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THE ANCIENT WELL OF STEPS, RAJASTHAN - Limited Edition 1 of 4 Print

Jerry DiFalco

United States

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About The Artwork

THE PRICE OF THIS ETCHING INCLUDES A GOLD PAINTED WOOD FRAME WITH GLASS AND ACID FREE MAT. THE FRAME MEASURES 18 INCHES HIGH BY 24 INCHES WIDE. THE WHITE MAT CONTAINS A GOLD METALLIC, INNER TRIMMED EDGE. THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL. A HANGING HOOK AND NAIL ARE INCLUDED. Regular domestic shipment costs are included in the Saatchi Price. This original DiFalco etching employs the studio techniques of intaglio, drypoint, aquatint, and Chine collé. The artist executed his work in oil based etching ink on RivesBFK white paper, both manufactured in France. A zinc plate covered with a ground of beeswax and turpentine was etched in four separate Nitric acid baths before the final design was reached. After the last acid bath, the plate was scraped and burnished to lighten certain areas. Thai mulberry bark papers, treated with methylcellulose and infused with kozo plant threads from Japan, were used in the Chine collé process. The image size is 9 inches high by 12 inches wide, or about 23 by 31cm. The framed and matted etching measures 18 inches high by 24 inches wide. This image highlights print number ONE of FIVE in the First Edition. Four Editions, each limited to five originals, comprise the published series. DiFalco hand printed and published the first two editions in 2018 at The Center for Works on Paper, 705 Christian Street in Philadelphia, Pennsylvania. A Charles Brand floor press with a large table was employed. The architectural structure depicted, called a Step Well, is located in Jaipur, a small Rajasthan village that is noted for having the deepest well with stairways in world. The concept of these wells originated in India , and they acted as reservoirs for the storage of massive pools of cool water. In the northern Indian states of Rajasthan and Gujarat, the problem of water shortage has always been a profound one. This specific structure, called the Chand Baori Well, is located opposite a sacred temple known as Harshat Mata, named after the Goddess of Joy and Happiness. In total, there are 35,000 steps on here located on 13 levels. The well is about 1200 to 1300 years old. NOTE that the last print of this edition, numbered five over five, was sold. Only Etchings Numbered ONE, TWO, THREE, and FOUR are available for sale. Prints TWO and FOUR are posted as the two detail images.

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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