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Artist of the Year In association with

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.

Jack Snipe by Nick Derry, winner of the 2017 Birdwatch Artist of the Year award.

Visit us online at

SWLA THE NATURAL EYE 55th Annual Exhibition

The Natural Eye exhibition 2018 sponsored by Terravesta, pioneers of sustainable energy from miscanthus. 25th October to the 4th of November 2018

Harriet Mead PSWLA Sawblade Raven Welded found objects 2

SWLA President’s Foreword

Welcome to The Natural Eye, the 55th annual exhibition of the Society of Wildlife Artists. It seems hard to believe but this is my 9th year as President of the Society. When I was elected as an Associate in 2000 little did I realise how important this community of artists would become to me. It is often a lonely life being an artist, and whilst many of us relish the solitude it is always energising to catch up with other makers and creators especially those motivated by their love of the natural world. The Seabird Drawing Course held in south-east Scotland is a great example of how the company of other creatives can energise and inspire. We are fortunate to be able to provide bursaries for emerging artists to be part of this exceptional experience. This year we had funds to help five artists and the resulting work is on display in the North Gallery. Much of the funding comes from our original artwork draw at the British Birdwatching Fair in August. The A5 originals are donated by our members and I just want to thank them all again for their generosity. It’s always a delight to display the ‘postcards’ en masse and see the extraordinary range of approaches and subjects from the artists. The SWLA membership is particularly widespread with artists from Cornwall to the Orkneys and everywhere in between, as well as several from overseas. The range of work from non-members is equally widespread and exciting and the selection committee was very heartened to see new names and talents among this year’s submissions. Even if I don’t get the chance to meet up with everyone, seeing their work on show here is inspiring proof of their creativity and skills at bringing their own love of nature to life on the walls. I hope that you get as much pleasure from seeing it as I do.

Harriet Mead President


SWLA Overview


Harriet Mead


Bruce Pearson


Robert Gillmor, Andrew Stock


Brin Edwards


Max Angus


Richard Allen, John Foker, Kittie Jones, John Threlfall


Nik Pollard


Darren Rees


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


Greg Poole, Leopard & Carmine Bee-eater (Woodcut) detail


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: 4

Brin Edwards SWLA Gray Tremblers and green coconuts Oil 5

HONORARY Members Paige, John

The Manor House, Kings Cliffe, Peterborough, Northamptonshire PE8 6XB

SWLA Members Akroyd, Carry Allen, Richard Angus, Max Atkinson, Kim Barrett, Priscilla Bennett, David Binder, Adam Burton, Philip J K Clucas, Fiona Cole, Daniel Dalrymple, Neil Davis, John Derry, Nick Dusen, Barry van 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 Jones, Kittie Kokay, Szabolcs Lockwood, Rachel Mackman, Nick Manning, Julia


4 Luddington in the Brook, Oundle, East Northamptonshire PE8 5QU 34 Parkwood Avenue, Wivenhoe, Essex CO7 9AN 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 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 1c rue de l’Escale, 25000, Besancon FRANCE c/o New East Frew, Thornhill, Stirling FK8 3QX 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 27/9 St Leonards St, Edinburgh EH8 9QN Facanos Utca, 14-1, Hungary - 1213 Pinkfoot Gallery, High Street, Cley-next-the-Sea, Norfolk NR25 7RB St Ediths, Bratton Clovelly, Devon EX20 4JW 2 Rosebank, Queen Street, Keinton Mandeville, Somerset TA11 6EQ

Mead, Harriet Michel, Sally Moger, Jill Neill, William 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 Sykes, Thelma Threlfall, John Tratt, Richard Turvey, Simon Tyson, Esther Underwood, Matthew Wallbank, Christopher Warren, Michael Woodhams, Ben Woodhead, Darren Wootton, Tim

The Nunnery, Brandon Road, Hilborough, Thetford, Norfolk IP26 5BW 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 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 Blue Neb Studios, 18 Newcroft, Saughall, Chester, Cheshire CH1 6EL The Baron’s Craig, Rockcliffe, Dalbeattie, Kirkcudbrightshire DG5 4QF 10 Sharpley Close, Fordingbridge, Hampshire SP6 1LG 2 York Rise, Orpington, Kent BR6 8PR Unit 2c Via Gellia Mills, Bonsall, Derbyshire DE4 2AJ 8 The Grove, Lincoln LN2 1RG Plasnewydd, Carno, Caersws, Powys SY17 5JR 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 Brodde, Marco Griffiths, Simon Hatton, John Jarvis, Richard Prickett, Bill Sweeney, Jason

