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LUCY THE ELEPHANT IN BLACK AND BLUE - Limited Edition of 5 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 16 W x 20 H x 0.9 D in

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About The Artwork

NOTE: The frame measures 20 inches high by 16 inches wide. This is the third and final edition of this double-plated etching, which was printed manually in 2020 by the artist at The Center For Works on Paper (705 Christian Street) in Philadelphia, Pennsylvania within the Fleisher Art School’s (700 Block of Catharine Street) OPEN STUDIO ON PRINTMAKING. The edition is limited to just five etchings and represents the famous icon from New Jersey’s coast in Margate (just south of Atlantic City). The artist spent many summers of his childhood here and loved visiting this elephant-shaped building that once served as a hotel. The work was based on original drawings, which were adapted from the artist’s photo shot in 2013. Di Falco blended a mixture (three colors; Charbonnel brand) of French, oil base etching inks. The pale blue paper he used was manufactured by Stonehenge. The artwork is executed on two zinc etching plates, each one measuring eight-inches high by ten-inches wide (20.320cm by 25.400cm); the overall image size is sixteen-and-one-quarter-inches high by ten-inches wide (almost 41.000 cm by 25.400cm wide). The print measures twenty-two-inches high by fifteen inches wide (55.880 cm x 38.100 cm wide). These plates were etched in five separate baths of Nitric acid, the Di Falco incorporated the studio techniques of intaglio, aquatint and drypoint. THE PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (WOOD/GLASS) THAT MEASURES18 BY 24 INCHES; ALL HANDLING COSTS; ALL SHIPMENT COSTS; A PROFESSIONAL CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included. The following QUOTE about this iconic landmark by the Atlantic Ocean is from- http://www.roadsideamerica.com/story. 
 "Lucy is the world's largest elephant, and the only one in America designated as a National Historic Landmark.
 She was built in 1881 by James V. Lafferty, a real estate developer with a knack for promotion. Standing six stories tall, weighing 90 tons, covered with 12,000 square feet of sheet tin, Lucy was more than an object of awe -- she was a functioning building, serving first as a real estate office, as a summer home, even briefly as a tavern, until unruly drunks nearly burned her down. She also gave people a reason to come to Margate City while Lafferty gave his real estate pitch."

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:5

Size:16 W x 20 H x 0.9 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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