The Natural Eye 2014

Artist of the Year In association with

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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 www.birdwatch.co.uk

Short-eared Owl 1-4 by Nik Pollard, winner of the 2013 Birdwatch Artist of the Year Award

SWLA THE NATURAL EYE 51st Annual Exhibition

30th October to the 9th November 2014

Harriet Mead Leaf rake boar Found Object Steel

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SWLA President’s Foreword

Welcome to The Natural Eye, the 51st annual exhibition of the Society of Wildlife Artists.

At last year’s 50th anniversary show we were honoured to have Sir David Attenborough as our guest opener. His thought provoking and measured speech captivated the audience as he talked about how our fascination with wildlife starts in childhood, “…that curiosity in the natural world and life is within the heart of all of us. If you lose that you have lost one of the most precious of humanity’s possessions.” He warned of how modern life has removed us from experiencing wildlife but that with that loss “comes increasing awareness of the preciousness of the natural world.” Sir David posed the question “How is that communication, that communion with the natural world maintained”? He concluded by suggesting that it was by “film makers and writers, and the wider art community certainly, but above all by fine artists - sculptors, painters and printmakers - who convey not just the appearance of the natural world but, in some magical way, actually convey something special about life and the natural world.”

Sir David sums up what I believe to be one of the Society of Wildlife Artists’ greatest strengths - the way that we as practising artists take inspiration from the natural world and communicate our enthusiasm to others. This has been recognised by the British Trust for Ornithology, who selected four of our artists to go to Senegal in January to document the wintering grounds of our summer migrants. The BTO’s forward thinking project will provide other opportunities for our members to show the summer breeding grounds here in the UK. The resulting work will be used in a book telling the story of migration and highlighting some of the issues faced by our summer visitors. Some of the work from the Senegal part of the project is on show in the ‘Out of the Frame’ room and the article in this catalogue gives a taste of the expedition and an overview of the project.

The SWLA Friends scheme has been in place for many years, but as we embark on the Society’s next 50 years I hope that we can build on that loyal base of supporters. As a Friend, aside from the many benefits set out on page 9, your subscription will help us to continue to offer bursaries for emerging artists and allow us to forge new collaborations with conservation organisations in the future.

I do hope you enjoy the exhibition and, in the words of Sir David, that you feel it conveys ‘something special about life and the natural world.’

Harriet Mead 3

SWLA Overview

PRESIDENT VICE-PRESIDENTS SECRETARY TREASURER COUNCIL FBA GOVERNOR NEWSLETTER EDITOR

Harriet Mead Robert Gillmor, Bruce Pearson, Keith Shackleton, Andrew Stock Chris Rose Michael Warren Max Angus, Daniel Cole, Robert Greenhalf, Greg Poole, Darren Rees Esther Tyson Darren Rees

ENQUIRIES TO

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

COVER IMAGE

Adam Binder, Little Owl II

SWLA HISTORY

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, please visit: www.swla.co.uk

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Dafila Scott Wildebeest at dusk Oil 5

SWLA Members HONORARY MEMBER Shackleton, Keith

39 Holmead Walk, Poundbury, Dorchester, Dorset DT1 3GE

Akroyd, Carry Angus, Max Atkinson, Kim Barrett, Priscilla Bennett, David Binder, Adam Brown, Diana Burn, Hilary Burton, Philip J K Busby, John Clucas, Fiona Cole, Daniel Dalrymple, Neil Davis, John Derry, Nick Dusen, Barry van Ede, Basil Edwards, Brin Edwards, Victoria Ellis, Carl Eveleigh, John Gemma, Federico Gillmor, Robert Goold, Madeline Greenhalf, Robert Gudgeon, Simon Hampton, Michael Haslen, Andrew Haste, Kendra Hodges, Gary Johnson, Rosalie Koster, David Lockwood, Rachel 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 16 Pearl Street, Starbeck, Harrogate, North Yorkshire HG1 4QW The Calf House, Marston Hill Farm, Meysey Hampton, Cirencester, Glos. GL7 5LG Shannel Ballogie, Aboyne, Aberdeenshire AB34 5DR Huish Cleeve Cottage, Huish Champflower, Taunton, Somerset TA4 2HA High Kelton, Doctors Commons Road, Berkhamsted, Hertfordshire HP4 3DW Easter Haining, Ormiston Hall, Tranent, East Lothian EH35 5NJ 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 19 Tyning Close, Pendeford, Wolverhampton, West Midlands WV9 5QH 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 1 Charolais Crescent, Lightwood, Stoke on Trent, Staffs ST3 4TD 4 Broadfield Road, Folkestone, Kent CT20 2JT 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 13 Sandy Way, Shirley, Croydon, Surrey CR0 8QT College Farm, Preston, St Mary, Suffolk CO10 9NQ 2 Chalk Lane, Epsom, Surrey KT18 7AR 7 Marlborough Mews, London SW2 5TE 18 Clevedon Road, Richmond Bridge, East Twickenham, Middlesex TW1 2HU 23 Harbour Street, Plockton, Ross-shire, Scotland IV52 8TN Pinkfoot Gallery, High Street, Cley-next-the-Sea, Norfolk NR25 7RB End Cottage, 24 Westgate Street, Hilborough, Thetford IP26 5BN

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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 Stock, Andrew Sutton, Barry Sykes, Thelma Threlfall, John Tratt, Richard Turvey, Simon Tyson, Esther Underwood, Matthew Warren, Michael 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, Stirlingshire FK8 3AX 706 Western Drive, Santa Cruz CA 95060 6 Whitelee Cottages, Newtown St. Boswells, Melrose, Roxburghshire TD6 0SH Zum Brook 7, 24238 Bauersdorf White Roses, The Hythe, Reach, Cambridgeshire CB25 0JQ Wyncot, Frog Lane, Cuddington, Aylesbury, Bucks HP18 0AX 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 6 Rathbourne Croft, Nethergreen, Parwich, Ashbourne, Derbyshire DE6 1QH 46 Western Avenue, Barton on Sea, New Milton, Hampshire BH25 7PZ The Laurels, The Green, Winthorpe, Nottinghamshire NG24 2NR 2 Ivory Court, Langriggs, Haddington, East Lothian EH41 4BY Nedier Cottage, Evie, Orkney, Highland KW17 2PJ

ASSOCIATE MEMBERS Johnson, Richard Kokay, Szabolcs Manning, Julia Sinden, Chris Smith, Jane Sweeney, Jason

168 Kendal Way, Cambridge, Cambridgeshire CB4 1LT Facanos Utca, 14-1, Hungary - 1213 2 Rosebank, Queen Street, Keinton Mandeville, Somerset TA11 6EQ 47 Colliers Field, Cinderford, Gloucestershire GL14 2SW Cariel, Kintallen, Tayvallich, Lochgilphead, Argyll PA31 8PR Millhouse, Eyemouth, Berwickshire TD14 5RE

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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 (pg 56) 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.

We are also delighted to announce that the Wildlife Trusts are re-launching their Underwater Art Award. This gives an artist the opportunity to become an open water scuba diver and the chance to create work in response to the marine life off our UK coasts (pg 65).

The BTO/SWLA Artists to Africa Project (pg 28) 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 can go even further.

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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.

ENROLMENT AS A FRIEND OF THE SOCIETY OF WILDLIFE ARTISTS Become a SWLA Friend during this year’s exhibition for £17 which will cover the remainder of this year and 2015. The subscription will increase to £20 from 1st January 2015. In addition we are offering new Friends who enroll at the exhibition the opportunity to buy a signed copy of The Natural Eye, Art Book One for £17 (retail price £20). Please ask for an enrolment form at the front desk if you are at the exhibition.

