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The Ghosts of the Spaces Within Ink - Limited Edition 3 of 4 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 18 W x 24 H x 1 D in

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About The Artwork

Full Title: GHOSTS OF THE SPACES WITHIN INK or THE HOUSE OF THE TURK, NEW ORLEANS The inspiration for this Jerry Di Falco original, hand-pulled etching originated with a 1937 photographic negative by Francis Benjamin Johnson (1864-1952); Benjamin was one of the first US women to make a career in the late-Nineteenth Century as a professional photographer. FB Johnson’s original of this New Orleans French Quarter scene is catalogued in the US Library of Congress, Carnegie Survey of the Architecture of the South, Call Number: LC-J7-LA- 1056 [P&P]. Di Falco’s etching features Le Pretre Mansion, also known as THE HOUSE OF THE TURK, an 1835 building in New Orleans’ French Quarter located at 716 Dauphine Street. The structure has a history of murder and intrigue, and consequently is supposedly haunted. Di Falco used black oil-based, French ink and printed on Rives BFK white paper. The zinc plate he used measured fourteen inches high by eleven inches wide (28cm x 35.5cm). His paper size is nineteen inches by fifteen inches (48cm x 38cm). The STUIO TECHNIQUES employed by Di Falco included Aquatint, Drypoint, and Intaglio, as well as five separate nitric acid baths between plate workings. The etching was hand printed by Di Falco in FOUR EDITIONS of FIVE PRINTS PER EDITION. This particular etching is from the THIRD EDITION, BEST PRINT, as indicated under the images lower left-hand corner (1/5; III/IV). THIS ETCHING IS SHIPPED TO THE COLLECTOR WITH A FRAME and ARCHIVAL MAT. THE SAATCHI PRICE INCLUDES ALL REGULAR DOMESTIC (USA) SHIPMENT COSTS TO THE BUYER.

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:5

Size:18 W x 24 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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