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FULL WATER DRAGON MOON OVER CHINATOWN, 1948 - Limited Edition of 4 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 20 W x 28 H x 1.1 D in

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About The Artwork

A NOTE ON PRICING: The Price is $550. Shipment costs bring this to $615. You, the collector, initially see a price of $615.00 for my hand-printed and framed etching. When you deduct the 35% commission taken by saatchionline, I have a profit of $357.50. However, my profit of $357.50 has other deductions. The buyers 15% discount of $53.10—brings my profit to $305.00. Next, after deducting my costs to make and package the work (which includes printmaking ink, printmaking paper, a shipment carton, bubble wrap, a frame, a mat, and other framing costs), my profit decreases another $75.00. This brings my profit to about $230.00, but this does not account for other costs I incur like, : 1) the time it took me to produce the work; 2) my costs to use the printing studio; 3) my travel expenses to and from the studio; and, 4) utility costs in the studio. These easily bring my profit down another $175.00. Therefore, I clear about fifty-five US dollars. This etching employs the studio techniques of aquatint, intaglio, and drypoint. The zinc etching plate used measured ten inches high by eight inches wide, which is consequently also the image size. French, oil base ink (Charbonnel brand from Paris) was used, as well as RivesBFK white printmaking paper. The print size measures about fifteen inches by eighteen inches high. This hand-pulled print by Di Falco required eight individual baths in Nitric acid to achieve the final design. The artist used two of his original drawings to create this work, and based these drawings on a 1948 photograph from the Free Library of Philadelphia’s digital collection. This photo was taken in Philadelphia’s Chinatown by the firm of Parker & Mullikin and features The South China Restaurant at 913 Race Street. The work, entitled “FULL WATER DRAGON MOON OVER CHINATOWN, 1948”, shows the artist’s expert use of balancing light and shadow within the etching process. The artwork comes complete with an archival mat and painted (color - black) wood frame that measures twenty-eight inches high by twenty-two inches wide. A protective, brown paper frame backing is glued securely to the work. The price also includes the shipment carton, all shipment costs, all protective and weatherproofing packing materials, and a Certificate of Authenticity signed by the artist. Di Falco printed this on an industrial size, floor model Brand printing press, manufactured in New York City. He completed this First Edition (of Five Editions) at The Center for Works on Paper in Philadelphia, Pennsylvania (associated with the Fleisher Art School’s Open Printmaking Studio for Professional Artists). Each edition is limited to only four etchings, and this is Print Number One (the best) of Four.

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:4

Size:20 W x 28 H x 1.1 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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