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1895, Milk Truck, New Orleans Print - Limited Edition of 10

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 14 W x 11 H x 1 D in

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About The Artwork

The techniques of intaglio, drypoint, and aquatint were used, and I executed the print in black oil-based printing ink on STONEHENGE printer's paper (from Great Britain; color-GRAY). I used one plate to produce this image, which measured five-inches wide by four-inches high (12.7cm x 10.1cm), making the printed area the same size. The print measures 11 by 10 inches. The print is inspired by a 1903 photo from the Library of Congress, Washington, DC (Collection- Detroit Publishing Company/Prints and Pictures Department). Historical Notes About This Place: The cafe . . . features La Louisiane, on Iberville St.; proprietor, Mrs. Omar Cheer. Hours: 8 A.M. to 10 P.M.; table d hote lunch, 11-2, 75 cents; table d hote dinner, 5.30-8, $1. Private dining-rooms, ballrooms, banquet rooms; make reservations for dinner party, banquet, or ball. La Restaurant de la Louisiane, established in 1881 by Louis Bezaudin, has been the scene of many brilliant social affairs. The restaurant occupies one of the most interesting and beautiful buildings of New Orleans, the former mansion of the merchant prince Zacharie. It is a three-story structure, with white facade and green shutters; balconies, edged with handsome ironwork, jut over the arched entrance and windows beneath. Inside, there is a succession of spacious rooms, with mirrored walls, crystal chandeliers, brocade draperies, and softly carpeted floors. Under the management of Fernand Alciatore, the French cuisine was brought to a rare perfection that attracted guests from far and near. La Louisiane's guest-books are full of the names of people famous in the early years of the twentieth century. Some of the dishes featured by the restaurant are bisque ecrevisse Louisiane, canape crab Louisiane, redfish courtbouillon, turkey Rochambeau, filet de truite marguery, and baked Alaska. (http://www.historicamerica.net/neworleanstestaurantsfrenchlalouisiane.html). THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A Brownish colored FRAME (front outer border measurements are about 12 inch x 16 inch, Type – Glass & Wood Edge / Ornate Style, Color - Brownish); ALL HANDLING COSTS; SHIPMENT COSTS; 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. Edition Notes: The Second, Third, and Fourth Editions will be printed after January 1, 2019. These later editions will contains only four prints each and will be if three different color combinations of ink and paper.

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:10

Size:14 W x 11 H x 1 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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