Sydney: Art in Australia, 1921.
Ninth Number. With an aquatint, "Terrace by the Sea" by Lionel Lindsay tipped-in.
“We must not forget that etching is a profound and perilous art, full of pit-falls, revealing the defects as clearly as the qualities of a mind. Like all great art – so complicated in its apparent simplicity – it requires long devotion to bring it to perfection. . . .
“Not only does etching serve to glorify the individuality of the artist; it would even be difficult for the artist not to register upon his plate his most intimate personal feeling.” ~Baudelaire.
'Perhaps the most astonishing manifestation of art appreciation in our own time is of that accorded to etching. Never, not even in the great Seventeenth Century itself, have fine proofs been so eagerly, so discriminatingly, collected as they are to-day. Yet Baudelaire, rarely at fault as a critic, made the following pronouncement in the mid-fifties of last century: "It is of a 'genre' even more extinct than engraving that I wish to speak, namely, etching. In truth, this art, so subtle and superb, so naive and so profound, so gay and yet so severe, paradoxically capable of reconciling qualities so diverse, and expressing so well the personal character of the artist, has never enjoyed very great popularity amongst the mass of the people." When this was written, Meryon, starving in a garret, was offering his magnificent etchings of old Paris to a blind world. And yet it is on the shoulders of poor Meryon – Atlas of our art – that the whole modern “Revival” is borne.
Quarto, bound in decorated wrappers, 70 full page black & white plates, a very good copy.