Suggestions in Floral Design, Frederick Hulme, 19th century chromolithograph

1878

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

Chromolithograph, 1878. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior designers with st...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern...

David Roberts R.A. 1796 - 1864 Interior of the Great Temple of Aboo Simbel Subscription edition and First edition lithographs available Full plate: 139 Acid free mount With David ...

David Roberts R.A. 1796 - 1864 CALVARY - HOLY SEPULCHRE First Edition lithograph Full plate: 26 Presented in a acid free mount Modern hand-coloured lithograph for the first editi...

"Church of St. Aignan Chartres" Etching in Ink on Paper (Demonstration Plate) Delicate and detailed drypoint etching of the Church of St. Aignan in Chartres, France by John Taylor Arms (American, 1887-1953). The viewer stands in an alley near the church, looking out of the shadows at the sunlit towers. The architectural details of the church are well-captured, including the texture of the stone walls, the roof, and ornamental detail. Titled, signed, dated, and inscribed along the bottom edge: Sketch, Saint Aignon, Chartres John Taylor Arms 1950 The inscription includes details about production, as well as a dedication "To my friends Georgia and Jasper Mathews, with my sincerest good wishes" Presented in a wood frame with an off-white mat. Frame size: 12.5"H x 9.25"W Image size: 7"H x 4.5"W John Taylor 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 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 Society of American 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. His work was also part of the painting event in the art competition at the 1932 Summer Olympics...

London: Thomas McLean, 1835. Etching with hand coloring in watercolor on cream wove paper. 6 1/4 x 8 3/8 inches (157 x 210 mm), full margins. Initialed in the plate by Cruikshank, and bearing Frederick Marryat's anchor monniker. A well inked impression of this humorous print...