VIEW IN MY ROOM
SAINT COCTEAU - Limited Edition of 5 Print
United States
Printmaking, Etching on Paper
Size: 13 W x 17 H x 1 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
About The Artwork
This print uses the etching technique of intaglio, dry-point, and aquatint; I used oil-based Charbonnel brand (metallic) printer’s ink (France) on STONEHENGE black paper (UK). The image is taken from a single frame in Cocteau’s final film entitled, Le testament d'Orphée (Original Title was: “Le testament d'Orphée, ou ne me demandez pas pourquoi), 1960. Cocteau directed and starred in this film, which is the last part of THE ORPHIC TRILOGY (The Blood of a Poet [1930] and ORPHÉE [1950] ). The cast includes: Charles Aznavour; Lucia Bosé; Maria Casarès; Nicole Courcel; Luis Miguel Dominguín; Daniel Gélin; Jean-Pierre Léaud; Serge Lifar; Jean Marais; François Périer; and, Françoise Sagan. Cameo appearances are also made by Pablo Picasso and Yul Brynner. The film is shot in black and white, yet has a few seconds of colors edited into it. Cocteaus’ Le testament d'Orphée involves the metaphysical elements of time travel, dream consciousness, and death/rebirth; it also deals with Gods and Goddesses, the law, and the poet’s visionary insights into everything. The image size is nine inches high by six inches wide (22.5 cm x 15 cm); print size is fifteen inches high by eleven inches wide (31.8 cm x 37.5 cm). The work was hand printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania. This print is from the First Edition of fifteen etchings. The SECOND edition will remain unprinted until February’s last day in 2019. Only five etchings and will be produced between March 1 and Ash Wednesday of that year. The reason for this delay involves psychic and astrological theories, which the artist uncovered during a meditation session with his crystal ball; Incidentally, this session took place at Walt Whitman’s grave in Camden, New Jersey on the day after this First Edition was printed. Di Falco plans to incorporate the Chine colle technique in his SECOND EDITION. This printmaking method adds color to a print via the employment of treated mulberry bark paper. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (12 inch x 16 inch high, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Black); 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
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:13 W x 17 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.
Have additional questions?
Please visit our help section or contact us.
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.
Artist Recognition
Artist featured by Saatchi Art in a collection
Thousands Of Five-Star Reviews
We deliver world-class customer service to all of our art buyers.
Global Selection
Explore an unparalleled artwork selection by artists from around the world.
Satisfaction Guaranteed
Our 14-day satisfaction guarantee allows you to buy with confidence.
Support An Artist With Every Purchase
We pay our artists more on every sale than other galleries.
Need More Help?