Year:

Medium:

Printmaking Etching

Size - (USA):

12 W x 15 H x 1 D (inches)

Size - (metric):

30.5 W x 38.1 H x 2.5 D (centimeters)

Theme:

Cityscape

Edition:

Original

Artwork ID:

607096

PDF Copy:

Artwork Info Sheet (PDF)

Artwork Description:   Second Edition of Four. The actual title is and was --My Fathers Country and Yacht Club, 1929, in the Italian U. S. Ghetto of Camden, New Jersey. Media includes oil based French inks, a mix of three colors, and RivesBFK white paper, also French. Studio techinques include intaglio, aquatint, Chine colle, and dry point. The wiping technique gives this work a decidedly painterly feel. This work was printed and published by the artist at The Center for Works on Paper, which is on the Philadelphia campus of The Fleisher Art Memorial. Six separate baths in Nitric acid were required. The overall image size, or zinc plate size, is about ten-inches high by eight-inches wide. KEYWORDS Industrial, Ghetto, Poverty, Urban. THIS WORK OF FINE ART IS SHIPPED TO THE COLLECTOR WITHOUT A FRAME OR MAT. THE SHIPMENT MATERIALS ARE HEAVY WEIGHT AND PROFESSIONAL. THE ETCHING IS FIRST WRAPPED IN ARCHIVAL GLASSINE AND THEN PLACED BETWEEN TWO ACID FREE BOARDS. THIS IS THEN PLACED IN A PROFESSIONAL CARDBOARD SHIPMENT BOX, WHICH IS PACKED WITH BUBBLE WRAP. THE SHIPMENT PRICE IS ADDED TO THE SALE PRICE. The Chine Colle Process uses Methylcellulose powder that is re-constituted with spring water and then applying 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 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.