Tvaervej 1, 6720, Fano, Denmark 28 Church Street, Castleside, Co Durham DH8 9QW Fossbank, Tatham Fells, nr Lancaster LA2 8PS 1 Arden Way, Market Harborough, Leicestershire LE16 7DB The Winches, Newnham Lane, Newnham, Kent ME9 0LH Millhouse, Eyemouth, Berwickshire TD14 5RE


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 BTO/SWLA Flight Lines Project, the DKM/SWLA Turkish Sweetgum Project and the DWT/SWLA Kingcombe residency are recent collaborations that show 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



End of a day Bass Rock 10

Field work Drawing and painting on Bass Rock

An SWLA Bursary John Busby Seabird Drawing Course

With the help and support of our Friends Scheme along with funds raised through our annual Original Artwork Draw at the Birdfair over in Rutland Water, the SWLA continues to offer bursaries and opportunities for young and emerging artists. One of the current bursaries we offer is places on The John Busby Seabird Drawing Course (dedicated to the memory of John Busby, a founder member of the SWLA). This year the drawing course was led by SWLA artists Kittie Jones, Greg Poole and course leader Darren Woodhead with guest tutor Esther Tyson and is a marvellous way of mentoring artists during an intensive course of field working. These bursary winners have the opportunity to visit the course’s main sites such as the Bass Rock which is a teeming mass of Gannets, along with plenty of Puffins, Razorbills, Guillemots, Shags and gulls which make this a noisy and smelly spectacle. As on all islands, landing is weather dependent. Dunbar has an easily accessible Kittiwake colony on red sandstone fort. With its compact nature this harbour site is often the first trip. Tyninghame estuary has tidal pools, roosting waders and Eiders and fishing Gannets along with extraordinary geology make this site a favourite with some artists. The wild flower meadow includes Pyramidal Orchids and butterflies. Aberlady Bay has wading birds, wild flowers and butterflies making it a varied site and tide dependent. How good it is for birds depends on the tides and a telescope is very useful for all artists. Fidra is a low RSPB reserve island, with gulls, Shags and Puffins, passing through the gull colony can be quite hazardous! St Abb’s Head has spectacular vertiginous folded cliffs, with nesting auks and Kittiwakes. The slopes and meadows behind hold butterflies including Graylings and the local speciality of Northern Brown Argus. Wildflowers can be good here, and on occasion you can see Stoats scale the cliffs. It is a favourite site for many people. Tantallon Castle is a historic castle overlooking Bass Rock, with Kittiwake colony on the cliffs and on North Berwick beach there are usually Eiders and Oystercatchers on the rocks, and auks offshore. Finally the Scottish Seabird Centre is a tourist attraction that includes remote live viewing cameras on the seabird islands (good to be aware of these when needing to pop to the plein air loo). ‘I have had the privilege of being involved in the John Busby Seabird Drawing week since 2012 when it changed the direction of my work - opening my eyes to new possibilities and putting me in contact with an international group of like minded people. I am now lucky enough to be on the tutor team and I watch with interest each year as the students go through the week experiencing the challenges and triumphs of working outdoors. This year we had five diverse artists join us as part of the SWLA Bursary scheme, each on a different creative journey. The following pages outline some of their experiences of the week’. Kittie Jones 2018


Lorna Hamilton Bursary winner 2018

‘John Busby in Drawing Birds said ‘To copy from nature without resolving our own thoughts is a barren process’. I copied from nature for many years and when I applied for the John Busby bursary, I had stopped painting altogether and had pretty much given up on my art. I knew the barrenness John had spoken off and it was not a nice place to be. I was desperately looking for an answer because nature and art were something I had once loved. I came to the course expectant to receive the answer I needed and I was not disappointed. I was greeted with a warm, friendly atmosphere and a group of tutors and students willing to share, encourage and inspire. I couldn’t help but be affected by the infectious enthusiasm and passion for wildlife and painting outdoors. This sparked in me a new desire to draw and paint nature, not solely focusing on a finished painting but learning to enjoy and embrace the process of seeing, understanding and mark making. I feel I have still much to learn but the course has helped me see that this process is full of rich experiences with much value and rewards. The process of learning to see was a revelation to me. Although I’ve painted for over twenty years, being in the field presented me with challenges and difficulties that working from photographs in a comfortable studio did not. The amazing thing about this course was that I started having totally lost my way in my art but left with enthusiasm, motivation, excitement, a longing to learn more and a burning desire to work in the open air. It has given me direction and purpose and for that I am so grateful. Thank you for the opportunity to be part of the wonderful legacy of John Busby!’ Lorna Hamilton 2018 The Bass lighthouse Gannets and cliffs Graphite 12

