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Artist of the Year In association with

Feeding Frenzy by Jane Smith, winner of the 2015 Birdwatch Artist of the Year award

AS the leading magazine for the promotion of bird art, we wish every success for The Natural Eye, the Society of Wildlife Artists’ annual exhibition. Visit us online at

SWLA THE NATURAL EYE 53rd Annual Exhibition

26th October to the 6th November 2016

Harriet Mead Sickle tailed Jungle Fowl Welded found objects 2

SWLA President’s Foreword

Welcome to The Natural Eye, the 53rd annual exhibition of the Society of Wildlife Artists. The exhibition this year is complemented by some exciting project and bursary displays. In the Out of the Frame room we have work from a major collaborative project in Turkey looking at the Turkish Sweetgum forests. There is a fascinating report on page 10 that shows how this project inspired the participating students in Turkey and helped them explore a new way of approaching their art. In addition Darren Woodhead has been busy grappling with painting underwater as the recipient of this year’s Wildlife Trusts Undersea Art Award (see page 46) and we have more work from the RSPB Wallasea residency as well as bursary work from three fresh faces on the Seabird Drawing Course. I am always proud of these collaborative projects and I am keenly aware of the work that goes into them. As with so many charities, the SWLA requires a lot of energy and enthusiasm from its members to run smoothly. Many hours of voluntary efforts are needed to make this exhibition a success and there is even more work behind the scenes helping to secure and run the projects, produce the Newsletter, create the catalogue and raise funds for the Society. Every August we have a stand at the British Bird Watching Fair to promote the work of the Society and where we hold the very successful and popular Original Artwork Draw. Tickets sell quickly and the money raised enables us to continue to offer bursaries to emerging artists. This key fundraising event exists thanks to the generosity of our members who donate work to the draw and sponsorship from the FBA for the stand. For non-members and enthusiasts the Friends Scheme is a worthwhile way of helping support the Society and being more closely involved, with opportunities to visit artists’ studios planned for next year alongside existing benefits and opportunities. Do visit our website to find out more ways that you can be involved. In an Olympic year where the athletes were quick to thank their support team for their success, I’d like to thank everyone who helps keep this show on the road including the gallery staff, sponsors, supporters and the artists themselves. It really is a team effort rewarded by another exciting exhibition and impressive folio of projects and bursaries.

Harriet Mead 3

SWLA Overview


Harriet Mead


Robert Gillmor, Bruce Pearson, Andrew Stock


Brin Edwards


Max Angus


Madeline Goold, Robert Greenhalf, Barry Sutton, John Threlfall


Nik Pollard


Darren Rees


The Federation of British Artists: 17 Carlton House Terrace, London SW1Y 5BD Telephone: 020 7930 6844 Fax: 020 7839 7830 Registered Charity No. 328717


Andrew Haslen, Hare & Goldfinches


In the late 1950s the original work of wildlife artists was not readily available to the ever-growing numbers of people developing an interest in natural history. With the formation of a Society very much in mind, Robert Gillmor and Eric Ennion, with the enthusiastic support of Peter Scott and Keith Shackleton, organised an Exhibition by Contemporary Bird Painters which was opened by Lord Alanbroke in the Reading Art Gallery in 1960. Maurice Bradshaw, then Director of the Art Exhibition Bureau, joined the Organising Committee and, as a result, the Bureau took the exhibition on tour for a year. The great interest shown by provincial galleries extended the tour for a further year. During this period the organisers were joined by R.B. Talbot-Kelly and Maurice Wilson to plan a Society and invite Founder-Members. James Fisher opened the inaugural Exhibition of the Society of Wildlife Artists at 6 ½ Suffolk Street in August 1964. For more information on the SWLA including how to submit work visit:


Max Angus Long-horn Fairy Moths Linocut 5

SWLA Members

Akroyd, Carry Angus, Max Atkinson, Kim Barrett, Priscilla Bennett, David Binder, Adam Brown, Diana Burton, Philip J K Clucas, Fiona Cole, Daniel Dalrymple, Neil Davis, John Derry, Nick Dusen, Barry van Ede, Basil Edwards, Brin Edwards, Victoria Ellis, Carl Eveleigh, John Foker, John Gemma, Federico Gillmor, Robert Goold, Madeline Greenhalf, Robert Gudgeon, Simon Hampton, Michael Haslen, Andrew Haste, Kendra Hodges, Gary Johnson, Richard Johnson, Rosalie Kokay, Szabolcs Lockwood, Rachel Mackman, Nick Mead, Harriet


4 Luddington in the Brook, Oundle, East Northamptonshire PE8 5QU Barn Tye Studios, 4 Barn Tye Close, Guston, Kent CT15 5ND Ty’n Gamdda, Uwchmynydd, Pwllheli, Gwynedd LL53 8DA Jack Of Clubs, Lode, Cambridge, Cambridgeshire CB5 9HE Wren Cottage, Main Street, Melbourne, East Riding of Yorkshire YO42 4RE The Calf House, Marston Hill Farm, Meysey Hampton, Cirencester, Glos. GL7 5LG Shannel Ballogie, Aboyne, Aberdeenshire AB34 5DR High Kelton, Doctors Commons Road, Berkhamsted, Hertfordshire HP4 3DW 44 Greengate, Levens, Kendal, Cumbria LA8 8NF The Old Bakery Studios, Blewetts Wharf, Malpas Road, Truro TR1 1QH 9a Llys-Y-Berllan, Ruthin, Denbighshire LL15 1PJ 6 Redmoor, Birdham, Chichester, West Sussex PO20 7HS 7 allée de l’île aux moineaux, 25000, Besançon, France c/o New East Frew, Thornhill, Stirling FK8 3QX Mark Cross House, Ripe, Nr. Lewes, East Sussex BN8 6AN 59 Barracks Road, Assington, Sudbury, Suffolk CO10 5LP 403 London Road, Ditton, Aylesford, Kent ME20 6DB 65 Barn Common, Back Lane, Woodseaves, Staffordshire ST20 0LW 4 Broadfield Road, Folkestone, Kent CT20 2JT 37 South Terrace, Esh Winning, Co Durham DH7 9PS Via Michele Barbi 12, Rome, Italy 00125 North Light, Hilltop, Cley-next-the-Sea, Holt, Norfolk NR25 7SE The Birches, Brake Lane, Hagley, Worcestershire DY8 2XN Romney House, Saltbarn Lane, Playden, Rye, East Sussex TN31 7PH Pallington Lakes, Pallington, Dorchester, Dorset DT2 8QU 11 Beech House, Fieldway, New Addington, Surrey CR0 9DY College Farm, Preston, St Mary, Suffolk CO10 9NQ 2 Chalk Lane, Epsom, Surrey KT18 7AR 7 Marlborough Mews, London SW2 5TE 168 Kendal Way, Cambridge, Cambridgeshire CB4 1LT 18 Clevedon Road, Richmond Bridge, East Twickenham, Middlesex TW1 2HU Facanos Utca, 14-1, Hungary - 1213 Pinkfoot Gallery, High Street, Cley-next-the-Sea, Norfolk NR25 7RB St Ediths, Bratton Clovelly, Devon EX20 4JW The Nunnery, Brandon Road, Hilborough, Thetford, Norfolk IP26 5BW

Michel, Sally Moger, Jill Neill, William Paige, John Parry, David Partington, Peter Pearson, Bruce Phillips, Antonia Pollard, Nik Poole, Greg Proud, Alastair Reaney, John Rees, Darren Rich, Andrea Rose, Chris Schmidt, Christopher Scott, Dafila Sinden, Chris Smith, Jane Stock, Andrew Sutton, Barry Sykes, Thelma Threlfall, John Tratt, Richard Turvey, Simon Tyson, Esther Underwood, Matthew Warren, Michael Woodhams, Ben Woodhead, Darren Wootton, Tim

