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KNIGHT"S TEMPLAR TEMPLE SEGOVIA - Limited Edition of 5 Print
United States
Printmaking, Etching on Paper
Size: 16 W x 12 H x 1 D in
Ships in a Box
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About The Artwork
This architectural study (etching on zinc plate) reflects the soul of the Templar Temple it represents. It was published and hand-printed by the artist/printmaker Jerry DiFalco at the Center For Works on Paper within the Fleisher Art School's Open Studio in Printmaking, Philadelphia, Pennsylvania. Four Editions are in the works, and this print is from the Second Edition of five prints. Di Falco blended his own mix of four colors (oil-base etching ink from Paris) and printed on RivesBFK tan-colored paper; he employed a Thai, mulberry bark paper—infused with Japanese kozo threads—which was also hand treated with methyl cellulose in the Chine collè process. Other studio processes included intaglio, aquatint, and drypoint. The scene was adapted from original pencil and graphite drawings by the artist; these studies were based on a photo taken by DiFalco in 1990 while traveling in Segovia, Spain. The image size is eight inches wide by six inches high; the paper size is fifteen inches wide by eleven inches high. The work (presented in an acid-free matt) comes in a wood and glass frame (painted black) that measures sixteen inches wide by twelve inched high (16 by 12). The price includes mat, frame, signed and numbered etching, Certificate of Authenticity signed by artist, shipment carton, all shipment costs, bubble wrap and packing materials, and information on artist. The scene features The Roman Catholic Church of Vera Cruz, formerly known as Santo Sepulcro, located in the San Marcos area of Segovia. The design is based on a dodecagonal plan, which has a circular nave revolving around an aedicule, or small temple. It is one of the finest preserved European temples of this style, and its construction has been attributed to the Templars. The Knights of the Order of Malta celebrate their religious acts in this church. Noteworthy are the acts of Good Friday, especially the procession of the Christ Yaciente and the Lignum Crucis in which the Knights of the Order of Malta parade with black choir habits. Many mysteries surround this one specific building, which contains many legends and symbols. Some claim that there are veiled references within the design about the locations of both The Holy Grail and The Philosopher’s Stone.
Details & Dimensions
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:16 W x 12 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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