arms trained first as an architectural draftsman before devoting himself to the art of etching. During the First World War he served as an officer in the American navy . He published his first original etchings in 1919, following the end of the war. During the following decades, Arms spent almost as much time in England, France and Italy as he did in his native country. Arms's lifelong passion was for Gothic architecture and thus Europe was the setting for much of his great art.
 

His technical expertise was without equal. Sometimes he employed the fine points of sewing needles to score the etching ground with precision to render the finest shades. Such innovations secured a fine international reputation for Arms. One author writes,

"Arm's images were handsome elaborations of an older tradition rendered with impressive technical mastery. These constant features sustained his reputation on both sides of the Atlantic which was buttressed by the knowledgeable praise of Campbell Dodgson, historian of the art and Keeper of Prints at the British Museum, and by the joint publishing of his etchings by Colnaghi & Company in London and by Kennedy & Company in New York." *

  John Taylor Arms was a full member of the Chicago Society of Etchers, the Print Society of England, the Canadian Painter Etchers, the Associe de la Societe des Beaux-Arts, Paris, and served as the first President of the Society of American Etchers. Examples of his original etchings and aquatints are included in the collections of most major museums, including the Congressional Library, Washington, the British Museum, London, and the Bilbiotheque Nationale, Paris.
Raisonne: William D. Fletcher, John Taylor Arms: A Man for all Time: The Artist and his Work, Boston, 1982.
  Catalogue # 342, First State of Two and printed only in a handful of signed s.
Reference: * James Watrous, A Century of American Printmaking: 1880-1980, Madison, University of Wisconsin Press, 1984, pp. 80 & 81.
Size: 5 3/4 X 3 7/8 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  Framed and Matted with 100% Archival Materials
  View larger Framed Image
  Bury St. Edmunds Framed Original Etching by John Taylor Arms
Condition: Printed upon fine, hand-made, laid paper and with full margins as printed by the artist at Wells College in 1940. Contains very slight matte staining in the outer margins, else a finely printed, initial and in excellent condition throughout. Signed, dated and thoroughly inscribed by the artist in pencil along the lower margin. Bury St. Edmunds stands as a superb example of the original art of John Taylor Arms
Price: Sold - The price is no longer available.
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Original Etching by the American artist, John Taylor Arms.

Bury St. Edmunds Original Etching by the American artist John Taylor Arms
Bury St. Edmunds

View other original works of art by John Taylor Arms.

John Taylor Arms (Washington, DC, 1887 - Fairfield, Connecticut, 1953)
# Image Title & Artist Medium Date Notes -
01- Bury St. Edmunds by John Taylor Arms Bury St. Edmunds by John Taylor Arms Original Etching 1940 Signed, dated and inscribed by John Taylor Arms in pencil along the lower margin. Sold
02.- Millstone Cottage Connecticut by John Taylor Arms Millstone Cottage, Connecticut by John Taylor Arms Original Etching 1921 Signed and dated by John Taylor Arms in pencil to the lower right margin. Sold
03.- Stanwick Church by John Taylor Arms Stanwick Church by John Taylor Arms Original Etching 1939 Signed and dated in pencil by John Taylor Arms along the lower margin. Available

View Our Selection of Original American Art of the Depression Era (c. 1930 - c. 1945)

American Art of the Depression Era (c. 1930 - c. 1945)
The American Art of the Depression Era directory contains a listing of original works of art from the Depression decade of the 1930’s and into the early 1940’s created by American artists. These pages also include information about the art publishers, associations, clubs, groups and societies located in major cities throughout the United States, such as Boston, Brooklyn, Chicago, Cincinnati, Cleveland, Buffalo, Wichita, Philadelphia, Rochester, San Francisco, Washington D.C. and elsewhere. Many of these organizations provided an opportunity for American artists to work and create original works of art during the Great Depression. A few of the art associations and clubs active during this period that are discussed in this directory include the American Artists Group, the Associated American Artists, New York, the Buffalo Print Club, the Chicago Society of Etchers, the Lone Star Printmakers, the Prairie Print Makers, the Print Club of Cleveland, the Print Club of Philadelphia, the Print Club of Rochester, the Society of American Etchers, the Indiana Society of Printmakers, the Society of Washington D.C. Artists and the Syracuse Print Club.
01.- American Art of the Depression Era - Page 1 (Artist Index (A to E)

American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: A to E): The following four pages contain a listing of original American etchings, lithographs woodcuts, serigraphs, watercolors, drawings, linocuts and wood engravings from the Depression decade of the 1930’s and into the early 1940’s. Despite the dire economic times publishers of original prints continued to survive and successfully raise revenue for the artists as well as making original art affordable during the Great Depression years.