30 Woodland Way, Bidborough, Tunbridge Wells, Kent TN4 0UY The Studio, 75 Millfield Lane, Nether Poppleton, York, Yorkshire YO26 6NA Rannachan, Askernish, South Uist, Western Isles HS8 5SY The Manor House, Kings Cliffe, Peterborough, Northamptonshire PE8 6XB Holly Hall, The Old School, Milton Lilbourne, Pewsey, Wiltshire SN9 5LQ Kettlebaston Hall, Nr Ipswich, Suffolk IP7 7QA 5 Marshall Road, Cambridge, Cambridgeshire CB1 7TY Willow Cottage, 38 South Mill Lane, Bridport, Dorset DT6 3PN 51 Concorde Drive, Bristol BS10 6PY 32 Kersteman Road, Redland, Bristol, Avon BS6 7BX Plas Bach, Newchurch, Camarthen, Dyfed SA33 6EJ 1 Buxton Road, Brighton, East Sussex BN1 5DE New East Frew, Thornhill, Stirling FK8 3QX 706 Western Drive, Santa Cruz CA 95060, USA 6 Whitelee Cottages, Newtown St. Boswells, Melrose, Roxburghshire TD6 0SH Zum Brook 7, 24238 Bauersdorf, Germany White Roses, The Hythe, Reach, Cambridgeshire CB25 0JQ 47 Colliers Field, Cinderford, Gloucestershire GL14 2SW Cariel, Kintallen, Tayvallich, Lochgilphead, Argyll PA31 8PR 8 Upper Street, Quainton, Bucks HP22 4AY 27 Redlands Lane, Emsworth, Hants PO10 7UT Blue Neb Studios, 18 Newcroft, Saughall, Chester, Cheshire CH1 6EL Saltflats Cottage, Rockcliffe, Kirkcudbrightshire DG5 4QQ 10 Sharpley Close, Fordingbridge, Hampshire SP6 1LG 2 York Rise, Orpington, Kent BR6 8PR Unit 2c Via Gellia Mills, Bonsall, Derbyshire DE4 2AJ 46 Western Avenue, Barton on Sea, New Milton, Hampshire BH25 7PZ The Laurels, 64 Gainsborough Road, Winthorpe, Nottinghamshire NG24 2NR Praestegaardvejen 1A, Vestermarie, 3700 Roenne, Bornholm, Denmark 2 Ivory Court, Langriggs, Haddington, East Lothian EH41 4BY Dale Farmhouse, Evie, Orkney KW17 2PJ

ASSOCIATE Members Allen, Richard Jones, Kittie Manning, Julia Sweeney, Jason Wallbank, Christopher

34 Parkwood Avenue, Wivenhoe, Essex CO7 9AN 27/9 St Leonards St, Edinburgh EH8 9QN 2 Rosebank, Queen Street, Keinton Mandeville, Somerset TA11 6EQ Millhouse, Eyemouth, Berwickshire TD14 5RE 60 Tufnell Park Road, London N7 0DT


SWLA Friends

The SWLA Friends scheme was set up to encourage involvement from people who have an interest in art and the natural world. Funds raised from the Friends’ support will help to ensure that the SWLA continues to offer bursaries and opportunities for young and emerging artists and will enable the Society to explore new relationships between artists and conservation organisations. In the 20 years since its inception our Bursary scheme has awarded over 80 bursaries to artists who have needed support with a project or help with new skills and techniques for their artistic development. Currently we offer places on the Seabird Drawing Course which is a marvellous way of mentoring artists during an intense course of field working. In addition we accept applications for general bursary proposals from individuals who need help with specific projects or skills. The DKM/SWLA Turkish Sweetgum Project (page 10) is an exciting collaboration that shows how artists can work with other organisations to help bring conservation and research stories to a much wider audience. With your support we can expand on these opportunities and increase our projects so that the enthusiasm, expertise and talents of our artists go even further.

Become a Friend of the SWLA and not only will you be helping to nurture artists inspired by the natural world you will also enjoy the following privileges: 1. Attend the private view of the annual exhibition and enjoy a buffet lunch 2. Free entry to exhibitions and lectures arranged by the Society and admit a limited number of guests 3. Receive a Friends newsletter biannually 4. Opportunity to take part in visits to member artists’ studios 5. Receive discounts on events, workshops and courses offered by the SWLA 6. Friends will be entered into a ballot where a proportion of the subscriptions will be devoted to the purchase of a work from the annual exhibition. The successful Friend will be told the amount available (currently £250) and invited to select his or her work from the show.

To become a friend of the Society or to make a donation please visit our website




Turkish Sweetgum Project SWLA/DKM Artist Residency: July 2016

In February of this year I was asked to co-ordinate the Turkish Sweetgum Project. It had been in development for the past few years and through the determination of the conservation NGO in Turkey, Doğa Koruma Merkezi (DKM), and the dedication of Harriet Mead and Bruce Pearson it was finally a reality – the EU funding had been granted! The aims of the project were: to build cultural bridges through art and nature; to promote and increase the capacity for wildlife art as a tool for conservation in Turkey; and to raise awareness of the increasingly rare patches of endemic sweetgum forests (Liquidambar orientalis). It had great potential to realise the SWLA’s ambitions of combining creativity, conservation and education, and it would build on our experiences of successful projects such as ‘Drawn to the Forest’ and ‘Aig an Oir’. Excited about the opportunity to contribute to the development of the SWLA’s role in celebrating and protecting the natural world I was determined that the project was to be a success. In April I travelled to Köyceğiz (the project area) where I joined the DKM team: Hatice Dinç Sarısoy, Aydan Özkil and Dr. Okan Ürker. Hatice had driven the project to this point, Aydan was now managing the project and Okan, an expert on the Oriental sweetgum tree and surrounding ecosystems, was to be our guide. This visit was packed with planning the project objectives and developing a schedule for the ‘Artist week’, which would involve a team of SWLA artists working with a group of art students, artists and scientists from Turkey. We made site visits (which included a close encounter with an Ottoman viper) and met with the provinces’ dignitaries to promote the project. My role was to plan and develop the ‘Artist week’ and, from an open submission, select an SWLA team that could deliver a programme of field trips, talks, tuition and mentoring. The ‘Artist week’ in June was a huge success. Ben Woodhams, Greg Poole, Esther Tyson and myself comprised the SWLA artists and there were 25 Turkish participants. The Flora Hotel provided a perfect base for us and we could not have wished for a better location or host in hotel owner Alp Giray who went out of his way to facilitate us. On the first day each participant was given information about the project and a carefully selected pack of art materials and equipment for the week. The SWLA and DKM teams set out the aims of the project and what was required to make it a success. Students were asked to make first-hand observations of the forest, to make focused investigations and build their knowledge of the subject. They were encouraged to share and discuss their work, to explore ideas and materials.


