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PINK EL DORADO CABARET, BERLIN 1929 - Limited Edition 2 of 4 Print
United States
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Fine Art Paper
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10 x 8 in ($100)
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White ($80)
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About The Artwork
Three editions of five prints each were printed at The Center for Works on Paper in Philadelphia, Pennsylvania. The last, or 4th, edition will be printer in January of 2019. This is related to certain astrological positions of the moon. THE PRICE OF THIS ETCHING INCLUDES A FRAME (SILVER-PAINTED WOOD) WITH GLASS AND ACID-FREE MAT. THE FRAME MEASURES 14 INCHES HIGH BY 11 INCHES WIDE; AND, THE WHITE MAT CONTAINS A METALLIC SILVER INNER TRIMMED EDGE. THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL. ALSO, A WALL HOOK AND NAIL ARE INCLUDED. This work is the SECOND edition (OF FOUR EDITIONS) in Di Falco’s CABARET series entitled, “Tears for Berlin”; each edition is limited to only five hand-printed etchings. The inspiration for this Di Falco work came from an image in Das BUNDESARCHIV, a German photographic archive. DiFalco executed this rare and beautiful work on four individual zinc plates, which were placed on the printing press simultaneously in a “two over two” plate design to produce a single image. This endows the work with the optical effect of looking at the scene through four windowpanes. This “window illusion” is a DiFalco trademark in etching. Each zinc plate measures 3 inches high by 4 inches wide, and the overall image is 6.5 inches high by 8.5 inches wide. The framed work measures 11 inches high by 14 inches wide. MEDIA: OIL-BASE ETCHING INKS ON STONEHENGE BLACK PAPER. The Saatchi price includes the costs for all handling, the shipment carton, bubble wrap, mat, frame, Certificate of Authenticity, and regular domestic (US) shipment costs. STORYLINE:The German Cabaret movement was one of the most avant-garde art genres of the last century. It combined elements of music, theater, performance art, and political satire. Many feel it also popularized the gay and lesbian bar scene of today. The El Dorado Cabaret had a long and complicated history since opening on March 22, 1922 by Ludwig Konjetschni. This entrepreneur, who publicized it as a, “meeting place for the international world”, directly targeted the homosexual community by advertising in gay and lesbian publications. In 1927 El Dorado moved to the central entertainment district in Schöneberg at Lutherstrasse 30, directly opposite the famous Scala Variety Theatre. Konjetschni moved his cabaret to larger premises and founded the Grand Cafe Luitpold on Motzstrasse, opening the brand new Eldorado early in 1931. Marlene Dietrich, Claire Waldoff, and the Weintraub Syncopators performed there, and it was a regular venue for transvestites and transexuals. In July 1932, the Chief of Police, Kurt Melcher began implementing the strict Roman Catholic policies of the new Von Papen government. Melcher proclaimed, “an extensive campaign against Berlin’s depraved nightlife”, and ordered a ban on same sex couples dancing in public in October 1932. Ludwig Konjetschni closed the El Dorado and handed the premises over to the local fascists, the Sturmabteilung SA, many of who had, ironically, worked for him at The Eldorado. The SA turned the Eldorado into their local headquarters, and it became an epicenter for Nazi activity. With this incident, one of Europe’s most colorful art scenes collapsed. The Eldorado played a key role in ‘ I Am A Camera’, the 1955 film adaptation of Christopher Isherwood’s ‘Goodbye To Berlin’.
Details & Dimensions
Print:Giclee on Fine Art Paper
Size:10 W x 8 H x 0.1 D in
Size with Frame:15.25 W x 13.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
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. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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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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