Outside of the exhibition please visit www.swla.co.uk to download an enrolment form. Alternatively write to us with your name, address, telephone number and email address including a cheque for £20 made payable to ‘The Society of Wildlife Artists’.

The Hon Secretary - Friends, The SWLA, 17 Carlton House Terrace, London SW1Y 5BD

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SWLA GALLERY EVENTS

CHRIS ROSE Thursday 30th October, 11.30am and 2.30pm; an illustrated talk by Chris Rose on his work, inspirations and methodology. He will show how he builds a picture from the first inspiration and field sketches, through compositional drawings to the execution of the final studio work with images of the step-by-step building of the painting. 1 hour. FREE PORTFOLIO DAY Thursday 30th October. Led by Harriet Mead PSWLA alongside Chris Rose and Michael Warren. FREE PRESIDENT’S TOUR Thursday 30th October, 12.30pm. Harriet Mead will give an informal tour of the show. 45 minutes. FREE BTO/SWLA MIGRATION PROJECT Saturday 1st November, 10.30am and 1.30pm; the BTO (British Trust for Ornithology) and SWLA will offer a talk about the Migration Project (pg 28). Dr Phil Atkinson from the BTO will give a little background about the science and techniques that have been used to monitor birds, including the satellite-tagging of migrating cuckoos. Robert Greenhalf, Bruce Pearson, Greg Poole and Esther Tyson, the four artists who visited Senegal in January to look at the wintering areas, will talk about the experience and chat about the work that they have produced.

Approx 2 hrs-discretionary donation. Booking required: Contact Samantha Graham in the BTO Membership Team Tel. 01842-750050 or email membership@bto.org.

DRYPOINT WORKSHOP Sunday 2nd November, 10.30am – 4.30pm; a full day drypoint printing workshop with Bruce Pearson and Greg Poole. An additional materials package is provided and you will be guided through the process of creating drypoint prints by these two expert tutors. £60 (less Friends 10% discount = £54) HARRIET MEAD Thursday 6th November, 3pm; Harriet Mead will give a talk about the Wildlife Trusts’ Diving Bursary and her experiences of learning to dive, drawing underwater and producing the final, found scrap metal sculptures for which she is so well known. 1 hour – FREE

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DARREN REES, PICTURES FROM LIFE Friday 7th November 2.30pm; an illustrated talk by Darren Rees on his work that reflects his many travels to the Arctic, Yellowstone, Ecuador and more. 1 hour. FREE LINOCUT WORKSHOP Sat 8th November, 10.30am - 4.30pm; a full day lino-cutting workshop with Robert Greenhalf and Max Angus. Spend the day learning how to produce linocuts and exploring some of the many different techniques of this form of print-making with two of the SWLA’s finest exponents of the art. NOW FULL MONOPRINTWORKSHOPSun9thNovember,10.30am–4.30pm; a full day monoprinting workshop with Greg Poole and Kim Atkinson. Materials are provided and you will be guided through the process of creating monoprints by these two expert tutors. £50 (less Friends 10% discount = £45) We are very grateful to Intaglio Printmaking for their help in providing the press for the printmaking workshops.

To book a place on the workshops please email Darren Rees darrenreesart@btinternet.com or call him on 01786 870538.

You do not have to be a Friend of the SWLA to attend.

Throughout the exhibition there will be at least one SWLA member artist in the gallery available for advice and to answer questions.

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Andrew Stock Choughs above Gargellen Watercolour and gouache 12

SWLA THE NATURAL EYE 2014 £

Jane Ackroyd

1

Burrowing Owl - desert sand

Steel for bronze

7,800

Carry Akroyd SWLA

2

u/f

Avocets

Serigraph (ed. of 10)

340

225

3

Cuckoo

Serigraph (ed. of 12)

485

325

4

Dunes

Serigraph (ed. of 12)

485

325

5

Granite, Gannet, Annet

Serigraph (ed. of 8)

885

650

6

Kestrel

Serigraph (ed. of 11)

340

225

7

Peregrine

Serigraph (ed. of 10)

340

225

8

Shelduck

Serigraph (ed. of 12)

340

225

9

Trees by the loch

Serigraph (ed. of 8)

885

650

Jim Anderson RE

10

Sargasso

Lino & collograph (ed. of 10)

500

350

Max Angus SWLA

11

Alexanders and the racing Hares - North Norfolk

Linocut (ed. of 45)

325

260

12

Cley shingle bank - Cley, North Norfolk

Linocut (ed. of 45)

310

250

13

Cuckoo and the water meadow - Holt, North Norfolk

Linocut (ed. of 45)

310

250

14

Kim Atkinson SWLA

Sailing against the tide - Burnham Overy Staithe

Linocut (ed. of 45)

350

280

15

Winter dunes - Holme Next The Sea, North Norfolk

Linocut (ed. of 45)

290

240

16

Winter House Sparrows - garden at home

Linocut (ed. of 45)

240

190

17

Woodcock pilots (Goldcrest) - North Norfolk

Linocut (ed. of 45)

250

200

18

)ORRGHG ¿HOGV

Woodcut (ed. of 7)

575

500

19

*ROG¿QFKHV DQG WHOHJUDSK SROHV

Relief print (ed. of 2)

450

20

Gulls and Oystercatches, Porth Neigwl

Gouache & acrylic

680

21

Linnets

Oil

540

22

Sow Thistle Summer

Gouache & acrylic

580

23

Whimbrel bathing

Monoprint

580

24

Whitethroat and St Mark's Flies

Oil

540

13

ยฃ Peter Barker

25

Cob and pen

Oil

2,500

Pippa Barrow

26

Nautilus

Bronze resin (ed. of 12)

800

Nicola Beaumont

27

Just passing through

Reduction lino print (ed. of 18)

320

Susan Berry

28

Otter, smooth water

Watercolour

470

Adam Binder SWLA

29

Fourteen Long-tailed Tits

Bronze (ed. of 9)

18,500

30

Little Owl II

Bronze (ed. of 24)

2,900

31

Sparrowhawk

Bronze (ed. of 12)

4,800

32

Twelve sparrows

Bronze (ed. of 9)

18,500

33

Two Long-tailed Tits

Bronze (ed. of 24)

2,650

34

Two sparrows

Bronze (ed. of 24)

2,700

35

Cranes in strong back light

Watercolour & gouache

480

36

Peace for one moment (3 young Grey Herons in their nest)

Watercolour & gouache

380

Nicolas Borderies

37

Chameau Sauvage de Tartarie

Oil

900

Mark Boyd

38

Stacked

Acrylic collage

330

39

Swimmers

Acrylic collage

300

Philip Burton SWLA

40

Lapwings at Llangwyfan

Acrylic

500

John Busby SWLA

41

Was that a Peregrine?

