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Temple of Debod, Madrid - Limited Edition 4 of 4 Print

Jerry DiFalco

United States

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About The Artwork

THE PRICE OF THIS ETCHING INCLUDES A FRAME (BLACK-PAINTED WOOD WITH GLASS) AND ACID-FREE MAT. THE FRAME MEASURES 14 INCHES HIGH BY 11 INCHES WIDE; AND, THE WHITE MAT CONTAINS A BLACK INNER TRIMMED EDGE. THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL. ALSO, A WALL HOOK AND NAIL ARE INCLUDED. This etching was inspired by one of the printmaker’s 35mm color photographs taken in 1990. The scene documents one of the city’s most unusual locations. Di Falco used the studio techniques of INTAGIO, AQUATINT, and DRYPOINT; and, seven separate nitric acid baths were needed before the printmaker arrived at this desired design. Both hard and soft grounds were used on the plate. The image illustrates the Egyptian Temple of Debod, which was donated to Spain by Egypt in 1968 as a result of flooding from the Aswan Damn construction. This ancient temple was transported and rebuilt stone by stone in its current Spanish location. Works on the original temple began in Egypt at the beginning of the 2nd century BCE at the orders of the Meroë King Adijalamani, who built a chapel dedicated to the god Amun and the goddess Isis. Subsequent kings of the Ptolemaic dynasty built additional rooms around the original core. After Egypt’s annexation by Rome, the emperors Augustus and Tiberius – and possibly Hadrian, too – finished off the Temple’s construction and decoration. In the 6th century CE, following Nubia’s conversion to Christianity, the temple was sealed off and left abandoned. Now the Temple of Debod is located in Madrid’s Parque de Oeste, or Park of the East, near the Royal Palace; it was opened to the public in 1972 and has the high-altitude city’s best sunrise view. This location also contains historical significance because it once housed the former Montaña barracks, a fascist stronghold that was stormed by the populace during the Civil War in 1936. Di Falco executed and hand printed this work in 2017 at The Center For Works on Paper, Fleisher Art campus in Philadelphia, Pennsylvania, USA; he employed an eight-inch high by ten-inch wide (20.320cm x 25.400cm) zinc plate and printed (with oil-based etching inks made in Paris, France) on RivesBFK white printmaking paper, which was hand torn to a measurement of about 13 inches by 16 inches (33.020cm x 40.640cm). This work is from the LAST EDITION of FOUR, The Spring Edition; each Edition of this specific print was limited to only five etchings; moreover, each edition is created using different ink blends. The production of “miniature” editions that use various colors is a Di Falco trademark. The Saatchi price includes the costs for all handling, the shipment carton, bubble wrap, mat, frame, Certificate of Authenticity, and regular domestic (US) shipment costs. This is print number 1 of 5 in the last edition (1/5; IV/IV). The ink blend contains 24-karat gold pigments.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:10 W x 8 H x 0.1 D in

Size with Frame:15.25 W x 13.25 H x 1.2 D in

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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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