Students Working in the forest 12

Drawing, painting and conceptual work Work in progress 13

Artist Residency: July 2016

We visited three key sites and explored the surrounding landscape. Kavakarasi, a restful, verdant oasis punctuated by the sweetgums’ dark boughs arching skyward, besieged by regimented rows of a pomegranate plantation, perfectly illustrated the pressures the forests were enduring. Repeated visits provided opportunities for the group to explore, discover and study the species, structures, sounds and smells – the subtleties that defined the character of the forest. Each of us followed individual lines of inquiry as we sat in close proximity to one another quietly formulating our own sense of place, that when combined conveyed a comprehensive investigation and visual record. All the students were exceptionally well engaged and embraced the experience, which for many was a very new way of approaching art. On the last evening an event to engage the public and promote the issues affecting the sweetgum forests and the natural heritage of the local community was organised in the centre of Köyceğiz. Artwork made during the field trips was displayed and the public were invited to discuss the project and take part in a open air printmaking workshop. It was a well-attended, vibrant evening. In the days after the participants left I worked with Aydan to put together an exhibition from work made during the week that would convey the story of the project so far. It will be shown in several venues in South West Turkey and in Ankara. A bi-lingual book documenting the project and the issues affecting the sweetgum forests will be published later this year. Nik Pollard ‘Dragging 25 young artists out of their studios for the first time and bringing them in the middle of the forest was both an intensive and risky task. Yet on the evening of the first day, when we saw the first sketches laid on the floor and tables, it became clear that we would have a rewarding week. Seeing the forest ecosystem from their perspective and witnessing their enthusiasm was very promising, regarding the aim of the project: collaboration of artists and experts to attract public attention on endemic and declining Anatolian Sweetgum Forests. Partnership between DKM and SWLA flourished so quickly, we ended up with a group of talented and productive observers of nature who are willing to initiate their own society!’ Aydan Özkil



Greg Poole, Nik Pollard and Esther Tyson Fieldwork, Turkey (from the top) 16

‘A group of rough timber sheds around a kind of press for squeezing the harvested resin. This was our ‘base camp’. A clearing makes for an easier place to see lizards, frogs, damselflies. Channels run throughout the wood.. Clear water chalk stream with beautiful demoiselles perched on pendunculate sedge. Scuttle of lizard, plop of frog.... The air heavy humid and fragrant.... Ancient trees with scars at various degrees of healing.... Resin bleeds around the edges’. GP ‘…sitting deep in the Kavakarasi Sweetgum forest. The students have all left now, and there is a completely different energy in the forest. I’ve seen some of the trees here so often I recognise them almost as old friends. The low hum of insect noise is broken by the strange and hypnotic two-note call of the ubiquitous local chaffinches. A Cetti’s warbler bursts into song right by my side and startles me. In the far distance I can just about make out soft female voices approaching. Two elderly local ladies collecting leaves and herbs, drift silently into my field of vision. They float gracefully through the undergrowth, chatting quietly and elegantly browsing, completely at home. They drift onwards, without spotting me…’ BW ‘the trees are less gnarled and colourful than I expected and late afternoon light distorted their face, mouths glued agape? Scooby style. Lots of mammal tracks along a mud path, badger and boar and possibly martens. Narrow streams and one wide. Soft mare tail broom a foot high, in places higher, giving a soft green mist the trees rise from. Dragons, damsels and small brown butterflies. Lizards scatter to the left then right. Chaffinch of all birds and a wren. Can hear woodpecker the sound not unlike green. A frog grouses followed by a chorus match. Then silence, our brushes making marks. A crab passed by us, how did a crab happen to pass by? I’d have missed him, defensively strolling and gone. Three hours pass quickly and we return to the hotel. Sparrows dust bathing : ) dare I? ET Ben Woodhams Fieldwork, Turkey 17

Looking at the Köyceğiz Lake from a distance helps me to understand the story of sweetgum forests and significance of the project. The whole event feels like the reunion of people who shares the same concerns and urge to create for nature, but never met before. The critics on our artwork was never monotypical, on the contrary it was enthusing for each of us. It was a very satisfying week in terms of both content and techniques. It was striking for me to learn that plantation of other plants may harm the sweetgums. The story of sweetgum oil production; wounding trees for oil, balance between harming and harvesting, and in some cases abusement of trees gave me a different point of view and awareness. I realised even a small change in ecosystem may have destructive results. This event make me remember the importance of observation. Gizem Güvendağ, Illustrator & Animator The swampy area was not my favourite (too much for me) but the most remarkable place that we visited during the project. It was scary but also has a different kind of attractiveness. It was the first time that I felt in the core of wilderness. In Dalyan, when everyone went for swimming, I was alone in the boat and suddenly faced with a caretta caretta. It was the first time I saw such a creature, I have never imagined that they were so big. I had a moment of unintentional smiling :) It was mind opening to see people’s artwork differing, while they are looking at the same view. Duygu Topçu, Illustrator & Art Student This is thrilling every time I remember, I was looking for some dry place to sit after the rain. I walked away from the group, found an old mossy sweetgum and decided to settle. I was planning to draw the young sweetgum in front of me when I noticed the butterfly “speckled wood”. I watch it dancing and feel a light vibrance coming from the tree that I lean on, it was a woodpecker feeding. I unintentionally hold my breath to not scare him. I couldn’t look at him but feel him. It was a whole different planet with sparkling raindrops, every tone of green, butterflies, dragonflies... As a non-professional, I found it very useful to be with young Turkish professionals and it gives me enthusiasm. Watching British wildlife artists working, talking with them was inspiring. I wanted to be as productive when I go back home. I work for a nature conservation NGO and I was aware of sweetgums but with this event I witnessed the critical situation. I feel more interested in the conservation of this species and their ecosystem now. Nilüfer Araç, Nature Conservation Professional Facing with nature, making art in it is quite inspiring. Each time, I feel refreshed, changed and purified. This is hard to explain. I used mostly ink and slightly coloured it to show my senses, it was full of emotions (and feels like worshipping). Medine Irak, Academic in Art School Kavakarası Sweetgum forest was my favourite place among others. I was impressed by thousand tone of green, the smell that comes from the dancing branches of the trees, songs of birds. It was an amazing experience. It was so special being among many young artists using different techniques and creating/producing for the same desire. The best part of the project was the feeling of creating artwork in synergy with other artists to help people recognize the significance of nature, by using my own instruments: brushes, pens and paint. I found being in dialogue with British artists very helpful for improvement of our works. The first day, I go for my old habits and used a more “line-ish” style but after the first share and tell session, the second day was different. I let the nature occur to me, I listened, smelled and touched. It changed my point of view and way of feeling the nature. And this time the result was quite different. Talking with SWLA Artists at the end of each day also helped with my improvement. Zeynep Sağır, Art Student I didn’t think of myself as an artist before; but the week and the British Team shaped me, changed my point of view and make me notice what I am capable of. Now I proudly think of myself as a wildlife artist. Tora Benzeyen, Birdwatcher Students Words, Turkey 18