Gulls in flight St Abb’s Head Graphite

Gull studies Fidra Watercolour 13

Large swell, Guillemots and Kittiwakes St Abb’s Head Pencil, ink wash & soft pastel 14

Emily Ingrey-Counter Bursary winner 2018

‘One of the highlights for me was getting to know other artists and sharing our experiences at the end of each day. Naturally I discovered that in the emotional highs and lows of any given day I was certainly not alone. Although the prospect of sharing our work with the whole group was daunting, I found the feedback surprisingly encouraging. Another highlight of the week was visiting the Bass Rock. The weather, winds and swells were in the right alignment as both groups were able to get access to the Gannet colony for a whole day. A huge privilege. It was noisy, smelly, dirty and quite fantastic! I felt like I had landed on another planet, with 150,000 inhabitants tolerating our presence. Due to the wind, the birds were constantly in flight around us hovering, landing and taking off. We drew with intensity and focus for about seven hours. Amazing! The following day the swells were too strong to land on the island so we sketched from the boat for an hour - this was a great way to develop fast sketches, but challenging in terms of motion sickness! The informal tutor guidance throughout the week was really helpful. I was reminded of some key elements that had been creeping out of my drawings - “keep a breathing space in your picture”, “what excites you about your chosen subject matter?” and “think about keeping the energy in your work”. Through many discussions with the tutors and artists on the course I was encouraged to value what I do, something that’s easy to lose sight of. I am really grateful to the SWLA for making this week possible. I hope the things I have learned will continue to echo through my work. It was such a privilege to meet so many people on this unique journey of making art inspired by our natural world.’ Emily Ingrey-Counter 2018

Busy crowd of nesting Gannets Bass Rock, Pastel Bass Rock lighthouse from the boat Bass Rock, Charcoal 15

Helen Kennedy Bursary winner 2018

‘I had come to the course with little seabird knowledge but great enthusiasm to learn. Both the tutors and my fellow course members were generous, not only with their extensive knowledge but also with lifts to the various locations we were to draw in. Equipment was freely shared. Never having used binoculars or scopes whilst drawing before this was particularly useful. I was able to draw on the wealth of experience around me. It was interesting to see the different approaches and working methods: what to take on long days field sketching; and how to work comfortably and efficiently in a range of weather conditions. The evening meal at the end of the day was a good time to share experiences, highs and lows. Seeing other people’s work was a joy. When I began the week I knew I wanted to understand more about seabirds. I hadn’t anticipated how entranced I would be. The grace of the Kittiwakes at Dunbar harbour, the charm of the Guillemots and Razorbills at St Abb’s Head, the challenge of the gulls on Fidra. I shall be forever grateful for the opportunity to draw gannets on Bass Rock - the most visceral, astounding and beautiful place. I have never looked so intently or for so long at birds before. It was at times difficult and demanding. The tutors were always there with energy and enthusiasm and not a little kindness and patience. I could not have asked to share the experience with a more lovely group of people. I benefited greatly from their support and expertise. Coming away I felt a bit dazed. The week had been very intense. Looking through the work I produced I have a great sense of being at the beginning, so much to explore and learn. It is an uplifting thought.’ Helen Kennedy 2018 Kittiwakes Dunbar harbour Pencil and pencil crayon 16

Body of Lesser Black-backed Gull Fidra Pencil

Sky gazing Gannet The Bass Charcoal & gouache 17

Gannets Bass Rock Pastel 18

Liz Myhill Bursary winner 2018

‘The biggest challenge during the week would be attempting to capture the essence of a moving, living creature in an interesting way and to understand its form and anatomy. And that is not to mention being overwhelmed by some of the surroundings we were working in and the challenges they presented - such as a very windy, Gannet-infested Bass Rock where one of my drawings blew into the colony and, although thankfully retrieved, came back full of peck holes! The week definitely was not without its struggles as I grappled with trying to balance good draughtsmanship and accuracy of form with interesting mark-making and the sheer feeling of being overwhelmed by wanting to try so much in such a short time. It felt really important to try and take some time just to appreciate and absorb the feeling of place. Each day brought fresh new discoveries and ideas. The tutors’ wide range of approaches led to a fantastic balance in the feedback and different chats we had, each coming from a slightly different angle. They were all so generous, knowledgable and full of enthusiasm. The various drawing exercises we undertook really resonated and pushed me to try new ways of working. By the end of the week I think everyone felt they had achieved some kind of breakthrough, I certainly had several moments of sudden clarity about my practice. The week itself was amazing - stunning locations, great company, new challenges, but what I like best is the fact it doesn’t stop at the end of the week. There are new things I have learnt, things I want to try and a whole new group of like-minded people who I’m sure I’ll be in touch with for many years to come.’ Liz Myhill 2018 Gull chicks Fidra, Watercolour Guillemot Stacks St Abbs, Pastel 19