Oil

3,500

Fiona Clucas SWLA

42

Angels on the Moss, Lords Plain

Mixed

700

43

Caerlaverock Winter I

Mixed

900

44

Caerlaverock Winter II

Mixed

900

45

May, Dallam Bridge

Mixed

500

46

Mist clearing, Lords Plain

Mixed

500

47

Three graces, Lords Plain

Mixed

750

48

Roly poly

Black serpentine stone

1,260

Stefan Bรถnsch

Anine Cockwell-De Jong

14

u/f

150

Antonia Phillips Fulmar flight Monoprint 15

Kim Atkinson Whitethroat and St Mark’s Flies Oil 16

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u/f

John Patrick Coffey

49

Oceanodrome; Leach’s Petrels and Shearwater

Ink & watercolour

450

Daniel Cole SWLA

50

Avocets

Oil

725

51

Long-tailed Tits

Oil

445

52

Redshank and three Starlings - Seahouses

Oil

625

53

Two Crows and approaching shower

Oil

1,700

Simon Conolly

54

Murmuration of Starlings

Stoneware

695

David Cook

55

Emperor Goose

Multi-layered paper cut

600

Rebecca Cotton

56

Bird journey over Uist 1

Chalk & charcoal

800

57

Bird journey over Uist 2

Pastel, chalk & charcoal

800

58

At high water

Oil

395

350

59

High in a heathland Pine

Oil

795

740

60

Moving North (Grey Whales)

Oil

795

740

61

Room for one more?

Oil

395

350

62

South Stack Peregrine

Oil

395

350

63

South Stack, Anglesey

Acrylic

395

350

64

Towards Ellens Tower, Anglesey

Acrylic

395

350

65

Turtle

Oil

795

740

66

&KDIÂżQFKHV 7UHH 6SDUURZV DQG :KLWH :DJWDLO

Acrylic

800

67

Garganey, Snipe and Water Pipit

Acrylic

800

68

Lesser Peckers

Collage & acrylic

700

69

Pagney in Spring

Collage & acrylic

900

70

Spotted Crake

Collage & acrylic

700

71

Summer Curlew Sandpiper

Collage & acrylic

900

72

Tree Scruff (Three-Toed Woodpecker)

Acrylic

1,500

Leo du Feu

73

Coot quarrels

Acrylic

600

Caitlin Eakins

74

Natterjack Toad

Bronze (edition of 25)

650

75

Snail

Bronze (edition of 25)

695

John Davis SWLA

Nick Derry SWLA

17

£ Brin Edwards SWLA

76

Eiders and Sand Martins

Oil

1,150

77

High Summer

Oil

1,350

78

Marsh Tits, Longtails and Teasels

Oil

1,200

79

Oystercatcher Laminaria

Oil

1,150

80

Roe Deer and Willowherb - Cowlin's Wood

Oil

1,400

81

Sandwich Tern and Redshank

Oil

850

82

Springtime hedgerow

Oil

1,250

83

Wylfa Terns

Oil

1,500

Victoria Edwards SWLA

84

Over Lilies

Mixed

650

Carl Ellis SWLA

85

Rudd drawing 1

Wax oil pastel

300

86

Rudd drawing 2

Wax oil pastel

300

87

Rudd drawing 3

Wax oil pastel

300

88

Summer Rudd 1

Oil

450

89

Summer Rudd 2

Oil

450

90

Summer Rudd 3

Oil

450

91

Summer Rudd 9

Oil

450

92

Summer Rudd 12

Oil

450

93

A quiet day at St Abb’s

Watercolour

400

94

A view from the Old Chapel, Bass Rock

Conté & watercolour

400

95

End of season gathering, Marble Cliffs, Trevone

Watercolour & pastel

400

96

Billy Wix

Linocut (ed. of 20)

200

97

(YHQLQJ 7KLVWOH¿QFK

Oil

580

98

Mothhawk

Oil

450

99

Two Rooks in orange

Oil

450

100

Yellowhammers in Hag House hedge

Oil

450

Barbara Foster ARBS

101

Emily Crag

Ciment fondu

2,750

Lucy Garrett

102

Masked Boobies, Ascension Island

Linocut (ed. of 10)

260

Federico Gemma SWLA

103

Blackcap on Pittosporum

Watercolour

530

Nick Elton

John Foker

18

u/f

100

Beatrice von Preussen Female Newt Etching and painting 19

Carl Ellis Rudd drawing 2 Wax oil pastel 20

£ Federico Gemma SWLA

u/f

104

Dunlins at sunset - Orbetello Lagoon, Tuscany

Watercolour

550

105

Dunlins in Wintertime - Orbetello Lagoon, Tuscany

Watercolour

600

106

Flamingos landing, Tarquinia Salt Pans, Latium

Watercolour

420

107

Flycatcher in Olive tree, Tuscany

Watercolour

400

108

Peregrine Falcon perched on an old dead tree

Pencil & charcoal

520

109

Red Foxes sketches

Watercolour

390

110

Whinchat, Giglio Island, Tuscany

Watercolour

600

111

Blackthorn Blackbird

Linocut (ed. of 85)

275

250

112

King Penguins

Linocut (ed. of 22)

285

260

113

Poppycock

Linocut (ed. of 85)

275

250

114

Arctic Terns

Woodcut (ed. of 100)

195

130

115

Avocets and Black-headed Gulls

Woodcut (ed. of 100)

195

130

116

Brents and Lapwings

Woodcut (ed. of 100)

195

130

117

Curlews

Oil

580

118

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Oil

650

119

Flamingos and Pintails

Woodcut (ed. of 100)

195

130

120

High tide

Woodcut (ed. of 100)

195

130

121

Linnets

Woodcut (ed. of 100)

195

130

122

Raven 1

Ceramic

1,400

123

Raven 2

Ceramic

1,400

Michael Hampton

124

Black Swan event

Watercolour

2,000

SWLA CAS

125

Coot under Dogwood, Kent

Watercolour

300

126

Grebe family, Surrey

Watercolour

380

127

Rescued Koala, Adelaide, S. Aus

Watercolour

430

128

Suburban Kookaburra, Adelaide

Watercolour

550

129

Bear

Monoprint on watercolour

400

130

Macaque

Etching (ed. of 3)

250

Robert Gillmor SWLA IEA

Robert Greenhalf SWLA

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Jack Haslam

Andrew Haslen SWLA

131

Halcyon

Linocut & watercolour

275

132

Hare and Rook

Linocut & watercolour (ed. of 40)

600

200

21

£ Andrew Haslen SWLA

u/f

133

Havergate Hare

Linocut & watercolour (ed. of 40)

275

134

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Linocut & watercolour (ed. of 75)

275

135

Three Snipe

Linocut & watercolour (ed. of 40)

395

136

Woodcock in Winter

Linocut & watercolour (ed. of 50)

275

Kendra Haste SWLA

137

Bottlenose Dolphin

Galvanised wire

4,000

John Hatton

138

Gannets

Linocut (ed. of 14)

200

155

139

Green Plover

Linocut (ed. of 10)

200

155

140

Tommy Noddies

Linocut (ed. of 17)

200

155

141

Tufted drakes

Linocut (ed. of 15)

200

155

Paul Hawdon

142

Spider

Etching (ed. of 40)

285

235

Stephen Henderson

143

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Bleached driftwood

795

144

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Quebec pine and driftwood

3,250

145

Commas in the right place

Acrylic & collage

480

146

Dunlin at Titchwell

Oil

680

Chris Hicks

147

Somerset Summer

Block print (ed. of 10)

125

Chris Hindley

148

Courting Grebes

Painted wood

1,600

149

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Painted wood

850

150

Invited guests

Reduction linocut (ed. of 24)

250

200

151

Slavonian Grebe

Hand coloured linocut (ed. of 25)

