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Stained Glass Window at Our Lady of Slavery Church - Limited Edition of 1 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 12 W x 26 H x 1 D in

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About The Artwork

Di Falco created three drawings from the work entitled, Diagram of the Brookes Slave Ship (from the British Museum’s Collection) before he began to transfer his selected drawing to two zinc etching plates—which were later developed in Nitric acid. The individual etching plates each measured 6-inches wide by 9-inches high (16.240cm by 22.860cm). The overall image size, including a small separation space between the top and bottom plates, measured 6-inches wide by 18.25-inches high (16.240cm by 36.355cm). The print, executed on RivesBFK white etching paper, measured 24-inches high by 12-inches wide (60.960cm x 30.480cm). A blend of French black etching inks (Charbonnel brand) was employed. This work is from the FIRST EDITION (of FOUR EDITIONS), with all editions being limited to only four etchings. After the ink dried, Di Falco hand-painted his etchings with watercolors (Winsor Newton brand from the UK). The work ships to the collector in an archival mat and frame (about 28-inches by 16-inches, or 71.120cm by 40.640cm). Di Falco printed the etching by hand on a Charles Brand industrial printing press, made in New York City. He printed and published this series at The Center for Works on Paper within Fleisher Art’s Open Studio In Printmaking (Philadelphia, Pennsylvania, US). The full title of Di Falco’s intaglio etching, which was enhanced and hand-painted with Windsor Newton watercolors, is, STAINED GLASS WINDOW, OUR LADY OF SLAVERY CATHEDRAL. This is the 2nd of 4 works in this edition, and each work is an original. The following information is from the website: and refers to the Diagram of The Brookes Slave Ship. Full title: The History of the Rise, Progress, and Accomplishment of the Abolition of the African Slave-Trade by the British Parliament. Published: 1808, London Format: Print / Image Creator: Thomas Clarkson Usage terms: Public Domain Held by: British Library This diagram of the 'Brookes' slave ship is probably the most widely copied and powerful image used by those campaigning to abolish the slave trade in the late 18th century. Created in 1787, the image illustrates how enslaved Africans were transported to the Americas and depicts a slave ship loaded to its full capacity – 454 people crammed into the hold. The 'Brookes' sailed the passage from Liverpool via the west coast of Africa to islands in the Caribbean. Thomas Clarkson commented in his History of the Rise, Progress, and Accomplishment of the Abolition of the African Slave Trade (1808) that the 'print seemed to make an instantaneous impression of horror upon all who saw it, and was therefore instrumental, in consequence of the wide circulation given it, in serving the cause of the injured Africans'. By April 1787, the diagram was widely known across the UK appearing in newspapers, pamphlets, books and even posters pasted on the walls of coffee-houses and taverns. An image had rarely been used as a campaigning tool in this way before. In the late 18th century, demand for luxury goods among rich and poor alike grew rapidly. Popular commodities such as tea and coffee, sugar, tobacco and cotton clothing were all produced by enslaved labour in the plantations of the Americas. This booming demand in turn acted as a stimulus to the transatlantic slave trade. Though the exact human toll will never be known, perhaps 2,500,000 enslaved Africans perished in the unimaginable conditions on the ships that crossed between Africa and colonies in the Americas between the 16th and 18th centuries.

Details & Dimensions

Printmaking:Etching on Paper

Original:One-of-a-kind Artwork

Size:12 W x 26 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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