Students Fieldwork, Turkey 19


Direct observation outdoors was a first for me. We went to the same forest every day and the outcome kept changing the whole week. The sound and smell of the forest, being alone and feeling it or being together with friends over there was happy moments. Sharing our artwork and seeing each other’s process was impressive for me. Some days I wanted to spend my whole day in the forest and I heard the same from my friends too. We wanted to be whole with the forest over there, we remember we are taking part in nature. We just forget it while we are in urban areas. I’ll decided to be more careful about these and share it with other people. This was the first time I worked with watercolour in a professional way. British artists helped us and encouraged us with many things. I tried to draw the essence and atmosphere of the forest, not only what I see. Gülçin Karaca, Academic in Art School For me, the best part was the mornings. We study, we woke up early every morning and I see people was doing that with pleasure and happiness. It was a unique experience for me to wake up this early (to study) and to feel enthusiastic and energetic. Sharing our works after each session, being watched by British senior artists was very motivating. Their methodologies and styles give me bright ideas. I also learned from other participants. Every each of us bring their own diciplines and colours to the project. Sura Seyhan, Art Student I was impressed by the British team’s discipline. They were quite comfortable and enthusiastic in the nature, which was motivating. All of their styles were different, and impressive. Their criticisms were also quite positive and motivational, which is unlike we are used to. We learned a lot from each other, but not only about techniques. Their ideas, point of view, sensitiveness and harmony was contributing for us. After this event I noticed that I have more eager to produce for nature. I am very willing to be involved in an SWLA like association in Turkey. Many of us think alike. I have heard the same thing from different people in the group. When I first started I was trying to draw directly from nature, anything that looks good in the first place. Most of the time I couldn’t finish my work. I was planning to finish them looking at their photos but Ben told me to do otherwise. “The story of that work was there and it has finished, don’t interrupt it”. He was right, it might be half but it was finished. I learned and felt it. In my artwork, I didn’t put any extra meaning but draw whatever I like (with whatever I wish to use) at that moment. I tried to figure out nature without thinking on aesthetics. It was a good method to understand a tree, a leaf or a flower. Even if it looks complex in total, when you look deeper you can see the perfect math in nature. Merve Ozcan, Research Assistant in Art School I learned about endemics and their importance. I noticed the difference of being directly in nature while producing and I found it necessary. I have been through a process. Me and my artwork relaxed during the week. Fatih Öztürk, Illustrator During the event, once again I noticed how hard it is to picture nature as it is. It was hard but satisfying. With this project, I have learned things about sweetgum forests, that I have never heard before. The methodology of oil extraction and local folks’ devotion to the process was remarkable for me. Since then (the end of the project), whenever I have been in nature, I remember the British Artists’ call for being silent and listening to the nature. I noticed that I don’t feel comfortable when I directly picture nature, so I harmonise it with imaginary human figures in my artwork (as I love to do); otherwise it wouldn’t feel like mine. Mert Tugen, Illustrator

Photography Cengiz Tapan, 2016

This project is co-funded by the European Union and the Republic of Turkey


Ben Woodhams SWLA 11 Black-headed Gull studies, Bornholm Watercolour 22

Federico Gemma SWLA Three Black-headed Gulls, Finland Watercolour 23

Beatrice Forshall Noble Chafer Engraving 24

Kim Atkinson SWLA Plovers among the Tywyn ewes Monoprint 25

Szabolcs Kokay SWLA Receding tide Oil 26

Barry van Dusen SWLA Western Sandpiper study Watercolour 27

Adam Binder SWLA Circling Otter Bronze 28

Adam Binder SWLA Circling Otter (detail) Bronze 29

Jane Smith SWLA Under the waves Handmade screenprint 30

Richard Tratt SWLA SBA Rare migrant, the Bath White Oil 31

Simon Turvey SWLA Brown Hare Oil 32

Fiona Clucas SWLA Fennel and Warblers, August Mixed media 33

Peter Partington SWLA Along the hedgerow - Barn Owl Oil 34

Matt Underwood SWLA Twilight Woodblock print 35

Nick Mackman SWLA The wallow - baby Elephant sitting Ceramic 36

Nick Mackman SWLA The wallow - baby Elephant sitting (detail) Ceramic 37

Robert Gillmor PPSWLA Shore Larks Linocut 38

Christopher Wallbank ASWLA Common Dolphins Sugarlift etching 39

John Threlfall SWLA Short-eared Owl Pastel 40

Dafila Scott SWLA Gemsbok at dusk Pastel 41

Victoria Edwards SWLA Egyptian Tortoise Watercolour 42

Michael Warren SWLA Bullfinches Watercolour 43

Nik Pollard SWLA Feral pigeon Permanent marker, pen & crayon 44

John Paige SWLA Wood Pigeons rising Screenprint 45

Darren Woodhead Undersea Art Award Mask firmly in place, clumsily trying to judge the size and shape of flippers on both feet, right foot first and in! This was my first swimming pool session of the Open Water training course with the Divebunker crew of Burnt Island in Fife, as winner of the 2016 Wildlife Trusts Undersea Art Award. So much to take on board for the first session, so many new terms to comprehend but the sheer enjoyment of moving around in a quiet world of my own - fabulous. Equipment, negative buoyancy and at last ‘buddha’ in the water. The team I learnt with were great, patient, thorough and efficient, two pool sessions and I had learnt the first part of training before we headed out to the open sea for the second part. I had in mind right from the start that this chance had to be about taking working underwater a step further. I am a watercolourist and all my work is about this beautiful yet so complex medium – it is my passion. So my aim, simple, yet contradictory - to work underwater with Watercolour. Principles were discussed, often and appropriately my aim was met with smiles and ‘interesting’, but those who know me well, know I can be stubborn at heart. So it all began in the bath, a gentle experiment using an upturned container. This rapidly developed into a full size prototype, a kind of mini diving bell, clumsily using rocks and brick weights strapped using my boys’ power cord – how they relished in their heroic ties being using for such a crazy practical purpose - dad points earned. Soon it was launched - the ‘Painter’s Pod’ Basically an upturned plastic Fermenting container with the bottom cut out so that I could insert my paper and paints. A few niggling problems - buoyancy, the bricks didn’t give me enough weight – needed much more. Sealed at the top, the rise and fall of the water level also created a vacuum, at times interesting, yet at times this could make any watercolour mark disappear into a smudge in seconds. A couple of trials off the Lothian coast, and a swell soon took my weights and their holster away, leaving me with just the pod. I changed the design. But there were positives - the main attraction and one that I longed for happening was lots of genuine texture that could never be created in any other way. Transparent by nature, watercolour reveals everything and all the paintings you see have been done underwater in the pod. That is my love of watercolour, its ability to be beautifully subtle yet endless in its possibility of marks. Pod prototype and Darren training in the pool. 46

As I type, a new pod is being built, could it be the beginning of the Painter’s Pod Pro? One that will allow me to securely hang the weights needed to descend my design to my required depth - Watercolours underwater. 47

Shadows of Wrasse against Wrack 48

Darren Woodhead, Wildlife Trusts Undersea Art Award 49

Summer last year, I’m wearing rather leaky borrowed waders, thigh deep in a flooded gravel pit peering into a reed bed to see a cuckoo. 50

BTO/SWLA Flight Lines Project PSWLA Harriet Mead Work in progress: ‘Funnel’ 2016

Dave Leech’s reed warbler research has the added benefit of providing detailed data and known sites of cuckoo chicks in the host nests, ideal for us to get up close and personal with these extraordinary birds. Our first cuckoo was a day old, still sharing the nest with two doomed warbler eggs. Even that small it had a determined edge to it as it flexed its back like a mini weight lifter. Following Dave through the reeds, getting a bird’s eye view of life as a warbler, we came to the second nest. This cuckoo chick was enormous. Only ten days old it sat centre stage: the nest bulging around its sides, its orange gape rising up to beg if we made any movement from above. The bird’s pins were just beginning to erupt into full feathers, silvery shafts with spiky blades at their tips, it already looked like I’d made it from metal. Quickly I scratched some biro sketches in an attempt to capture the alien feel of this corpulent creature, but hearing the occasional contact call from the duped parents, we moved on to let this magnificent interloper get its next feed. Fast forward a year and I need to make the cuckoo. As ever I didn’t really have a plan and I never sketch things out. I just began with the head and tried to find items to describe the focus of the creature - its gape. Within an hour I’d roughed out the head and found an old pair of garden hand shears that would define the wings. Spiky feathers were easy - old circular sawblades and bow saw blades with a lovely little fork from cheap rusty salad tongs for part of the head. But how can I set this thing to make any sense? I can’t make a chick without a nest. I scanned around the studio, looking at great piles of scrap tools lodged on every surface and in boxes all around the floor. On one shelf, ladened with treasures such as old wooden skates with rusted blades, sheep shears and flat irons I saw the perfect nest - a funnel. The cuckoo now had a home but my heart sank. The gape was my downfall. It needed a host parent to feed it. I don’t do tiny birds - welding is not subtle and can totally destroy thin bits of metal. I started looking for scissors tiny enough for a warbler beak. Excellent, not only were there suitable scissors but also a tiny pair of tin snips, perfect for the tail. Over the next sessions in the studio I worked on both birds and how to set them together, adding enough to suggest reeds without obscuring the birds. So that’s how Funnel came to life. It’s all about the objects and until I start making I don’t know how it will end up. As for the title, Funnel, how better to describe the warbler’s seemingly endless task of trying to fill a cuckoo chick?