210

170

152

The hunter

Monotype/collage

450

153

Avocets - Burwell Fen

Watercolour

700

154

Barn Owl - evening meadow

Watercolour

890

155

Garganeys - Burwell Fen

Watercolour

890

156

Glaucous Gull - Milton, Cambridge

Watercolour

450

157

Sleeping Shoveler - Burwell Fen

Watercolour

650

158

Kittiwake colony

Ink & wash

350

Russ Heselden

Lisa Hooper

Richard Johnson ASWLA

Kittie Jones

22

95

Tim Wootton Stack of Eiders Watercolour 23

Richard Tratt Red Admiral and Painted Lady Oil 24

£ Kittie Jones

Faisal Khouja Szabolcs Kókay ASWLA

David Koster SWLA

Jonathan Latimer

Rachel Lockwood SWLA

Melanie Mascarenhas

Emerson Mayes

Harriet Mead PSWLA

159

Morus Bassanus I

Pencil & ink

295

160

Morus Bassanus II

Pencil & ink

295

161

Shags and young

Monotype

550

162

Three Shags, Fast Castle

Mixed

350

163

Water Lilies

Linocut (ed. of 70)

300

u/f

120

164

Brown Sicklebill

Oil

1,450

165

/HVVHU 6DQG 3ORYHU ¿HOG VNHWFK

Watercolour

380

166

0DJQL¿FHQW %LUG RI 3DUDGLVH ¿HOG VNHWFK

Watercolour

380

167

7HUHN 6DQGSLSHU ¿HOG VNHWFK

Watercolour

380

168

Flamingos

Lithograph (ed. of 9)

350

250

169

Peacocks and Peonies

Lithograph (ed. of 5)

350

250

170

/LIH RQ WKH OHGJH 3XI¿QV

Acrylic

750

171

Working the paddies (Goa)

Acrylic

1,450

172

Deep in the forest

Oil

3,000

173

Hunters

Oil

3,400

174

Quiet wood

Oil

3,400

175

'DPVHOÀLHV WKH DQJOH RI UHVW

Charcoal, ink, tea & pastel

450

176

'DPVHOÀLHV WKH GDQFH

Charcoal, ink & tea

410

177

Moving through the orchard

Drypoint & goldleaf (ed. of 12)

475

425

178

:LQWHU *ROG¿QFKHV

Drypoint & goldleaf (ed. of 12)

375

320

179

Chainsaw frog

Found object steel

950

180

Drill tailed squirrel

Found object steel

1,950

181

Leaf rake boar

Found object steel

3,000

182

Rake ribbed Caracal

Found object steel

NFS

183

Sawblade Hare

Found object steel

2,500

184

Scissor Green Woodpecker

Found object steel

1,950

185

Spanner backed Hare

Found object steel

1,500

25

Carry Akroyd Cuckoo Serigraph 26

Andrew Haslen Hare and Rook Linocut and watercolour 27

BTO Studying migration

The arrivals and departures of summer migrants, such as Swallow, House Martin and Cuckoo, hint at the changing seasons and deliver a sense of connection with distant lands. In January 2014, a team of four SWLA artists accompanied the BTO’s Head of International Research on a trip to Senegal.

By bringing artists and scientists together we set out to raise the profile around some of the issues facing our African migrants.

As part of this year’s Natural Eye show we are delighted to be able to present some of the work from this wider project.

The BTO is working to understand why populations of many migrants are in decline. By bringing together studies here in the UK, with fieldwork in Africa and new tracking technologies that follow the birds on their migratory journeys, we hope to provide the answers needed to support conservation efforts to halt these declines. Our use of satellite-tracking has already revealed new information on the routes that our Cuckoos use during migration and identified the sites where they winter and stopover to fuel up before crossing the Sahara. See www.bto.org/cuckoos Migration provides a powerful story for wider engagement with the research needed to identify why summer migrants are being lost. While we tend to think of these summer visitors as ‘our’ birds, most of them are only here for a short part of the year. Our satellite tags have revealed that a male Cuckoo may only spend five or six weeks here each summer, highlighting that we need to look across political boundaries if we are to understand the causes of decline. Much of the BTO’s work on migrants has been funded through the generosity of individuals – we have 1,842 Cuckoo Sponsors, for example – and initiatives like Artists to Africa provide a way of increasing this engagement further.

The 2014 trip to Senegal took the team to a part of West Africa where significant populations of our summer migrants spend the winter. Migrant waders, like Turnstone, Whimbrel and Wood Sandpiper, make use of the tidal wetlands near St. Louis in the north-west of Senegal, while the world-famous Parc National des Oiseaux du Djoudj holds hundreds of thousands, if not millions, of Sand Martin and high numbers of Sedge Warbler, Yellow Wagtail, Garganey and Chiffchaff. How many of our summer migrants return to Britain to breed will be influenced, at least in part, by what happens to the habitats used on these African wintering grounds.

28

BTO Artists to Africa

29

BTO Where art and science meet

Bringing together artists and scientists delivers different perspectives on the same scene. Both artist and scientist question what they see and engage fully with the landscape and birds around them, yet they look with different eyes.

The trip was a learning experience for all those involved.

For Phil Atkinson, the BTO’s Head of International Research, this was an opportunity to see the landscape in a different way; for the four artists, Robert Greenhalf, Bruce Pearson, Greg Poole and Esther Tyson, this was an opportunity to learn the context around what they were seeing and sketching. Why did the landscape look the way that it did? What were the birds doing and how were changes in the habitats here influencing their populations?

While science can provide the all-important evidence upon which conservation decisions and policy can be made, it is our emotional attachment to wildlife that will ultimately drive forward conservation action. Art and science are key players in delivering effective conservation action for migrants and other wildlife.

The artwork from this trip will form part of a book on migration and the issues affecting our declining summer migrants. Alongside the artwork will be a narrative that brings together scientific understanding with more personal stories around the wonder of migration. The book is due to be published in 2016.

30

BTO A generous gift and lasting legacy

The January 2014 trip was made possible because of the generous legacy left by Penny Hollow and the kindness of her executors. Penny, a long-standing BTO member, was a regular at SWLA exhibitions, a great supporter and a lay member of the society. The bringing together of artists and scientists to raise the profile of our African migrants is a fitting tribute to her interests.

During 2015, the BTO and SWLA will be encouraging member artists to document summer migrants on their British breeding grounds. While many of these artists will be working on their local patches, portraying the species they know well, we hope others will take up opportunities to see our birds in other places.

Who will rise to the challenge of chest waders and the opportunity to sketch Reed Warblers and Cuckoos in the nest or to see bird ringers in action at a coastal bird observatory?

We also plan to catch up with some of our Cuckoos when they stop to refuel in Italy.

31

Robert Greenhalf Out of the Frame

I have always enjoyed seeing familiar birds in unfamiliar places and have often wondered about their final destination.

So this for me was a quest for the familiar in the unfamiliar setting of sub-Saharan Africa, the place where many of “our� birds spend most of their lives.

At the Djoudj in the north of Senegal, where we spent several days, I naturally gravitated to the wetland areas. The Grande Lac is a shallow seasonal lake, still massive in January, but usually dry by June. Tens of thousands of Pintails, Shovelers and Whistling ducks were up-ending amongst Flamingos. Ruffs, Black-tailed Godwits, Marsh Sandpipers and Stilts fringed the muddy margins. Sand Martins were also present in huge numbers. On 22nd January the sky seemed full of them, horizon to horizon, there must have been millions.

Mostly though, I worked in the more intimate surroundings of the Lac de Gainth. Much smaller, with its surface covered with water lilies and surrounded by trees, it had a very different character and species. A platform hide provided both an elevated viewpoint and all important shelter from the midday sun. Chiffchaffs and Sedge Warblers fed feverishly in the tamarisks next to the hide, Yellow Wagtails picked insects from the water lilies alongside Jacanas and Squacco and Purple Herons. Waders were attracted to a muddy patch, Black-winged Stilts, Black-tailed Godwits, Ruffs, Green and Common Sandpipers and Redshanks. Above them in the trees sat Cormorants and Darters, Pied Kingfishers and Blue- cheeked Bee-eaters.

