Etching

By F. V. Ellis , A.R.C.A. (Lond.) of the N.Z. Railway Advertising Studios

In considering the subject of etching we must realise from the outset that a true etching is a print from a copper plate, the lines on the plate having been “etched” or bitten into the metal by means of nitric acid or a similar mordant.

It will be clearly understood, then, that although a hundred “pulls” may have been taken from the plate, each print is truly an original etching. The number of prints taken is governed chiefly by the price fixed at which the prints may be sold when placed on the market; thus, should a single print be taken off and the plates then destroyed, that print might be worth a considerable sum of money, since it is the only one in existence.

Much confusion appears to exist in the minds of would-be collectors of etchings, for one hears the term “etching” applied to almost anything done in the medium of black and

Nocturne. Perugia. An Etching by F. V. Ellis.

white. I, personally have heard pen and ink drawings, zincotype reproductions, etc., called etchings.

A sound knowledge of the technique of mordant and needle is essential if we are to appreciate the efforts of our artists in this particular branch of art, for thus we might find fresh interest and charm in a work hitherto regarded as a mere stereotyped mechanical reproduction.

Surely there can be no objection to a fine etching having a number of fellows scattered about the world. As a proof of this, are there not splendid examples of the work of Rembrandt, Whistler, Zorn, etc., in New Zealand, which would certainly be confined to the great European galleries were they the only prints in existence? It is at least comforting to know that by this token we are privileged to share with the older countries works of the great masters.