More scissor blades for wings and the spoon half of the salad tongs for the belly, before too long I’ve got the makings of a bird. Luckily its proximity to the cuckoo chick means that we all assume it’s a reed warbler without looking too closely. 52

This is part of the BTO/SWLA Flight Lines Project looking at the story of our summer migrant birds. The Flight Lines book will be published next year.  53


SWLA THE NATURAL EYE 53rd Annual Exhibition

Catalogue list of works 2016 Opposite: Harriet Mead, Funnel Welded found objects


Carry Akroyd SWLA Another busy day on the river Screenprint (ed. of 4) £875


‘Singing in the Rain’ Sedge Warbler Watercolour £350


Badgers Mixed media £325


Storm Petrel Linocut (ed. of 50) £125 (£95 u/f)


Fox and Owl Lithograph (ed. of 50) £360 (£225 u/f)


Summer Stonechat Watercolour £475


Heath Screenprint (ed. of 6) £875


House Martins Screenprint (ed. of 6) £240 (£175 u/f)



Night creatures Screenprint (ed. of 6) £340 (£220 u/f)


Parakeets Screenprint (ed. of 8) £240 (£175 u/f)


Park Screenprint (ed. of 10) £340 (£220 u/f)





Richard Allen ASWLA Cornish Cirl Buntings Watercolour £450






Eiders Linocut (ed. of 50) £125 (£95 u/f)


Sanderlings Linocut (ed. of 50) £125 (£95 u/f)


Andrea Ambrogio Asp Viper of Montecristo - Vipera di Montecristo Watercolour & pastel £750 Painted Comber - Sciarrano Watercolour £550 Tyrrhenian Painted Frog Discoglosso Sardo Watercolour & pastel £600 Jim Anderson Galapagos Tortoise Linocut (ed. of 10) £200 (£150 u/f) Max Angus SWLA Long-horn Fairy Moths Linocut (ed. of 45) £290 (£230 u/f) Stiffkey trees Linocut (ed. of 45) £325 (£260 u/f) The Green Woodpecker Linocut (ed. of 45) £270 (£220 u/f)


The jovial breeze Linocut (ed. of 45) £325 (£260 u/f)


The seed searchers Linocut (ed. of 45) £260 (£210 u/f)


The walker’s tree Linocut (ed. of 45) £260 (£210 u/f)


Kim Atkinson SWLA *ROG¿QFKIDPLO\LQWKHKD\¿HOG Mixed media £500


/DUJH6NLSSHULQWKHKD\¿HOG Charcoal & oil £650


Plovers among the Tywyn ewes Monoprint £700


Plovers, Black-headed Gulls and a Mediterranean Gull among the Tywyn ewes Monoprint £700


Vanna Bartlett Brown Hare Linocut (ed. of 16) £150 (£100 u/f)


First stirrings of Spring Linocut (ed. of 10) £180 (£140 u/f)


What remains Linocut (ed. of 6) £200 (£150 u/f)


Adam Binder SWLA Circling Otter Bronze (ed. of 12) £6,250


Diving Otter Bronze (ed. of 12) £6,500


Sea Lion Bronze (ed. of 12) £6,500




Nicola Bramley Guillemots at St Abb’s Head Silkscreen print on cotton (ed. of 4) £390 (£330 u/f) Kittiwake colony Silkscreen print on cotton (ed. of 2) £390 (£330 u/f) Marco Brodde Arctic Waders have arrived, Fano, the Wadden Sea Watercolour & crayon £650


Oystercatchers at high tide roost Linocut (ed. of 7) £200


6WDUOLQJVRQWKHPXGÀDW)DQR the Wadden Sea Watercolour £650


Fiona Clucas SWLA Fennel and Warblers, August Mixed media £1,500


Great Black-backed Gulls and Rooks, Camel Estuary Oil & charcoal £1,500


High tide on the Fal River Oil £1,250


House Sparrows and Field Maple Oil & charcoal £750


On the beach at St Ives Oil £750


Roseland Cirl Bunting Oil £425


In sun and shade Mixed media £1,500


Mute Swans, White Loch I Mixed media £275


Mute Swans, White Loch II Mixed media £275


Reed beds, Autumn Mixed media £450


Spring in the air Mixed media £450


Study of a Bumblebee 006 Graphite £470


Study of a Bumblebee 007 Graphite £470


)XOPDUV¿HOGVNHWFK6W$EE¶V Head Watercolour £500



Grey Plovers & Red Knot, Fano, the Wadden Sea Watercolour £400



High tide, afternoon, Beltringharder Koog, the Wadden Sea Watercolour £400


Anine Cockwell-De Jong Sea Urchin Stone £800 Daniel Cole SWLA Black and white Oil & charcoal £5,750



Naomi Cook Small but mighty Ink £375 Louisa Crispin Study of a Bumblebee 004 Graphite £470

Paul Dady Atlantic Salmon Bronze (ed. of 12) £16,550


John Davis SWLA A Hebridean Otter Oil £750


Caspian Terns and Sandwich Terns Acrylic & collage £850


Drifting by Oil £750


Knot and Greenshank Acrylic £900


Far out on the moor Oil £750


Pond Skaters and Little Bittern Acrylic £800


From Aird an Runair Point Oil £1,500


Red Kites Acrylic £800


From Aird an Runair Point Acrylic £750


Wall Creeper Acrylic £700



In a northern Spring Oil £395



Gadwall with Sand Martins Oil £895


Low tide gathering Watercolour £495

Niggy Dowler Dancing Dumbledores Oil £495




On distant shores Oil £1,500

Last feed on the scrape Godwits & Redshank Oil £1,250


Pendeen Choughs Oil £1,895


Scilly hedgerow Oil £2,495


Shelduck with Redshank Oil £695


St Just in Roseland Cirl Bunting Oil £595





Nicholas Day Stoat - Roadkill 9 - ‘Dinner for eight’ Mixed media £2,000 Nick Derry SWLA Black Winged Stilts Acrylic & collage £850




The 3 Bees Oil £550 Madeline Downham Toad in Autumn leaves Oil £450 Sara Dudman Sandpipers and Arctic Terns 1 (Northumberland) Oil £1,100 Barry van Dusen SWLA Hooded Warbler Watercolour £425


Least Sandpiper in shadow Watercolour £350


Snow Buntings Watercolour £425


Turnstone studies Watercolour £425


Western Sandpiper study Watercolour £350 Brin Edwards SWLA Barn Owl fence lines Oil £1,795






Swallow Cairns Oil £2,495


Victoria Edwards SWLA Egyptian Tortoise Watercolour £350

102 Fieldfares up and away Oil £400

Wood Partridge Graphite £600 Carl Ellis SWLA Brown Trout Pastel & watercolour wash £425 Leo du Feu Altarstanes, Isle of May Watercolour & pencil £450


