Installation view, Traces of the Wake: The Etching Revival in Britain and Beyond, curated by David Maskill and his ARTH 403 students, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Installation view, Traces of the Wake: The Etching Revival in Britain and Beyond, curated by David Maskill and his ARTH 403 students, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Installation view, Traces of the Wake: The Etching Revival in Britain and Beyond, curated by David Maskill and his ARTH 403 students, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Installation view, Traces of the Wake: The Etching Revival in Britain and Beyond, curated by David Maskill and his ARTH 403 students, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Frank Brangwyn, The Pont Neuf, 1916, etching, drypoint and aquatint, private collection

Installation view, Traces of the Wake: The Etching Revival in Britain and Beyond, curated by David Maskill and his ARTH 403 students, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2015. Photo: Shaun Waugh

Ernest Heber Thompson, All change 1930, etching and drypoint, collection of Te Papa Tongarewa. Gift of Sir John Ilott, 1952

Harry Linley Richardson, Wellington from Kelburn near Bowling Green 1916, etching, Alexander Turnbull Library

Robert Demachy, Landscape c,1890-1914, gum bichromate photograph. Collection of Sarjeant Gallery Te Whare o Rehua

Rembrandt Harmensz van Rijn, Woman bathing her feet at a brook 1658, etching, Museum of New Zealand Te Papa Tongarewa, Gift of Sir John Ilott, 1952