32

33

34

Bruce Pearson Out of the Frame

As well as ‘going there’ and a ‘coming back’ every one of the multitudes of millions of migrant birds that ebb and flow with the seasons between European breeding grounds and wintering areas in Africa there also has to be a ‘journey’s end’.

A spiky bush, a thorny thicket, a patch of stony ground, a leafy canopy, a pond, a marsh or a stream - or whatever corner of habitat each bird needs to feed and survive. Trying to capture something of the life of migrant birds, and the essential elements in the landscape where they end their journeys was my focus for two weeks in Senegal last February.

Offshore and among the coastal scrub, brittle savannah, flowing marshes, hard agricultural landscapes and drylands of the Sahel were some graphic connections birds make between landscapes, places and cultures. On the coast I watched European Storm-petrels streaming over the water as a seething mass of boats and people gathered along the shore as the day’s catch was traded in the evening light, the vista shrouded in columns of familiar terns from Europe and local species all stirred together by marauding Pomarine Skuas.

Buried in every thorn bush was a Phylloscopus warbler with a local prinia or weaver alongside. Northern Wheatears flitted from boulders and dung piles snatching insects from the ground between Cream-coloured and Temminck’s Coursers in the fierce sunlight their movements only betrayed by their rippling shadows over the ground. The entire experience was an inspirational juxtaposition of species, places, light and colour.

35

Greg Poole Out of the Frame

The warblers were skulking...but because they moved more slowly they weren’t too difficult to watch. Chiffchaffs that would have been quick flicking around the willows in spring over here were much slower... leaner looking.

Phil told us that Whitethroats might have just one acacia bush as their winter home... that would be their territory and they might even return to that same bush in successive years. So you had the sense of the European population of Whitethroats spread out, one to a bush across this belt of Sahel which crosses the continent.

On the plain three stand out charismatic species, the Chestnut-bellied Sandgrouse and the two spp. of courser.

Variants on sandy coloration... from the orange sand as freshly dug by ants to the bleached straw of the grass... umber dung... raised patches of ground make very low conical mound blown clean to plaster... same colour as the breast of the sandgrouse... around the scapular spotting is the loden dung colour... with the spots themselves fine spun gold... think the leading (lower edge of the folded wing was the same colour...) so as if seeing through the bird to the soil below.

Constant stream of Sand Martins and then waves of Yellow Wagtails pouring west into orange sky, dry ground gives off warm glow, silhouettes of acacias... their leaves folded changing their character... filigree’d, closing shop to the intense sun. Crowned Cranes calling loudly ...

36

37

38

Esther Tyson Out of the Frame

We landed in Brussels with a jolt and the flight to Dakar was turbulent! But we arrived in just over 6 hours with a long queue through immigration.

Very dark and handsome people, straight forward “TYSON?” It’s good to be back in Africa!

We are back at the lake in Djoudj and I’ve set up under a small scrubby acacia to glean what shade I can. The sun is already high and it’s hot! It is peaceful sitting, waiting, as I mix the colours and take in my surroundings, the wind whips up little sand squalls then quietens. I already paint with sand and I’ve already eaten far too much sand!

There’s movement to my left, a Jackal! It’s lame in its back right leg and watches me as it passes – I’ve seen Jackals before but this is more, wolf? He’s captivating.

I get back to the task at hand, Wheatear, I’ve spent a lot of time watching these guys in the back fields behind the old cottage at Pencilmaren (South Wales) and it’s pretty good seeing them in their winter grounds. She moves back and fore catching insects, standing atop poo, an old brick, a dead branch, foraging again. A moment in the shade of a tree, a dust bath and more foraging. Superb! A pair of Little Bee-eaters swap places on the dead branch, they flit and return over a half-hour period and move over to the trees edging the lake.

39

John Busby Was that a Peregrine?

Oil 40

Darren Rees Hoopoe, light study Watercolour 41

£ Harriet Mead PSWLA

186

Tack hammer deer

Found object steel

795

Stephen Message

187

Bewick's Swans

Oil

1,600

Denise Mitchell

188

Kookaburra

Watercolour

550

Jill Moger SWLA SWA RMS

189

Caiman Lizard

Stoneware

1,400

190

3KLOLSSLQH 6DLO¿Q /L]DUG

Stoneware

1,200

191

Tuatara

Stoneware

1,000

192

Uromastyx

Stoneware

1,100

193

In tangle

Acrylic

1,850

194

Sanderling

Acrylic

1,850

195

Great Bustards

Pastel

700

196

November Starlings

Watercolour

700

197

White Pelicans

Oil

1,500

198

Flight of Manta Rays

Bronze (ed. of 8)

4,750

199

Grey Seals

Bronze (ed. of 18)

2,750

Dawn Painter

200

Roesel's Bush Crickets

Watercolour, pen & pencil

300

David Parry SWLA

201

Bengal Tiger

Pencil

1,200

202

Frog

Pencil

300

203

One big yawn

Watercolour

2,600

204

Spring Hare

Pencil

440

205

Woodcock

Pencil

350

206

Barn Owl - full moon

Oil

2,750

207

Godwit, Dunlin and Shelduck

Oil

395

208

Hare and two Partridges

Oil

750

209

Hare in Autumn

Oil

1,500

210

Long-eared Owls

Etching (ed. of 50)

120

211

Otter emerging

Bronze (ed. of 12)

1,250

212

Oystercatchers and Herring Gull

Oil

395

William Neill SWLA

John Paige SWLA

Nicolas Pain

Peter Partington SWLA

42

u/f

95

Kittie Jones Shags and young Monotype 43

Brin Edwards Wylfa Terns Oil 44

£

u/f

Peter Partington SWLA

213

Resting Lapwing

Oil

1,950

Bruce Pearson SWLA

214

$ ÀXUU\ RI 6QRZ 3HWUHOV

Watercolour & mixed

3,750

215

Antarctic Minke Whale and Wilson's Storm Petrels

Watercolour

425

216

Breaching Humpback, Southern Ocean

Watercolour

425

217

Fin Whale and seabirds, Southern Ocean

Watercolour

425

218

Killer Whales and Wilson's Storm Petrels, Antarctica

Watercolour

425

219

Senegal shoreline

Relief print (ed. of 24)

450

375

220

Through the reeds

Relief print (ed. of 24)

475

395

221

Wintering migrants, West Africa

Watercolour & mixed

3,750

222

At low tide

Monoprint

195

223

Flock by land and sea

Monoprint

195

224

)XOPDU ÀLJKW

Monoprint

385

225

Oystercatcher only

Monoprint

275

226

Standing birds, running tide

Monoprint

385

227

Suncliff and cove

Monoprint

195

228

The glider

Monoprint

385

229

To the coast again

Monoprint

375

230

5HGVKDQN ¿HOG GUDZLQJ

Mixed

450

231

Short-eared Owl 1

Monotype

500

232

Short-eared Owl 2

Monotype

500

233

Short-eared Owl 3

Monotype

550

234

Short-eared Owl 4

Monotype

500

235

Black-headed Gull and waves

Woodcut (ed. of 30)

320

220

236

Heron and reeds

Woodcut (ed. of 30)

