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Dad's Neighborhood, 1929 - Limited Edition 2 of 5 Print
United States
Printmaking, Aquatint on Paper
Size: 16 W x 20 H x 1 D in
Ships in a Box
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About The Artwork
THIS LAST EDITION OF FOUR EDITIONS; EACH OF THE FOUR EDITIONS CONTAIN FIVE ORIGINAL HAND-PULLED PRINTS. (2/5: IV/IV) This Fourth Edition (of Four) is entitled Dad’s Neighborhood 1929. The etching is related to my series entitled, "COUNTRY AND YACHT CLUB OF MY FATHER IN 1929 IN CAMDEN, NEW JERSEY". An emerald oil-based French etching ink was employed on RIVES BFK white paper. I used the etching techniques of intaglio, aquatint, Chine colle, and drypoint. This edition was etched and printed by the artist in 2017 at The Center for Works on Paper, Philadelphia, Pennsylvania. Six separate baths were needed in a Nitric acid solution to arrive at my final, desired image. The overall “image” size (or zinc plate size) is about ten-inches high by eight-inches wide. THIS PRICE INCLUDES THE MATTED ETCHING IN AN ARCHIVAL MAT; A GLASS & WOOD FRAME (Type – Edge/ Semi-Ornate) 20 INCHES BY 16 INCHES, COLOR - BLACK); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP/PACKING MATERIALS; AND, 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 Chine Collé Process Methylcellulose powder is re-constituted by mixing it with spring water and then applying the clear viscous substance to hand-dyed mulberry-bark paper from Thailand (Brand Unryu); In Japan, Unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. (Kozo fibers come the branches of the kozo (paper mulberry) 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 treated Thai paper is then allowed to dry overnight and I cut it to fit the plate areas where I want color to exist in the print. These stenciled mulberry-bark papers are first dampened/misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and a multi-colored image on paper resulting. This hand-done process is a difficult and laborious one, which I do myself every step of the way. DETAILS include Print 1/5, Edition IV
Original Created:2017
Subjects:Cities
Materials:PaperSoft (Yarn, Cotton, Fabric)Other
Styles:DocumentaryRealismSurrealism
Details & Dimensions
Printmaking:Aquatint on Paper
Artist Produced Limited Edition of:5
Size:16 W x 20 H x 1 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
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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