Greenface, Isle of May Ink £450


Looking to Bass Rock, Isle of May Ink £450


Evelina Flodström Seabird Drawing Course winner I vildaste marken (The wildest land) Pencil & charcoal £200

John Foker SWLA 100 Descending Nuthatch over Windle Brook Oil £460


Egrets & Heron - Wallasea Oil £460

Hooded Crows in the rain Glenelg Oil £460

104 Kittiwakes on the Tyne Watercolour £480 Beatrice Forshall 105 Eskimo Curlew Engraving (ed. of 25) £895 (£799 u/f)


Three Black-headed Gulls, Finland Watercolour £400


Willow Grouse display, Finland Watercolour £425


Woodcock, Finland Watercolour £950


 LWWLQJ&LVWLFRODLQDFRUQ¿HOG = Latium, Italy Watercolour £530


Martin Gibbons Snipe - College Lake Watercolour £345

106 Noble Chafer Engraving (ed. of 25) £785 (£689 u/f)


Federico Gemma SWLA 107 Abruzzi Chamois, Italy Watercolour £580


108 Capercaille female, Finland Watercolour £600


Merlin and Peregrine Linocut (ed. of 10) £800 (£750 u/f)


Shore Larks Linocut (ed. of 75) £450 (£410 u/f)


Willy Wix Linocut (ed. of 65) £300 (£265 u/f)

109 Pied Flycatcher, Elba Island, Tuscany Watercolour £425 110 Redwings, Finland Watercolour £340

Chris Gilbert Woodland triptych Woodcut (ed. of 25) £350 (£250 u/f) Robert Gillmor PPSWLA IEA Brooding Ringed Plover Linocut (ed. of 65) £300 (£265 u/f)


Robert Greenhalf SWLA Blakeney Brents Oil £490

Jack Haslam 131 Frogs Etching & aquatint (ed. of 5) £500 (£300 u/f)


Cirl Buntings Woodcut (ed. of 100) £200 (£135 u/f)

132 Owl family Etching & aquatint (ed. of 5) £500 (£300 u/f)


*ROG¿QFKHV (YHQLQJ3ULPURVHV Woodcut (ed. of 100) £200 (£135 u/f)


Preening Avocets Woodcut (ed. of 100) £200 (£135 u/f)

Andrew Haslen SWLA 133 Boxing Hares Linocut & watercolour (ed. of 40) £600


Sandwich Terns Oil £490



Sleeping Avocets Oil £490


Tideline Terns Woodcut (ed. of 100) £200 (£135 u/f)





To the sea Woodcut (ed. of 100) £200 (£135 u/f) 6LPRQ*ULI¿WKV Fox +LJK¿UHGFHUDPLF £1,200 Michael Hampton SWLA CAS Little Owl Scraper board £300

134 +DUH *ROG¿QFKHV Linocut & watercolour (ed. of 40) £600 135 Hare & Redwing Linocut & watercolour (ed. of 40) £600 John Hatton 136 Eiders Linocut (ed. of 20) £265 (£220 u/f) 137 Fulmar Linocut (ed. of 15) £240 (£195 u/f)

141 Guillemots Reduction linocut (ed. of 20) £250 142

Little Terns Mixed media print (ed. of 20) £350


Short-eared Owl Reduction linocut (ed. of 24) £400 (£330 u/f)

David Hunt Seabird Drawing Course winner 144 Away from the rain Acrylic £1,950 145


Ken Januski Ruby-throated Hummingbird and Turkey Vulture Woodcut (ed. of 12) £205 (£100 u/f) Richard Jarvis Crabby little Owl Linoprint & watercolour (ed. of 20) £195 (£170 u/f)


Goldies Linoprint & watercolour (ed. of 20) £125 (£95 u/f)

Christopher Hicks 139 Mevagissey remembered Block print (ed. of 25) £280 (£200 u/f)


House Sparrows Linoprint & watercolour (ed. of 20) £125 (£95 u/f)

Lisa Hooper 140 A Summer’s day Foam jigsaw print (ed. of 12) £250


Reed Bunting Linoprint & watercolour (ed. of 20) £125 (£95 u/f)

138 Guillemots Linocut (ed. of 12) £265 (£220 u/f)

Richard Johnson SWLA Little Terns - adult and young Watercolour £700

Patrick Kennedy 161 Shy Coot Linoprint (ed. of 8) £365 (£295 u/f)


The wallow - baby Elephant sitting Ceramic £2,950


Male Whinchat - Blakeney Watercolour £400



Whimbrel - Burwell Fen Watercolour £400

Szabolcs Kokay SWLA 162 Receding tide Oil £1,900

The wallow - baby Elephant standing Ceramic £2,950





Young Sabine’s Gull Watercolour £290 Kittie Jones ASWLA Brooding Kittiwake Ink & pastel £425 Cliff top, St Abb’s Head Mixed media £350

Cathryn Kuhfeld 163 Wood Mice in the undergrowth Oil £700 Natalia Kuptsova 164 Empty nest Pastel pencil £760


Rachel Lockwood SWLA 165 Hide Oil £5,950




Goose & Cormorant Screenprint (ed. of 8) £495 (£300 u/f)

Helen Lopez-Biggin 166 Co-hibernating Bronze (ed. of 25) £448


Short-eared Owl, Isle of May Monotype £750

167 Hibernating Dormouse Bronze (ed. of 150) £390


Silvery Hare Monotype £750


St Abb’s Kittiwakes Mixed media £895

Nick Mackman SWLA 168 Alert Warthog Ceramic & mixed media £2,500

Elizabeth Jorden 160 Chicks Ink & watercolour £450


169 Crouching Hare Ceramic £1,600 170 Resting Hyena Ceramic £1,600

Julia Manning ASWLA Plethorana Etching (ed. of 60) £280 (£200 u/f) The Devil’s Teeth (Skokholm) Woodcut (ed. of 17) £340 (£260 u/f) Julia McKenzie Botany Bay - Kent Ink & watercolour £850 Harriet Mead PSWLA Bow saw Woodcock Welded found objects NFS


 DPVHOÀ\RQVWHPV ' Welded found objects £1,200


Funnel Welded found objects £3,000


Hasty Hare Welded found objects £1,950


 DZEODGH&UD\¿VK 6 Welded found objects £950


Harriet Mead PSWLA Sickle tailed Jungle Fowl Welded found objects £1,950

191 ‘The Raiding Party’ - young Nile Monitors Stoneware £2,800


Snack Welded found objects £950


Trowel Owl Welded found objects £3,500

William Neill SWLA 192 Long-tailed Duck Acrylic £1,900


Stephen Message 184 Avocets Watercolour £1,400 185


Fieldfares Watercolour £1,400 Grey Plover and Dunlins Watercolour £1,400

Jill Moger SWLA 187 Emerald Tree Monitor Stoneware £850 188




Green Iguana female Stoneware £950 Leopard Gecko Semi porcelain £500 ‘The Joust’ - male Knight Anoles Stoneware £1,100


Low tide, Purple Sandpipers Acrylic £1,900

Johannes Nevala 194 Common Eiders together in Spring Watercolour £660


Mara Cheetah Pencil £600


Samburu Lion Oil £2,400


Waxwing Oil £475


Peter Partington SWLA Along the hedgerow - Barn Owl Oil £1,250


Basking Hare Oil £2,500


Black-throated Diver family Oil £1,250

196 Wood Pigeons rising Screenprint (ed. of 14) £400


Blackcock lek Oil £3,500

David Parry SWLA 197 Barn Owl Oil £800


Cirl Bunting Watercolour £295


Heathland Stonechat Oil £650


Listening - Barn Owl Watercolour £695


Whimbrel in the Pinks Watercolour £695

John Paige SWLA 195 Bee-eaters Watercolour £600

198 *ROG¿QFK Oil £400 199 Heron Oil £800 200 Kestrel Oil £800




Bruce Pearson PPSWLA Antarctic commensalism Intaglio print (ed. of 6) £495 (£425 u/f) Approaching Bass Rock Watercolour £425 Feeding Humpback and Wilson’s Storm Petrels Watercolour £425