320

220

237

Senegal - Wheatear, Sandgrouse and Sand Martins

Acrylic

750

238

Senegal 2

Mixed

850

239

Senegal 3

Mixed

850

240

Senegal 4

Mixed

850

241

Senegal 5

Mixed

850

242

Teal and Little Egret

Mixed

750

Antonia Phillips SWLA

Nik Pollard SWLA

Greg Poole SWLA

45

ÂŁ Kit Price Moss

John Reaney SWLA

243

Kittiwake and chick I

Charcoal

325

244

Kittiwake and chick II

Charcoal

325

u/f

245

Down the lane

Watercolour

525

246

Not quite Autumn

Watercolour

525

247

Winter Buzzard

Watercolour

550

248

Burgerbukta colony

Acrylic

650

249

Ceibas, Bromeliads and Parakeets

Watercolour

550

250

Feeding time, Riding Mountain

Watercolour

550

251

Hoopoe, light study

Watercolour

375

252

Pipit and Cottongrass

Oil

650

253

Rothiemurchus Pines and Red Squirrel

Watercolour

550

254

Short-eared Owl, Genovesa

Watercolour

375

255

Winter Magpie

Acrylic

650

Chris Rose SWLA

256

Redshank

Oil

8,000

Kenneth Sachar

257

Elephant 2

Soapstone

2,490

'DÂżOD 6FRWW 6:/$

258

Barnacle Geese, Winter afternoon

Pastel

720

259

Bewick's and Whooper Swans feeding on winter wheat

Pastel

720

260

Crimson-breasted Shrike, Kalahari

Pastel

320

261

Eland in the dry dusty Kalahari at midday

Pastel

720

262

Heron and two Egrets resting at high tide

Oil

820

263

Pair of Bat-eared Foxes foraging at sundown

Pastel

525

264

6WDUOLQJV LQ WKH JDUGHQ ÀHHWLQJ YLVLW ODWH 6XPPHU

Pastel

720

265

Wildebeest at dusk

Oil

940

266

Disturbance

Linocut (ed. of 25)

240

205

267

Goldeneye in the Straits (Sogne)

Linocut (ed. of 25)

220

195

268

*ROGÂżQFKHV

Linocut (ed. of 19)

295

260

269

Great Spotted Woodpecker

Linocut (ed. of 22)

295

260

270

Nesting on the edge

Linocut (ed. of 21)

310

275

271

Winter Heron

Linocut (ed. of 30)

295

260

Darren Rees SWLA

Chris Sinden ASWLA

46

Matt Underwood Moving on Woodblock 47

Barry Sutton The Bushmans’s clock Ceramic 48

ÂŁ Andrew Stock PPSWLA RE

272

Choughs above Gargellen

Watercolour & gouache

2,200

Barry Sutton SWLA

273

Athene

Ceramic

1,595

274

Rhinoceros Unicornus

Ceramic

1,695

275

The Bushman's clock

Ceramic

1,490

276

The silent watcher

Ceramic

3,960

277

Troglodyte IV

Ceramic

360

278

Troglodyte V

Ceramic

360

279

Troglodyte VI

Ceramic

460

Michael Taylor

280

‘Spy-hopping' Minke Whale

Ceramic & stone

385

Jennifer Tetlow

281

Pine Marten

Yorkstone

3,000

282

Pollywogs (tadpoles)

Polyphant (Cornish soapstone)

1,400

Richard Thewlis

283

Gannets at Bass Rock

Watercolour

1,950

John Threlfall SWLA

284

Big voice

Oil

1,200

285

Downstream

Pastel

780

286

Guillemots

Pastel

580

287

Razorbill

Pastel

880

288

Shoreline Martins

Mixed

440

289

Summer wetland

Pastel

680

290

Tide out

Pastel

540

291

Whoopers

Pastel

740

292

Common Blues, male and female

Oil

395

293

Gatekeepers

Oil

360

294

Green-veined Whites

Oil

395

295

Marbled White and Common Blues

Oil

695

296

Red Admiral and Painted Lady

Oil

345

297

Summer visitor, The Clouded Yellow

Oil

695

298

The Dark Green Fritillary

Oil

560

299

The nectar site, Tortoiseshell

Oil

420

Richard Tratt SWLA

u/f

49

£

u/f

Alessandro Troisi

300

Finland Ospreys sketchbook

Pencil

1,000

Simon Turvey SWLA

301

Bearded Tits

Watercolour

485

302

Brown Hare

Watercolour

985

303

*ROG¿QFKHV

Oil

595

304

Great Spotted Woodpecker

Oil

785

305

Grey Wagtail

Oil

895

306

Red Fox

Watercolour

895

307

Wildcat

Watercolour

485

308

Wren and Bluebells

Oil

1,235

309

House Sparrow, dust bath

Oil

600

310

House Sparrow, dust bath 2

Oil

600

311

House Sparrow, dust bath 3

Oil

600

312

House Sparrow, dust bath 4

Oil

600

313

House Sparrow, dust bath 5

Oil

600

314

House Sparrow, dust bath 6

Oil

600

315

Manor Farm, bailer

Oil

1,500

316

Manor Farm, cow shed

Oil

1,500

317

Amelia's garden

Woodblock print (ed. of 60)

180

120

318

Harvest sparrows

Woodblock print (ed. of 60)

180

120

319

Ivy Wren

Woodblock print (ed. of 60)

180

120

320

Magnolia

Woodblock print (ed. of 30)

280

230

321

Moving on

Woodblock print (ed. of 30)

380

330

322

Sleepy Tawny Owl

Woodblock print (ed. of 60)

180

120

323

Spring Woodcock

Woodblock print (ed. of 30)

350

300

Jilly Vainer

324

Winter slumber (Dormouse)

Bronze (ed. of 10)

750

Barry van Dusen SWLA

325

American Tree Sparrows

Watercolour

450

326

.LQJ¿VKHU DW )UHQFK %URRN

Watercolour

375

327

Pine Grosbeaks and Bittersweet

Watercolour

450

328

Tennessee Warbler and apple blossoms

Watercolour

450

Esther Tyson SWLA

Matt Underwood SWLA

50

John Paige White Pelicans Oil 51

Szabolcs K贸kay Brown Sicklebill Oil 52

£

u/f

Katrina van Grouw

329

Pegwell Bay, Kent - recollection of March 4th 2011

Drawings as digital print (ed. of 100)

550

400

Cyril Vickers

330

Old brown eyes

Etching/aquatint (ed. of 10)

395

350

Beatrice von Preussen

331

Female Newt

Etching & painting

210

Michael Warren SWLA

332

Firecrest

Watercolour

875

333

+DZ¿QFKHV

Watercolour

1,250

334

Northern Parula

Watercolour

525

335

Pallas's Warbler

Watercolour

525

336

5HG ÀDQNHG %OXHWDLO

Watercolour

525

337

Siberian Stonechat

Watercolour

475

338

Woodcock

Watercolour

975

339

Boar

Ceramic (ed. of 8)

2,200

340

Dromedary

Bronze (ed. of 8)

9,800

Toby Wiggins

341

Pigmy Shrew - Sorex Minutus

Oil

450

Loz Wilson

342

Aardvark

Clay oxides

350

343

Grazing

Charcoal & pencil

500

344

Plovers three

Acrylic

400

345

Rubblenest at Funton

Acrylic

900

346

The potterer

Acrylic

400

Ben Woodhams

347

Bass Rock

Watercolour

900

SWLA Bursary Winner

348

Four studies of a Heron, Nexo

Watercolour

200

349

Guillemots at St Abb’s Head

Watercolour & Indian ink

600

350

Shadows moving over a still male Peregrine, about every half hour. Vang

Watercolour

350

351

Shadows moving over a still male Peregrine, about every hour. Vang

Watercolour

350

352

Walking around The Bass, through a storm. The Gannets like X-Wing Fighters around the Death Star