Listed on the first page of the 'American Art of the Depression Era' directory are over fifty original works of art created by American artists such as, George Elbert Burr, his etchings, Little Canyon, Arizona and Morraine Park were both commissioned by The Print Connoisseur, while his Evening, Arizona was published by The Brooklyn Society of Etchers. Also, works such as, Kenneth Ballantyne's original linocut, Wood Nymphs appeared in The Colophon in New York in 1931. George Elmer Browne’s The Fishing Fleet and Adolf Dehn’s Threshing Near Kilkenny published by the Associated American Artists (A.A.A.), are other outstanding examples of early prints from this decade.

02.- American Art of the Depression Era - Page 2 (Artist Index (F to J)

American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: F to J): The second page of this directory also contains a list of over fifty original works of art created during the Great Depression years by American artists. One of the more interesting aspects of art of the Depression is how seldom the actual misery and privation of the decade is depicted. On this page, for example, only Hugo Gellert’s original lithograph, Primary Accumulation, protests the contemporary state of affairs. The visual arts (including films) set out to divert and entertain. Perhaps for artists an almost sure recipe for failure would have been to remind the average man of his sorry condition.

On the contrary most areas of the entertainment industries thrived. The art of Kenneth Hartwell is an excellent example. His lithographs of circus acrobats, jugglers and clowns and of the music, dancing and comedy of the Burlesque shows are worlds into themselves. Gazing at his imagery the viewer is granted a temporary reprieve from the real world.

03.- American Art of the Depression Era - Page 3 (Artist Index (K to P)

American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: K to P): Even in a Depression the sense of a continuation of normal activities persists. In Joseph Margulies, New England Granny the subject does exactly what grannies do best as she contentedly sits in her rocker, sewing. Philip Parsons depicts a joyful family reunion in Home for Christmas and Henry Pitz depicts the dignity of work in his monumental art deco style in both Maine Fisherman and Man Against the Sky.

Purely by alphabetical accident, page 3 also contains two of my favorite night scenes: Alan Lewis’ delightful color woodcut, Swinging the Gate and Martin Lewis’ renowned Night in New York. This famous etching was published by the Chicago Society of Etchers in 1932.

04.- American Art of the Depression Era - Page 4 (Artist Index (R to Z)

American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: R to Z): Like the previous three pages, page four of this directory provides a full variety of Depression era themes and techniques. Stark realities of the times are provided by W. P. Robinson (Abandoned Farm) and Isadore Weiner (Gardening). In contrast are pieces like John W. Winkler’s playful landscape, Rae Lakes, California and the fine animal studies by Clarence Zuelch.

Two magnificent drypoints by Albert Sterner -- Meditation and The Promised Land – will also be found listed on that page. In particular, The Promised Land seems like a potent symbol of man’s journey through the decade of the Great Depression. In total, there are over two hundred works of original art created by American artists from the Depression decade of the 1930’s and into the early 1940’s listed in the 'American Art of the Depression' directory.


Selected Directories in our Gallery (Art of The Print / www.artoftheprint.com), with a focus on the area of interest for this original work of art.
Art of the Print / www.artoftheprint.com sells international fine art. Our collection consists of original paintings, watercolors, drawings, and original prints, such as etchings, engravings, lithographs, woodcuts, silk-screens, aquatints, mezzotints, linocuts, monoprints, and other mediums of original art. All of these works of art have been created by prominent and established painters, illustrators, watercolour artists and printmakers from around the world. The art in our gallery ranges from the early Renaissance period to the modern and contemporary art period. You can view other original artworks similar to the subject under discussion on this page listed in the following art directories.
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