Ivory Gulls along pack-ice edge Watercolour £425


King Penguins, South Georgia Watercolour £425


Polar Bears, Svalbard Watercolour £425

Antonia Phillips SWLA 218 A colourful shore Acrylic £575 219

Incoming tide Monotype £415

223 Tiny standing birds Acrylic £575 Nik Pollard SWLA 224 )HUDOSLJHRQ¿HOGGUDZLQJ Permanent marker, pen & crayon £900


225 )HUDOSLJHRQ¿HOGGUDZLQJ Permanent marker, pen & crayon £600

Buff-tailed Bumblebee I Watercolour & pencil £350


226 )HUDOSLJHRQV¿HOGGUDZLQJ Permanent marker, pen & crayon £900

Buff-tailed Bumblebee II Watercolour & graphite £350


Common Carder Bee on Marsh Thistle Watercolour, wax, pencil & oil pastels £350

228 Lapwing Monotype £550


Guillemots Water-soluble graphite & pencil £300

229 /DSZLQJ Monotype £550


Orb Spider and Small White %XWWHUÀLHV Watercolour, pencil, crayon & wax £350

227 Fieldfare Monotype £550

230 Sparrowhawk Monotype £550


Look out to sea Monotype £415

Greg Poole SWLA 231 Arctic Terns & Ringed Plover, Shetland Monotype £750


Sealight and Sanderling Acrylic £575

232 Gannets, Bass Rock Monotype £900


The big wave… Acrylic £575

Rachel Porter Seabird Drawing Course winner 233 Bardsey wetlands, insect study Watercolour, wax, pencil & oil pastels £620




Bill Prickett Chimp skull Birch plywood on granite £2,250 Harpy Eagle skull Sweet chestnut burr on granite £1,150 Venessa Pugh Slow movement Etching (ed. of 10) £150 (£140 u/f)



Gary Ramskill Speckled Wood Linocut (ed. of 100) £205 (£105 u/f)

Stephen Rautenbach 243 Pangolin Bronze (ed. of 12) £9,637 244


Darren Rees SWLA Bear and rusty pine Acrylic £750 Black Bear family Acrylic £750


First Adelies, Horseshoe Island Watercolour £450


Humpbacks, Gerlache Strait Acrylic £4,500


Kings in the rain Watercolour £550


Magellanic Penguins, Gypsy Cove Watercolour £450


Moulting Gentoo, Port Lockroy Watercolour £450


Sleeping Elephant Seal Watercolour £450


Ian Rendall 252 Feeding Sanderling Watercolour £362 253 Roosting Black-headed Gulls Watercolour £320 Hugh Ribbans 254 *RQH¿VKLQJ Linocut (ed. of 50) £220 (£150 u/f) Derek Robertson 255 General impressions of size and shape Watercolour £3,950 Catherine Robinson 256 Migration II Reduction woodcut (ed. of 9) £360 (£300 u/f) Vincenzo Romanelli 257 Mountain Ibex Bronze £6,500 Chris Rose SWLA 258 Long-eared Owl Acrylic £9,750 'D¿OD6FRWW6:/$ 259 Bat-eared Foxes foraging at dusk in the Kalahari Pastel £525 260 Cranes over the fen Oil £940


Gemsbok at dusk Pastel £525


Godwits & Lapwings at high tide Pastel £525


Grey-headed Albatross, Antarctic Peninsula Oil £1,150


Shelducks resting & preening Pastel £385



Carolyn Simpson Feathered form Soapstone £1,100 Chris Sinden SWLA Ghost Linocut (ed. of 26) £175 (£140 u/f)


 ROG¿QFKHV * Linocut (ed. of 22) £225 (£180 u/f)


Nuthatch Linocut (ed. of 27) £200 (£170 u/f)


Sedge Warbling Linocut (ed. of 30) £175 (£140 u/f)


Shoveler pair Linocut (ed. of 17) £175 (£140 u/f)


Some unwanted attention Linocut (ed. of 15) £225 (£180 u/f)


Jane Smith SWLA Under the waves Handmade screenprint (ed. of 2) £420

Andrew Stock PPSWLA RE 273 Dodgy reception Aquatint (ed. of 40) £260 (£200 u/f) 274

Starling trio Etching & aquatint (ed. of 40) £390 (£320 u/f)


The end of August Watercolour £4,000


Barry Sutton SWLA Black Ape Ceramic £1,060


Fairy King I Ceramic £390


Fairy King II Ceramic £390


Necromancer Ceramic £1,490


Pongo Ceramic £960



The Sentinel Ceramic £3,900 Troglodyte V Ceramic £860

283 Troglodyte VI Ceramic £345 Rebecca Thorley-Fox 284 House Martins nest preparations Oil £925


Richard Tratt SWLA SBA Basking on the dunes, Dingy Skipper Oil £360


Common Blues, St. Catherine’s Hill Oil £695


Dark Green Fritillary and Marbled White Oil £695




288 Juvenile Treecreeper Pastel £340

Orange Tips Oil £695


289 Kittiwake Oil £360

Rare migrant, the Bath White Oil £320


290 Pied Flycatcher Pastel pencil £240

The Brown Hairstreak Oil £360


Thistles corner Oil £950

285 Rooks looking out to sea Oil £625 286 The unlikely pair Oil £665 John Threlfall SWLA 287 Independent sorts Pastel £440

291 Short-eared Owl Pastel £880 292 7HUQÀLJKW Oil £480



Simon Turvey SWLA Black-headed Gulls, Venice Watercolour £975 Brown Hare Oil £885



Simon Turvey SWLA Heron by the Thames Oil £925


Herring Gull Oil £685


Peacock, Swallowtail and Red Admiral Watercolour £785


Scarlet Macaw, Amazon Watercolour £825


Squirrel Monkeys, Amazon Oil £875


Swallows Oil £975

Esther Tyson SWLA 309 Brambles Oil £3,500 310





Clear Fell - Nightjar Oil £600 Farm Sparrow Oil £1,400  DUP6SDUURZ ) Oil £1,400 Farm Sparrow 3 Oil £600

314 Farm Sparrows Oil £1,800


Humpback Whale Sugarlift etching (ed. of 15) £240 (£180 u/f)

315 Rooks Oil £1,800


Humpback Whale and Cory’s Shearwater Sugarlift etching (ed. of 20) £140 (£95 u/f)

316 Temple Macaques Oil £5,000 Matt Underwood SWLA 317 Flyover Woodblock print (ed. of 25) £230 (£180 u/f)


Michael Warren SWLA %XOO¿QFKHV Watercolour £1,850


318 Harbinger of Spring Woodblock print (ed. of 60) £250 (£200 u/f)

&KDI¿QFKHV Watercolour £675


319 Hidden away Woodblock print (ed. of 60) £230 (£180 u/f)

Dotterel Watercolour £825


320 On the road Woodblock print (ed. of 60) £130 (£100 u/f)

Green Woodpecker and Jays Watercolour £775


321 Scream and speed Woodblock print (ed. of 60) £250 (£200 u/f)

Ringed Plovers Watercolour £675


322 Spring Bumblebee Woodblock print (ed. of 100) £170 (£130 u/f)

Sedge Warbler Watercolour £625


323 Twilight Woodblock print (ed. of 30) £325 (£260 u/f)

Shorelarks Watercolour £825


Wren Watercolour £450

Christopher Wallbank ASWLA 324 Common Dolphins Sugarlift etching (ed. of 20) £140 (£95 u/f)


