TITLE WITH PUNCTUATION is The Moon, Rose, October’s Sorrow My Future’s Hidden Faces. PRINT NUMBER THREE OVER FIVE EDITION THREE OF FOUR. Printmaking, Etching Intaglio, Chine collé, Drypoint. This etching was inspired by a photograph I took in 1987 on the side of Notre Dame Cathedral in Paris, France. Later that day and while standing on the Seine while watching the cathedral at dusk from the Left Bank I began to cry. My traveling companion, a Cuban poet-in-exile, asked what was wrong. I responded that our midnight train to Barcelona would take us from this beautiful city, and that we would never see this site again. He insisted that we would return and tried to ease my anxieties. His death a few years later prevented us from ever traveling to that magical spot again. TECHNICAL INFORMATION This original etching was published and hand printed by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania US as part of the Open Studio in Printmaking at The Fleisher Art Memorial. Note Fleisher is a part of the Philadelphia Museum of Art, but its campus is located about four miles away in South Philadelphia. I used a zinc plate 8 inches by 10 inches or 20.320 cm by 25.400 cm and several plate emersions in Nitric acid and spring water bath for this work. The Rives BFK white paper France measures about 16 inches wide by 12 inches high. French, oil-based etching inks were carefully blended to craft my unusual colors. A mulberry bark paper from Thailand was employed in my Chine colle process. My Chine Collé Process uses Methylcellulose powder re-constituted with spring water. I apply the clear viscous substance to 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 paper mulberry 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 I cut it to fit the plate areas where I want color to exist in the print. 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. This hand-done process is a difficult and laborious one, which I do myself every step of the way. 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.