Adele Pound Bursary winner 2018

‘Fieldwork has always been important in my work, however before the course I was aware I had become stuck and lost abilities that I once had. Fieldwork calls for a specific set of skills: accessing and identifying birds, the logistics of deciding what kit to take, use of optics and strategies to deal with weather conditions. These were beyond the scope of my conventional fine art education. As a result I had rarely met artists who use fieldwork in their practice and had essentially invented this for myself, working largely in isolation since graduating with inevitable limitations in what I could achieve. The course really opened my eyes to what is possible in the field. The tutors and the other participants demonstrated to me throughout how much more ambitious I might be. I saw materials used that I would never have imagined taking into the field. I discovered I was able to cope with weather conditions I would not have attempted to work in if left to my own devices. The supportiveness, warmth and enthusiasm of the group helped me to engage with and enjoy the challenges. I was surprised by what I was able to achieve by the end of the week and by how much my thinking had changed. The tutors were inspiring. Each brought different aspects and personalities and their passion and enthusiasm was always apparent. It was obvious that their overriding concern was for everyone to get as much as possible from the week. Despite the large size of the group, they were sensitive to the struggles of each individual. Several times I received just the advice I needed to help me progress, whether it was to try a different approach or to persevere with a drawing I had given up on. There was genuine delight whenever someone had a breakthrough.’ Adele Pound 2018 Guillemots St Abb’s, Pastel Razorbills St Abb’s, Charcoal 20

