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"ABE: HALLOWEEN 1962" - Limited Edition 2 of 4 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 12 W x 16 H x 1 D in

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About The Artwork

THE PRICE OF THIS MATTED ETCHING INCLUDES A WOOD AND GLASS FRAME THAT MEASURES 16 INCHES HIGH BY 12 INCHES WIDE. THE GOLD COLORED FRAME INCLUDES AN ACID FREE, WHITE MAT WITH INNER GOLD TRIM EDGE. MOREOVER, THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL. All regular, U.S. domestic shipment costs are also included in the Saatchi Price. This etching is based on a black and white snapshot from 1962 executed by the artist’s mother. The scene shows the artist at age nine dressed for Halloween as Abe Lincoln. The print now has two editions with each one limited to only five hand-pulled etchings. The work was executed on a zinc plate by Jerry Gerard Di Falco and printed on a Charles Brand flatbed press at The Center for Works on Paper, located on the Fleisher Art campus in Philadelphia, Pennsylvania, USA. Media included oil-base etching inks, RivesBFK white paper, and Thai mulberry bark papers (infused with Japanese Kozo fibers). Four nitric acid baths were required to obtain the final design. This is the best print of five prints in the FIRST of FOUR Editions, as noted on the etching in pencil. The image size, which corresponds to the etching plate size, measures six inches wide by nine inches high or 15.240cm by 22.860 cm. The FRAMED and MATTED etching measures TWELVE inches wide by SIXTEEN inches high. The following description outlines the Chine Collé Process: Chine Collé, which translates from the French as Chinese pasting, is a process in which colored and treated papers are attached to the inked etching plate before printing. Di Falco mixes Methylcellulose powder with spring water and then paints the resulting clear viscous substance onto hand-dyed, UNRYU brand mulberry bark paper. In Japan, Unryu translates as CLOUD DRAGON paper, because it has long swirling threads of kozo fibers integrated in it, giving the texture and visual effect of clouds. Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually. The artist explains, “The treated colored paper is then allowed to dry overnight, and I cut it to exactly fit the plate’s areas where I want color. These stenciled mulberry bark papers are first dampened or misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and creates a multi-colored image on paper.”

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:5

Size:12 W x 16 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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