"To divide the book geographically then, rather than chronologically, was a good decision, giving the reader not only the information germane to the images themselves, but also a biographical and critical context of the years, literatures and locations in which were conceived and executed. Black is a master of this type of writing, advising us when to look at the medium rather than the subject (he seems to be well versed in the print making processes), allowing us to make comparisons with artists as diverse as Hiroshige, Utrillo, and those of the Norwich School, dotting the text with titbits about locations and individuals . and yet keeping the narrative firmly on track by navigating us from print to print. Black's essays also allows us to both rise and fall with the artist, the quality of work being book-ended by the majestic Returning to the Trenches in 1916, and the vacuous Spirit of Progress in 1933. Credit is due too to the publishers who have cut no corners whatsoever in creating a large format book (always useful when looking at art), used high quality paper in which every detail is visible, and used colour reproductions where necessary. Jonathan Black was the right person to write this book, and Lund Humphries (in association with Osborne Samuel) the right publishers. The combined effort, in the works for a decade or more, is a rare treat. Congratulations to them both and, somewhat retrospectively, to the artist himself whose reputation as a print-maker is now firmly established as that of a modern master.

" -- British Art Journal.