Although just my opinion, the exotic and almost otherworldly knight printed from an exquisitely detailed original, probably drawn using finely sharpened wax pencils, cast an aura over the judging venue which no other work could match. The beauty and suggestion of this half-forgotten profile lost amidst the throng of a big city is presented as remarkably as any piece I can remember. It embodies more than a mere drawing possibly could; its appearance can only be described as spiritual.

The greatest lithographs, such as those from Redon's early period, give the illusion of being etchings. The same can be said for this enigmatically androgynous – I am not sure if others share this impression of mine – knight, displaying an attention to detail worthy of a “fantastical” essence reminiscent of the wandering copperplate etcher Bresdin, who was the teacher of Redon. Be it good or bad, a print in its essence is the form of expression displaying a connection, which can only be described as mystical, between technical sophistication and artistic purity. The technology involved in printmaking is not something borrowed out of convenience; it is already a part of the art. Thus, printmakers are forced to ask what it is to reiterate/print the work in its strictest sense. This work is a remarkable achievement to answer the question.