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WINDOW INTO THE FRENCH QUARTER - Limited Edition of 4 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 16 W x 20 H x 1 D in

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About The Artwork

Jerry Di Falco created this unique visual with the employment of four individual zinc etching plates all placed simultaneously on the printing press bed in order to produce one single image. The scene features an historic building in New Orleans entitled THE CALBILDO; moreover, this Di Falco trademark of using multiple plates to create one image gives the viewer an illusion that she or he is seeing this architectural scene though a window that contains four glass panes. This complex etching used the studio techniques of intaglio, aquatint, and drypoint; each plate size measures six inches high by four inches wide and each also required four baths in nitric acid to etch the image into the metal. The overall size of the scene (including the separating-space between the plates while on the press bed) measures eight-and-a-quarter inches wide by twelve- and-a-quarter inches high. The paper (RivesBFK white, made in France) size is about fourteen-inches high by seventeen inches high. The work is sold in an archival matt and wood and glass frame that is twenty-four inches high by eighteen-inches wide. The oil-base French etching inks (Charbonnel brand) were a special created blend of three colors. The scene—based on three original drawings by the artist—was adapted from a 1999 photograph by a friend of the artist. This series will contain FIVE EDITIONS, with each edition limited to just FOUR ETCHINGS. Each edition is printed in a different color combination. NARRATIVE LINE: After the Louisiana Purchase, this building (the Cabildo) housed governmental offices. From 1803 until 1812, the Louisiana territorial superior court sat there. From 1868 to 1910 (after the Civil War), the Louisiana Supreme Court resided here. The Cabildo, a National Historic Landmark on Jackson Square in New Orleans, has also served as an emergency hospital, a banquet hall, and as a home for various libraries, including the New Orleans Library Association in 1819 and the Law Association Library from 1847 until 1910. In 1911, the Louisiana State Museum moved in, where it and remains today. The price includes matt, frame, etching, shipment costs, shipment carton, bubble warp, plastic for waterproofing during shipment, a brown craft paper frame backing, and signed Certificate of Authenticity. This work was hand printed by the artist on a Charles Brand industrial press and published at The Center for Works on Paper’s Open Studio in Printmaking. This is part of The Fleisher Art School campus on Catharine and Christian Streets in Philadelphia, Pennsylvania, as is associated with The Philadelphia Museum of Art.

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:4

Size:16 W x 20 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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