Please note that this etching is shipped to the buyer without a frame or mat. This keeps the price reasonable and also allows the collector a wide range of choice in framing selection. For shipment, a sturdy cardboard box is employed. The etching is first wrapped in two layers of acid free glassine and then placed between two archival boards. This is next placed into the shipping box and securely packed with bubble wrap. The price does not include any shipment costs. TITLE is, BLUE POMPEII IN THE POET’S HOUSE OF MYSTERIES. The zinc plate used for this etching measured seven-inches high by 5 five-inches wide, or 17.780cm by 12.700cm, which is also the image’s size. The print measures 12 twelve-inches high by 10 ten-inches wide, or 30.480cm x 25.400cm. This work was printed in FIVE EDITIONS with FIVE PRINTS PER EDITION. Each EDITION of five prints employs a different color etching ink and paper combination. Therefore, twenty-five prints from this plate exist in five editions of five prints per edition. The etching pictured here is Print Number ONE 1 of FIVE and is from SECOND EDITION OF FIVE. Intaglio and Drypoint techniques were employed. The media include oil-based, French etching inks in a blend of three colours and printed on RivesBFK white paper. This image is taken from a Pompeian mosaic from the collections the National Archaeological Museum in Naples. The image, which is thousands of years old, was uncovered in 1824 by the archaeologist Antonio Bonucci in a private home now identified as The House of the Tragic Poet, also referred to as The Homeric House or The Iliadic House. The villa, a representative Roman house from Pompeii in the 2nd century before Christ, is recognized for its intricate mosaic floors and frescoes that portray episodes from Greek folklore. The scene is a meditation on mortality with symbols, which include a grinning skull hanging in the balance from an A-frame, the Wheel of Life, and a butterfly. There are also references to the setting sun.
I first file the plate’s edges before cleaning it with various soaps. I then apply a coat of liquid Hard Ground, which is a blend of turpentine and organic beeswax, and allow it to dry overnight. Next, my drawn image is transferred in reverse onto the plate. The etching of lines into the ground with various needles begins. The plate is next placed in nitric acid for its first bath. The acid eats into all exposed areas on the plate. After removing the plate from its bath, the ground is then washed off with turpentine or oil of Spike Lavender and cleaned. The first inking and printing occur. These steps. . . the application of ground layers, plate workings, and acid baths. . . until I obtain my desired image. This particular etching required five plate re-workings and acid baths. The wiping techniques I’ve developed lend the aura of a monotype to my etchings. HAND-PRINTED BY THE ARTIST AT THE CENTER FOR WORKS ON PAPER, PHILADELPHIA, PENNSYLVANIA, US.