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Epstein's Angel Two - Limited Edition 2 of 4 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 12 W x 16 H x 1 D in

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About The Artwork

THE PRICE OF THIS ETCHING INCLUDES A BLACK PAINTED WOOD FRAME WITH GLASS AND ACID FREE MAT. THE FRAME MEASURES 16 INCHES HIGH BY 12 INCHES WIDE. THE WHITE MAT CONTAINS A BLACK INNER TRIMMED EDGE. THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL. A WALL HOOK AND NAIL ARE ALSO INCLUDED. SHIPMENT COSTS ARE INCLUDED. NOTE that the detail image is actually Print Number 1 of 5 in Edition Two of Four. This etching was inspired by a 2012 photograph by the artist. It shows a sculpture on Covington Cathedral outside wall by Jacob Epstein, the same sculptor who carved Oscar Wilde’s gravestone in Paris, as well as the free standing bronze piece entitled, SOCIAL CONSCIOUSNESS, permanently installed at The Philadelphia Museum of Art in Pennsylvania, US. This original etching was executed on a zinc plate and manually printed by Di Falco on a Charles Brand flatbed press at The Center for Works on Paper, located on the Fleisher Art campus in Philadelphia, Pennsylvania, USA. The artist incorporated the etching techniques of Intaglio, Aquatint, Drypoint and Chine colle. His media included oil-based etching ink, Rives BFK white paper, and Mulberry bark paper from Thailand, which was infused with Kozo fibers and also treated with methylcellulose. Five nitric acid baths were required to obtain the final design. This is print number five of five in the SECOND of FOUR Editions, noted on the etching as 5 over 5 and Roman numeral II over IV. The image size corresponds to the etching plate’s size of 6 inches wide by 9 inches high or 15.240cm by 22.860 cm. The framed and matted work measures about 12 inches by 16 inches. Di Falco created the work’s color by blending five inks. STORYLINE-- This image shows Jacob Epstein’s bronze work, mounted in relief on Covington Cathedral. It depicts The Archangel Michael victorious over the fallen angel, Lucifer. Notes on the Chine Colle Process -- Chine Colle, which translates from the French as Chinese pasting and pronounced shin-ko-lay, is a process in which colored and treated paper is attached to the etching plate before the printing press is activated. Di Falco mixes his own Methylcellulose powder with spring water and then paints the resulting clear viscous substance onto hand dyed mulberry bark paper from Thailand, Brand-Unryu. In Japan, unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually. The treated Thai paper is then allowed to dry overnight and cut to fit the plate areas where color is desired. These stenciled mulberry bark papers are first dampened or misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and a multi colored image on paper resulting. The work includes an artist’s exhibition resume and Certificate of Authenticity. It ships in a professional cardboard box with bubble wrap.

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:5

Size:12 W x 16 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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