The artist incorporated the studio techniques of Chine Collé, Drypoint, Intaglio, and Aquatint in this etching. Its media includes oil base etching ink, RivesBFK white paper, and mulberry bark paper from Thailand that was treated with methyl cellulose and infused with kozo threads from Japan. The work was executed on a zinc etching plate coated with a liquid hard ground of beeswax, oil of spike lavender, and mineral spirits. Four separate baths in Nitric Acid were required to arrive at the final design. The image size is six inches high by eight inches wide, or 15.240cm x 20.320cm, and the print size measures about eleven inches high by fifteen inches wide, or 27.940cm x 38.100cm. The wood and glass frame is about twelve inches high by sixteen inches wide, or 30.480cm x40.640cm. This etching will eventually have FOUR EDITIONS, with each one limited to five etchings. This work, from the First edition, is Print Number Two of Five. The artist published and printed the works on a CHARLES BRAND floor model, industrial printing press at The Center for Works on Paper in Philadelphia, Pennsylvania. The scene originated from original drawings done by Di Falco. All drawings were inspired by a photographic still from Jean Cocteau’s cinematic masterpieces, entitled THE ORPHIC TRILOGY, which includes the films, The Blood of a Poet, Orpheus, and The Testament of Orpheus. Vital elements in Cocteau’s films involve life’s origin, and Cocteau called this key interest, “phoenixology”. Cocteau explained that this term, which he allegedly borrowed from the surrealist artist Dali, was, “the science of people’s death and rebirth”. The notions within pheonixology are no less vague upon further study, but however inflexible, the concept remains crucial in understanding Cocteau’s artistic goals. In short, Cocteau’s ORPHIC TRILOGY focuses upon The Poet’s lives and deaths. His film making techniques broke new grounds in the cinema and elevated it to an art form on the same level as sculpture or painting or poetic storytelling. This price includes the etching, an archival mat, and a wood and glass frame painted black. Also included are all shipment costs, packing and handling fees, shipment box, and Certificated of Authenticity. Please note that the term Chine Collé is pronounced Sheēn Kō-lay and translates from French as Chinese Pasting in English. The artist’s infatuation with Jean Cocteau began after viewing Cocteau’s film BEAUTY AND THE BEAST in the summer of 1971. Please note that the third and fifth print from this edition is already sold.