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Coconut Head in Bronze, New Orleans, 1937, The Fourth Edition - Limited Edition 1 of 5 Print
United States
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Fine Art Paper
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9 x 12 in ($100)
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White ($80)
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About The Artwork
THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (11 inch x 14 inch, 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. My use of Intaglio, Aquatint, Chine Collé, and Drypoint--in combination with my unique ink application and wiping techniques--create an eerie balance of shadow and light in this zinc-plate etching, which is limited to only FIVE prints; it is the FOURTH EDITION OF FOUR (The Last Edition). I hand-printed all of the etchings at the Center for Works on Paper (Fleisher Art) in Philadelphia, Pennsylvania, US. This is the best print of five (1/5). The image size, and size of the zinc plate used, each measures 8-inches high by 6-inches wide or 20.320cm x 15.240cm. The paper size is close to 11-inches wide by 15-inches high or 27.940cm x 38.100cm. This edition uses a mixture of French, oil-based colored inks (Charbonnel brand, Paris) printed on RivesBFK white paper (100% natural, also French). The hand drawn balconies, hand railings, shutters, and tree shading all give my etching a wonderful New Orleans flavor. For the Chine collé process I used Thai mulberry bark paper infused with Kozo threads. Four editions of this plate will be created, with a per edition limit of only five etchings; this means that only twenty, hand-pulled original prints of this image will exist. Each of the four editions will be done using a different color ink and paper combination. The basis for this artwork grew out of my interest in the photographic works of Frances Benjamin Johnson (1864-1952), a female photographer. The photos were originally commissioned by The Carnegie Foundation to serve as a visual study of Architecture in the Southern United States. Presently I have four other works in the series. This scene embodies the geographic area surrounding a house at 712 Royal Street in New Orleans; Johnson shot the photo in 1937. The collection is now a part of the US Library of Congress in Washington, DC. Library information on the original Johnson Photo is as follows: Photo Title in Archives is, “Bienvenu-Thomas House, 712 Royal St., New Orleans, Orleans Parish, Louisiana”. Its call Number and Physical Location are LC-J7-LA- 1119 [Prints and Pictures]. The Rights Advisory states that, “No known restrictions on publication” exist. HOUSE HISTORY: The structure was built in 1823 for Dr. Pierre Thomas. During the rest of the century its ownership changed frequently; the property was greatly prized because of the charming vistas of the cathedral garden and Royal St. from the house’s upstairs galleries. In 1932, the New Orleans Arts and Crafts Club, previously located in the old Seignouret home, moved into this location. This club’s mission involves the education and training of those interested in Visual Art. This may explain the whimsical, sculpted mannequin with a coconut head set outside the door.
Details & Dimensions
Print:Giclee on Fine Art Paper
Size:9 W x 12 H x 0.1 D in
Size with Frame:14.25 W x 17.25 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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