Provenance

Mr. David F. Wright

Explore selected works

See all 33 works of art
The image shows a sculpture of a human-like face with distinct features top-centered. The sculpture expands with detailed textures resembling foliage or carvings. It appears to be made of stone or metal in shades of brown and grey. It rests on a column-like base and bears the text "ROMAINE SOUVE," signed and dated "John Taylor Arms 1926" at the bottom. This artwork provides a detailed artistic depiction.
John Taylor Arms, Portrait of a Romanesque Capital, 1946, etching on laid paper, Gift of David F. Wright, 2009.71.25

Portrait of a Romanesque Capital

John Taylor Arms · 1946 · etching on laid paper ·  Accession ID  2009.71.25

The image depicts a street-level view of a rustic village scene with buildings on either side. In the distance, there is a grand cathedral dominating the horizon. The brushstrokes are detailed, capturing the textures of the structures and surroundings. The color palette consists of sepia tones, giving the image a vintage feel. A figure is seen on a bridge in the foreground, with chickens nearby. The middle area shows houses with worn-out facades and a prominent tree. The cathedral in the distance adds depth to the scene.
John Taylor Arms, Leon, 1923, etching in brown on laid paper, Gift of David F. Wright, 2010.45.3

Leon

John Taylor Arms · 1923 · etching in brown on laid paper ·  Accession ID  2010.45.3

The image shows a detailed black and white etching of a church and its surrounding graveyard. The church structure dominates the middle section of the image with pointed arches and a crenellated roofline. Fine lines are used to capture textures such as the brickwork of the church, the roughness of the gravestones, and the leafless branches of the trees. A stone wall runs horizontally at the bottom, with uneven gravestones and slightly overgrown grass beyond it. The color palette is monochromatic.
John Taylor Arms, Stanwick Churchyard, 1939, etching on blue laid paper, Gift of David F. Wright, 2009.71.13

Stanwick Churchyard

John Taylor Arms · 1939 · etching on blue laid paper ·  Accession ID  2009.71.13

This image displays a landscape view from an elevated point. The horizon is high in the image and is defined by rolling hills and distant ridges. Close to us, fields and patches of foliage are depicted with fine lines capturing various textures. The artwork features a monochromatic palette of gray and black. Detailed etching techniques create variations in texture, from tree lines to fields and pathways.
John Taylor Arms, Vermont, 1941, etching on laid paper, Gift of David F. Wright, 2009.71.23

Vermont

John Taylor Arms · 1941 · etching on laid paper ·  Accession ID  2009.71.23

The image shows a row of historic buildings next to a waterway. The architecture is detailed, with windows and chimneys. The buildings dominate the composition. The etching strokes capture the texture of the buildings. The color palette is monochromatic with shades of sepia. The scene gives an impression of an ancient settlement. A tower is visible above the rooftops.
John Taylor Arms, The Old Exe Bridge, 1920, etching on laid paper, Gift of David F. Wright, 2009.71.3

The Old Exe Bridge

John Taylor Arms · 1920 · etching on laid paper ·  Accession ID  2009.71.3

The image shows a detailed stone sculpture with intricate patterns and shapes, possibly resembling a mythological creature or symbolic artifact. The sculpture is made of stone and integrated into a stone structure. The background is a stone pathway or fallen fragments.
John Taylor Arms, Plumed Serpent, Chichén Itza, 1940, etching on laid paper, Gift of David F. Wright, 2009.71.15

Plumed Serpent, Chichén Itza

John Taylor Arms · 1940 · etching on laid paper ·  Accession ID  2009.71.15

The image shows a side perspective of a historical stone building complex. The architecture is intricate, with light and shadow playing on the surfaces. The horizon is low, and trees and foliage are on the right. A tower is visible on the horizon. The artist uses detailed linework to show texture in the stone walls. There are cross-hatching and stippling techniques for depth. The color palette is monochrome with black, white, and grey. The illuminated surfaces of the building contrast with the darker shadows. The scene includes a paved ground area and detailed architecture with pointed arches and staircases.
John Taylor Arms, Stokesay Castle, 1942, etching on blue laid paper, Gift of David F. Wright, 2009.71.19

Stokesay Castle

John Taylor Arms · 1942 · etching on blue laid paper ·  Accession ID  2009.71.19

The image shows an industrial harbor with ships, dockyard cranes, and soft clouds in the sky. The view is from the water level, capturing a detailed scene of the structures and ships. The artwork is precise and detailed, resembling a pen-and-ink drawing with fine lines. It uses monochromatic tones to depict the scene realistically, with reflections in the water adding depth. In the distance, industrial buildings can be seen behind the ships.
John Taylor Arms, Destroyers in Wet Basin, 1945, etching on wove paper, Gift of David F. Wright, 2009.71.24

Destroyers in Wet Basin

John Taylor Arms · 1945 · etching on wove paper ·  Accession ID  2009.71.24

The image shows an arched colonnade with intricately carved columns on the right side. In the distance, there is a cityscape with rooftops, spires, and domes against a bright sky. The architecture appears detailed and finely etched. The color palette is limited to shades of gray, black, and white. A column topped with a statue stands out in the distance.
John Taylor Arms, Stockholm, 1940, etching and aquatint on Japanese paper, Gift of David F. Wright, 2009.71.16

Stockholm

John Taylor Arms · 1940 · etching and aquatint on Japanese paper ·  Accession ID  2009.71.16

The image shows a landscape with a village featuring a central church. The horizon is low, emphasizing the village and church against the sky. The church has a steeple with a cross. The style uses fine lines to depict the buildings, trees, and landscape. The color palette is primarily gray and sepia. In the foreground, there is open land leading to the village. The sky is clear and expansive.
John Taylor Arms, David Strang, Normandy Noon, 1936, etching in black on blue wove paper, Gift of David F. Wright, 2011.14.1

Normandy Noon

John Taylor Arms, David Strang · 1936 · etching in black on blue wove paper ·  Accession ID  2011.14.1