Alice White /LWWOHLQN\¿VK Gold & black ink on paper £250




Julie Wilson Up against it Stoneware clay £1,500

345 Timed studies of Seabirds at St Abbs, Scotland Graphite £600

Loz Wilson Q in Tern Watercolour & graphite £450

Darren Woodhead SWLA 346 Fieldfare, Redwing and shadows Watercolour £3,995

Barry Woodcraft Snowy Owl Bronze (ed. of 12) £5,159

347 0DOH%XOO¿QFKSDLULQ$OGHU Watercolour £3,995

Ben Woodhams SWLA 339 11 Black-headed Gull studies, Bornholm Watercolour £600 340

15 preening Greylags, Nexo, Bornholm Graphite £400


8 sleeping gull shapes, Nexo, Bornholm Graphite £300


Circling around the Bass in the drizzle, Scotland Watercolour £300


Studies of a dead Barn Owl (Tyto alba guttata) Watercolour £1,200


Studies of a dead Magpie (Pica pica) Watercolour £1,200

348 Singing male Whitethroat and Hawthorn Watercolour £5,495 Tim Wootton SWLA 349 ‘%XVWD¶ 1,VOHV3RG1R  passing ‘Standard’ Evie Charcoal £1,250 350 Catching the light - Aikerness Burn, Evie Oil £650 351 North side peat cutting - Evie Moors Oil £625


Visitors’ Choice 2015 ‘Masai Mara bull Elephant’ by David Parry SWLA 68

The SWLA would like to thank the individuals and companies who generously award the following prizes: Birdwatch Artist of the Year (£1000 plus Swarovski equipment) RSPB Award Dry Red Press Printmakers Award The Langford Press Field Sketches Award The Langford Press Printmaking & 3D Awards The Roger Clarke Award PJC Drawing Award Birdscapes Gallery Conservation through Art Award Richmond Towers Communications for their generous contribution toward funding Design and Layout of this catalogue

SWLA Bursary Award Winners

2006 WINNERS Stephanie Black Helen Bullard Hannah Seward (WWT Wetlands for Life)

2011 WINNER Meg Buick

2007 WINNERS Martin Aveling Helen Bullard Gareth Williams

2013 WINNERS Ben Woodhams Kevin Jones

2008 WINNERS Jethro Brice Kate Joanne Aughey Li Lian Kolster 2009 WINNER Christopher Wallbank 2010 WINNER David Lowther

2012 WINNER Gina Ellis

2014 WINNERS Lara Scouller Becky Thorley-Fox Claire Williamson 2015 WINNERS Evelina Flodström* David Hunt Rachel Porter

Faces of Ebola Tim Benson VPROI

7 to 13 Nov 10am to 5pm



* Gannet, The Bass Rock 69


The Wildlife

‘got to draw a line sometime’ JOHN BUSBY

Friends and Influences Nov 20 – Dec 15 2016 An exhibition and sale of oils, watercolours and drawings from the studio and private collection of John Busby. To include pictures by Eric Ennion, R.B. Talbot Kelly, Robert Hainard, Donald Watson, Robert Gillmor, Robert Greenhalf, Allen W. Seaby, Archibald Thorburn, Darren Woodhead, James McCallum and others. CATALOGUE: A large format 80-page catalogue is available illustrating more than 120 pictures with a foreword by Robert Gillmor and introduction by Robert Walthew. £12. 50 including p&p

Art Gallery

THE WILDLIFE ART GALLERY 98-99 High Street, Lavenham Suffolk CO10 9PZ Tel. 01787 248562

Nature matters – and so does your support Nature matters for all of us. That’s why we’re working with communities, schools, businesses and landowners to protect wildlife and wild places and increase the value we all place on nature. We need your support – whether it’s by giving time through campaigning or volunteering or through making donations, becoming a member or simply spreading the word. Find out more:

Schoolchildren on a day out with Cornwall Wildlife Trust


Wild Birds and Wild Places BIRDscapes continues to consolidate its position as the UK’s leading wildlife art gallery specialising in BIRDS BIRDscapes for:



x Great contemporary bird art x Wide range of styles, rooted in observation x Over 60 artists, including 20 members of the S WL A x An exciting programme of exhibitions including: Stephen Message Nov 5 to 20 Xmas Exhibition from Nov 26 x Strong environmental commitment x ARTcafé next door All this on the welcoming Bayfield country estate near Cley-next-the-Sea, with the Bayfield Bird Walk leaflet available from BIRDscapes


Birdscapes.indd 1

Original prints

Recent visitor feedback: ‘Stunning as always’ ‘Beautiful gallery’ ‘Wonderful!’ ‘What a treat for the soul’ ‘Brilliant pictures, we’ll take the lot!’ ‘Lovely peaceful gallery’ ‘Simply stunning’ ‘Wow! Just love this gallery’ Unsolicited comments in visitors’ book from a single month.

Lapwings and Fieldfares (detail), Dafila Scott S WL A; Tawny Owl, Paul Harvey; Shore Larks, Robert Gillmor CBE, PP S WL A


19/09/2016 11:35

FIGURATIVE ART TODAY THE COLUMBIA THREADNEEDLE PRIZE 2016 Columbia Threadneedle Investments is pleased to support Mall Galleries and The Columbia Threadneedle Prize, a leading FRPSHWLWLRQIRUƂJXUDWLYHDQGUHSUHVHQWDWLRQDOSDLQWLQJDQG sculpture. Since its establishment in 2008 The Columbia Threadneedle Prize has become recognised as one of the country’s major art prizes and a vibrant and engaging forum for creative talent. As well as supporting new techniques that stretch the potential of young, emerging and established artists, it provides an exciting and varied exhibition for everyone to see. Important information: Columbia Threadneedle Asset Management Limited (TAML) registered in England and Wales, no.3701768, 60 St Mary Axe, London EC3A 8JQ. TAML is authorised and regulated by the Financial Services Authority. Threadneedle Investments is a brand name and both the Threadneedle Investments name and logo are trademarks or registered trademarks of the Threadneedle group of companies. J23187

John Busby Seabird Drawing Course 2017 Enjoy a week long field based drawing & painting course. Learn alongside our team of experienced tutors Darren Woodhead, Greg Poole, Kittie Jones and guest tutor Kim Atkinson. Be inspired by the energetic frenzy of the seabird colonies around the Firth of Forth at the height of the breeding season. We welcome enthusiastic sketchers of all levels.

Painting and photography holidays worldwide: Japan, Morocco, Norway, Cape Town, Namibia & Botswana, Zambia, Malawi, Spain, Islay, Slovenia, Jersey, Papua New Guinea, Italy, Hungary, Cambodia, USA, Galapagos Or join our workshops & short art breaks in the UK

more details from - - 01767 650904 Seabird Drawing

Our inspiring tutors include: Mary-Anne Bartlett, John Threlfall, Jackie Garner, Julia Cassels, Karen Pearson, James Willis, Siân Dudley, Mark Boyd

01394 382235



Profile for Mall Galleries

The Natural Eye 2016  

The Society of Wildlife Artists Annual Exhibition celebrates the natural world in all its guises through drawing, printmaking, painting and...

The Natural Eye 2016  

The Society of Wildlife Artists Annual Exhibition celebrates the natural world in all its guises through drawing, printmaking, painting and...