LELAND IN ORANGE Art Print by Jerry DiFalco - Limited Edition of 10

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LELAND IN ORANGE - Limited Edition of 10

Jerry DiFalco

United States


Size: 9 W x 12 H x 1 D in

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About The Artwork

NOTE: The artist changed his mind after printing this edition. Only the edition will be printed. Edition One of One. I used paper from England (STONEHENGE brand, color-Black); and, the etching inks I employed were Charbonnel brand from Paris (oil-based. a mix of four colors). Several acid baths were necessary to achieve this overall misted effect, as well as the addition of gold pigment. This intimate work is based on an early photographic portrait of Charles Godfrey Leland, a native of Philadelphia (Pennsylvania, USA) who was a renowned author, folklorist, and occult historian. Leland was born on August 15, 1824 in a house located on the North side of Chestnut Street situated just two doors below Fourth Street; His German nurse is said to have performed a ritual in the attic of this house when he was just days old to inure a life of good fortune and fame. Charles Leland traveled extensively throughout Europe and lived a long life; he died in Florence, Italy on March 20, 1903. Leland was key in the saving of the Gypsy language (known as Romany) from extinction through his sociological research and writings, as well as for recording vast amounts of information about various Gypsy cultures in Italy, Spain, France, Ireland, England, the USA, and the Middle East. Many believe him to be the world’s first hands-on anthropologist. Leland’s literary works included: "Aradia, Gospel of the Witches" (1899); "Hans Breitman Ballads" (1860); and, "Etruscan Roman Remains" (1892). He is buried in Philadelphia, Pennsylvania. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME; 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.

Details & Dimensions

Print:Aquatint on Paper

Artist Produced Limited Edition of:10

Size:9 W x 12 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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