Watercolour

900

Hauspeter Widrig

Mike Woodcock

53

ÂŁ Darren Woodhead SWLA

Tim Wootton SWLA

353

Blackcap in Blackthorn blossom

Watercolour

NFS

354

Early morning Lapwing

Watercolour

4,295

355

Male Stonechat studies

Watercolour

1,350

356

5HĂ€HFWLRQ RI :LJHRQ SDLU

Watercolour

1,850

357

Wheatear studies

Watercolour

1,350

358

A string of Fulmar

Charcoal

795

359

Light in the dark: Waxwings

Oil

650

360

One day on Papa Westray

Charcoal

950

361

Stack of Eiders

Watercolour

835

u/f

ANF/SWLA Young Artist Award Established in 1990 Artists for Nature Foundation (ANF) is a unique organisation that uses the creative output of artists producing paintings, drawings, prints and sculptures, inspired and mostly created on location by renowned and talented artists from all over the world as a medium to draw attention to the need for nature to be appreciated as an essential element of sustainable development.

We are very happy to give the 2014 ANF/SWLA Young Artist Award this year to Nick Derry. Nick will be invited to our next ANF project and he will receive two of our project books of his choice.

Ysbrand Brouwers Founder/Director ANF

54

Nick Derry Pagney in Spring Collage and acrylic (Detail) 55

SWLA Bursary Seabird Drawing Course working in the field

56

SWLA Bursary John Busby’s Seabird Drawing Course

The ‘Seabird Drawing Week’ began after I retired from teaching at Edinburgh Art College in 1989.

Artist friends, mostly members of SWLA or ex Edinburgh students were the first to come and draw from the exciting colonies of Auks, Kittiwakes and Gannets to be seen close-up on the cliffs and islands in the Forth.

Our first courses were based at Carberry Tower near Musselburgh, a Church of Scotland centre for group courses. It was more of a journey from there to North Berwick for a boat, but we also managed to include Edinburgh Zoo, lochs in the Queen’s park, and a visit to The Burrell in Glasgow to see an exhibition of Joseph Crawhall’s paintings. Moving to Blenheim House Hotel in North Berwick gave us closer access to islands and estuaries and warm hospitality provided there by Ailsa.

The Bass rock is privately owned and we are greatly indebted to Sir Hugh Dalrymple for allowing us to land and draw there. In early days the Gannet population was smaller than it is today. The top of the Bass was grass covered and lighthouse keepers kept the paths to the fort and beyond clear. Now with lights automatic and no keepers, the gannets have spread everywhere with hardly space for an artist to sit down. Constant activity and noise sets all the artistic pulses racing, and over the years many of today’s wildlife artists have joined in the week.

Of all the Seabird Drawing participants only one fell into the sea on landing, fortunately it was a warm day and he managed to dry himself and laugh it off. We ‘lost’ another member who went down the cliffs to search for a missing camera case. When Fred Marr’s boat arrived half full to pick us up, his absence was not noticed. I rushed back to the harbour after someone said “Where’s Martin?”. He had thumbed a lift from a passing fishing boat and was walking back to the hotel. Luckily he saw the funny side too. The funniest moment I remember was when David Measures, about to eat his sandwiches, said- “Oh good, they have put an olive in mine”. He took a big bite. The ‘olive’ was a slug!

The course needed keen tutors from the start and I am so grateful to Greg Poole, Darren Woodhead, John Threlfall, Janet Melrose , Anna Kirk-Smith, David Measures, & all who taught & demonstrated their ‘ways’, and especially to Mark Boyd, who has taken over the organising.

I am more than happy to see that this is our 25th Anniversary! John Busby 2014

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SWLA Bursary John Busby’s Seabird Drawing Course

Tutoring on John Busby’s Seabird Drawing Course is more like camaraderie than teaching. We’re all out there doing the same thing with our diverse approaches. We all share the thrill of being out on the cliffs or shore at the height of the seabird breeding season. Soaked in ozone, we also share the challenge of how to get anything down on paper that might represent the barrage of sensory input. There is some kind of charging of the batteries that comes from working alongside others in all weathers in such great landscape. Greg Poole 2014 The Seabird Drawing Course is quite simply one of the best weeks of my year. The energy and the enthusiasm and the focus of this like-minded group of artists is infectious and inspiring. In addition the locations that we visit are wild, exciting and spectacular. This is an opportunity to indulge our passion for working direct from nature to the full. John Threlfall 2014 Right from the word go there is the usual buzz: a clamour of suppressed anticipation, of new experiences for the new attendees, or the ‘what will this year be like’ for those who have been before. The Islands and the coast of the Firth of Forth are enchanting, exhilarating and challenging (their subjects more so!) but most of all rewarding. Nothing can replace the high of mark-making: capturing a light, an energy, a happening and the memory of that experience. There is always trepidation about having to show work in the evening but this is what really creates that swirl of energy, ideas and possibilities. Add to that, with the perils and challenges of so many of our seabirds so finely balanced, any recognition that we can give to our ever-so precious seabirds and their habitat is critically important.

I see the course as an encouragement to those who are passionate about working outside/direct from the natural world, and who could possibly go on to be exhibitors at the SWLA and maybe future members eventually. As there is nothing like this anywhere else and with colleges often struggling to encourage artists to work from such intense first hand experiences, this is an amazing opportunity to start encouraging artists to work in this way. Darren Woodhead 2014 2015 Seabird Drawing Course 27th June to 4th July. For more information and to book a place on the course please contact Mark Boyd mark.boyd@zen.co.uk 01767 650904

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SWLA Bursary Seabird Drawing Course working in the field

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Kevin Jones Bursary Award 2013

When I saw the Seabird Drawing Course bursary on the SWLA website I never thought I would win it. I had been sketching for about 2 years and when I first started they weren’t very good.

Through perseverance I felt I had improved but my confidence was still lacking. My hope therefore was to overcome this by working in a group of fellow artists.

When the course started I felt straight away that this would help my confidence. Being outside in a group allowed me to let go of any inhibitions and reservations that I have when I’m sketching alone and encouraged me to work in a very different way. Up until the course I had always worked in an A4 sketch book. But here I was working on A2 paper clipped to a board and using much larger brushes. I was able to experiment in this way as everyone worked so differently, all with their own personal style so I felt much more relaxed and could try something new and really test myself. I tried a technique of drawing with the brush where you paint directly on to the paper without any previous pencil drawing for structure. It was very difficult but I really enjoyed it and liked the results it produced.

Studies of Guillemots from the Seabird Drawing Course

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I am very grateful to the SWLA for giving me such a great opportunity and enabling me to experience something I could only otherwise have dreamed of. Without the bursary I wouldn’t have been able to visit the Bass rock or meet the wonderful people who also attended the course. It has enabled me to visit some of the best places in the world for observing seabirds and has helped me develop confidence and new techniques. All of which will help me work directly from life in the field in the future.

The birds were so close together on the cliffs at St Abb’s Head that whenever they moved it would start a noisy discussion with their neighbours.

As the wind got up I managed to find a sheltered spot on the Bass rock and sketch these 3 Gannets nesting.

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Walking around The Bass, through a storm. The Gannets like X-Wing Fighters around the Death Star Watercolour

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Ben Woodhams Bursary Award 2013

Making the application for SWLA’s Seabird Bursary was, in a sense, easy - I was desperate to spend time with other artists and see how they worked. I live on Bornholm, an island in the Baltic, where there are very few people who seem to share my twin passions of birds and art, and I jumped at the chance.

On the first day I couldn’t understand why everyone was getting so worried about the weather, and whether or not we would get to visit Bass Rock. Surely it couldn’t be that good? It was, and then some. I will never forget my time on the Bass - deafening noise, an unholy stench, a stinging wind, and gannets as far as the eye could see. St Abbs head was almost its equal, a dizzying collection of cliffs and stacks sprinkled with a maelstrom of seabirds, an overwhelming cacophony.

We were lucky-ish with the weather, and whenever it did rain, it was incredibly fortifying to look around and see other people huddled under their umbrellas - if there is one lesson that I have learned from this course, it is that the best, most exciting work is often that produced when you are being most challenged by the environment.

Six exciting and unforgettable days - looking, drawing, painting and discussing. All of the tutors were incredibly approachable and supportive, and the other course participants were no less inspirational and encouraging.

The SWLA bursary meant that I could relax and enjoy myself and get as much out of the course as possible, and I am very grateful for that.

Shadows moving over a still male Peregrine Watercolour

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Visitors’ Choice Winner 2013 Harriet Mead ‘Hammer Horned Giraffe’

The Society of Wildlife Artists 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 Award The Langford Press Award

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The Langford Press Field Sketches Award The Hawk and Owl Trust’s Roger Clarke Award PJC Drawing Award Birdscapes Award RSPB Wildlife Explorers Wild Art Award

SWLA Bursary Award Winners 2006 WINNERS Stephanie Black Helen Bullard Hannah Seward (WWT Wetlands for Life)

2009 WINNER Christopher Wallbank

2007 WINNERS Martin Aveling Helen Bullard Gareth Williams

2011 WINNER Meg Buick

2008 WINNERS Jethro Brice Kate Joanne Aughey Li Lian Kolster

2010 WINNER David Lowther

2012 WINNER Gina Ellis 2013 WINNERS Ben Woodhams Kevin Jones www.intaglioprintmaker.com email info@in intaglioprintmaker.com 9 Playhouse Court | 62 Southwark Bridge Road | London SE1 0AT Tel: 0207 928 2633 Fax: 0207 928 2711

SWLA Undersea Art Award 2015

We are very grateful to Intaglio Printmaking for their help in providing the press for the printmaking workshops

The Wildlife Trusts and SWLA are thrilled to launch the Undersea Art Award 2015. First established in 2007 this bursary is a fantastic opportunity for an established artist to learn to dive. Open to any artist with a passion for nature who wants to find out more about the astonishingly varied submerged landscapes and amazing wildlife around UK shores. The successful applicant will have a selection of their resulting work shown at next year’s exhibition and their experiences and art will be used to publicise the plight of our marine habitats and the need for protected areas at sea. Our seas are suffering from overfishing, exploitation for resources and damage to natural habitats. The Wildlife Trusts are working hard to secure areas at sea where wildlife and habitats are protected from damaging activity – protecting key areas is vital to the future health of our seas, their ecosystems and wildlife. For info about the Undersea Art Award see www.wildlifetrusts.org or www.swla.co.uk

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‘Out of the Frame’ in last year’s show featured a series of sketches by Michael Warren recording observations at the RSPB Langford Lowfields reserve in Nottinghamshire. The last 15 years of these sketches are now available in a book Taking Flight. see: www.mascotmedia.co.uk or the Mall Galleries bookshop

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Creative Conservation Practical Research Imaginative Education Working Hard for Wild Birds of Prey and Their Habitats - Join Us

Hawk and Owl Trust, PO Box 400, Bishops Lydeard, Taunton TA4 3WH T: 0844 984 2824 | W: hawkandowl.org/join | E: membership@hawkandowl.org /hawkandowltrust |

@hawkandowluk

Photo | Andy Thompson

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The BIRDscapes Gallery BIRDscapes, the UK’s specialist bird art gallery

John Threlfall S WL A

Paintings

November 15th to 30th

Wild Birds and Wild Places Great contemporary bird art Wide range of styles, rooted in observation Over 60 artists, including 20 members of the S WL A

Original prints

An exciting programme of exhibitions Strong environmental commitment ARTcafĂŠ next door

All on the welcoming Bayfield country estate, with the Bayfield Bird Walk leaflet available from BIRDscapes

Sculptures

Open daily 11am to 5pm The BIRDscapes Gallery, Manor Farm Barns, Glandford, Nr Holt Norfolk. NR25 7JP 01263 741742 68 art@birdscapes.co.uk

Meandering, John Threlfall S WL A; Stonechat and Alexanders (detail), Stuart Medland; Blackthorn Blackbird, Robert Gillmor S WL A; Hoopoe Jug, Phil Arthur

Jill Moger

rePtiLe to reef

REPTILE TO REEF - Ceramic Sculpture - Jill Moger ISBN 978-1-904078-64-7 Published by the Langford Press Price ÂŁ38 Available from Mall Galleries Bookshop, sales@langford-press.co.uk and jill_moger@hotmail.com Jill Moger will be signing copies of her book at Mall Galleries during the SWLA exhibition on the following days:Wednesday 29th October 1pm to 3pm Thursday 30th October 12pm to 2pm Friday 31st October 10am to 12 noon

CERAMIC SCULPTURE WAS 36

Norfolk & Beyond Peter Wileman PPROI RSMA FRSA 26 Oct – 9 November 2104

6SFIVX +MPPQSV´W 2SVJSPO &MVH 7OIXGLIW † SVMKMREP EVX[SVO JSV WEPI JVSQ 4MROJSSX +EPPIV] † ;I EVI E TYFPMWLMRK GSQTER] HIHMGEXIH XS QEOMRK FIEYXMJYP FSSOW JSV FSSO PSZIVW

[[[ VIHLEVITYFPMWLMRK GS YO VZOD DG LQGG

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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: wildlifetrusts.org

Schoolchildren on a day out with Cornwall Wildlife Trust

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FIGURATIVE ART TODAY The Threadneedle Prize 2014

The Threadneedle Foundation is pleased to support Mall Galleries and The Threadneedle Prize, a leading competition for figurative and representational painting and sculpture.

Since its establishment in 2008 The 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.

threadneedle.com/foundation | threadneedleprize.com Bed Head - Tina Jenkins Winner - Threadneedle Prize 2014

Important information: 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. threadneedle.com T4230

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Image courtesy Kate Simpson

Wildlife Artist of the Year 2015 Nine categories to suit all artistic styles and mediums

Endangered, 3D, Wild World, Portraits, Original Prints, Contemporary, Monochrome, Silver Artist and Young & Wild Expert judges include David Shepherd, fellow artists, conservationists and art critics.

W0I,N 00y0!

ÂŁ1Enter Toda

Entry from now until 13 February 2015

NEW for 2015 win a feature in magazine For full details and rules please see www.davidshepherd.org or call 01483 272323

The David Shepherd Wildlife Foundation is a UK registered charity (1106893) working to save critically endangered mammals in the wild.

David Shepherd Wildlife Foundation, Saba House, 7 Kings Road, Shalford, Guildford, Surrey GU4 8JU UK. Tel: 01483 272323 Email: dswf@davidshepherd.org

Call for entries: www.davidshepherd.org

Enter the David Shepherd Wildlife Foundation’s annual ART COMPETITION - help save wildlife

The Natural Eye ART BOOK ONE

Hardback, 128 Pages, Full Colour, ÂŁ20 A stunning book produced by the members of the Society of Wildlife Artists Available from www.swla.co.uk