Gannets from the boat The Bass Ink 21

Dafila Scott SWLA Stranded ice and Killer Whales Oil 22

Kittie Jones SWLA Cliff ledges, Isle of May Ink & pastel 23

Richard Tratt SWLA SBA The long hot Summer Oil 24

Simon Turvey SWLA Suffolk Hare Oil 25

Matt Underwood SWLA Swifts I Woodblock print (ed. of 30) 26

Robert Greenhalf SWLA Barn Owl Oil 27


Nick Bibby Ptarmigan Bronze (ed. of 15) 29

John Foker SWLA Moorhen at Spixworth Oil 30

Daniel Cole SWLA Whinchat Oil 31

John Hatton ASWLA The Lapwing field Woodcut (ed. of 8) 32

Andrew Stock PPSWLA RE Hobby and Willow Etching & aquatint (ed. of 40) 33

Carry Akroyd SWLA Winter Wicken Serigraph (ed. of 10) 34

Andrew Haslen SWLA Painted Lady Oil 35


Adam Binder SWLA Frog in a pod Bronze (ed. of 18) 37

Alastair Proud SWLA The old rivals - Raven and Peregrine Oil 38

Tim Wootton SWLA Razorlight Oil 39

John Threlfall SWLA Seeking shade Pastel 40

Nik Pollard SWLA Emperor Dragonfly, drawing 7 Mixed media 41

Peter Partington SWLA Backwater Heron Oil 42

Federico Gemma SWLA Spoonbills, Orbetello Lagoon, Tuscany Watercolour 43

Bruce Pearson VPSWLA Polar Bear Drypoint & carborundum (ed. of 6) 44

Julia Manning SWLA RE Dale of Walls (Shetland) Woodcut (ed. of 13) 45

Darren Woodhead SWLA Small Copper Butterflies and passing Stoat Watercolour 46

Barry van Dusen SWLA Merlin in Spring Oak Watercolour 47

Esther Tyson SWLA Reindeer study Oil 48

Robert Gillmor PPSWLA The Bewicks are back Linocut (ed. of 24) 49

Inspired by Spires Jill Moger

I was first inspired to make a ceramic sea chimney whilst watching a video of a manned submersible dive down to a volcanic rift valley in the Pacific ocean. Massive and multiple spires of solidified lava hove into view - strange, mystical shapes culminating in pinnacles and chimneys with multiple stacks up to tens of metres high. They looked sculptural - the unique and strange life forms teeming all over the surfaces were so beautiful that I felt the urge to try and recreate a version of it. I found many references to hydrothermal vents online, plus a few books on the subject and set about learning as much as I could. The life on and around a hydrothermal vent is fascinating and largely unique. The scientists who discovered them in the late 1970s had not expected to find life two miles deep in total darkness with extreme pressure and temperatures of around 750F. How does life thrive there without photosynthesis? With chemosynthesis. Mineral rich fluids erupt out of cracks in the earth’s crust and react chemically with the seawater. These chemicals feed the billions of microbes which in turn feed the populations of higher animals. Sometimes the chemicals symbiotically maintain creatures, as with the striking and unique red-plumed Giant Tube Worms (Riftia). The microbes within the worms survive by converting the chemicals and minerals (importantly, hydrogen sulphide) into sugars which in turn feeds the worms. Vent Snails, Brachyuran Crabs, Yellow Mussels and clams graze on the microbial film on the vent surfaces. Squat Lobsters, Yeti Crabs (yes, they are hairy!), Zoarcid Fish and octopuses scavenge and prey on each other. Most of the life here is white or colourless - why expend energy on colour production in total darkness?

Building The base Fitting an upper section 50

Making Tube Worms Middle section Vent life

Hydrothermal vent Working upwards (Right)


Hydrothermal vent life Zoarcid Fish 52

Pompeii Worm Squat Lobster

Bisque fired base Top tiers glazed Yeti Crabs

In the making

It took several months to work out the best way to make my ceramic sea chimney. It needed to look tall but be small enough that I could easily reach the top with a step ladder. I prefer to make life-sized sculpture so I aimed for a height of six to seven feet – perhaps a young eruption with young life. I knew that a multitude of four to five foot long red-plumed Giant Tube Worms would not work and neither would Giant Clams the size of dinner plates! It was not going to be possible to make my chimney in one piece, not only because of the modest size of my kiln, but also because of the vagaries and unpredictability of clay. Unless the structure is an even thickness throughout, large clay forms can warp, slump, crack and always shrink during the long firing processes. These possibilities need to be allowed for. Following several scribbled sketches, I settled on making the main shape in a number of parts that fitted together in a kind of three-dimensional jigsaw. The basic clay needed to be rough, strong and thermal shockresistant. This created another problem because different clays shrink at different rates. The rougher clays only shrink about 6%, whilst the white stoneware and porcelain that I use for fine work shrinks by 16%. This meant that the finely made life forms, when attached to the basic chimney, would fall out in the firing! I was going to have to do some careful mixing of clays to achieve a more even shrinkage between them.

Jill applying enamel colours 53

All in the detail

The chimney is made of ten pieces – three at the base, two in the second layer and three upper storeys. The subsidiary chimney has two parts and sits neatly at the base. Each piece was separately made by building up the walls with internal supports and the life forms were added along the way. Tube Worms, mussels and shrimps were all made in small batches so that I could place them en masse on each piece of chimney to achieve some balance and harmony. The more singular species such as fish, octopus and crabs, I placed on or amongst them as appropriate. The exact positioning of animals evolved as I worked. I placed thick polythene between the sections of chimney wherever they touched in order to be able to take them apart easily when ready for the first of four firings. Each was coloured and glazed using the same palette, with lustres added where useful for example the shrimps have the illusion of looking slightly transparent. After all the firings the fitting back together of such a comparatively large ceramic structure had its difficulties, but with a little chipping, filing and some internal reinforcements, all was well. I hope you enjoy looking at it. Jill Moger 2018

Hydrothermal vent detail - Octopus, Vent Snails, Anemones, Zoarcid Fish 54

Hydrothermal vent life Clam, Blind Shrimp, Spider Crab, Tube Worms, Pompeii Worm, Yeti Crab, Starfish, Limpets, Mussels 55

Chris Wallbank - The Urban Black Kites of Delhi Artist in residence, India

In the winter of 2017 I travelled to North India on a residency organised by the Royal Drawing School and International Institute of Fine Arts (IIFA) in Modinagar, Uttar Pradesh. As part of this residency I spent ten days in December documenting the urban Black Kites of Delhi. My aim was to observe how this medium-sized bird of prey has adapted to an urban environment and witness the stories of the people who live alongside it. The Black Kites were common in the skies above Delhi - a rare constant in a city of contrasts. Searching for Black Kites to draw would, in one instance, lead me into the commotion of Old Delhi’s traffic swamped streets where they circled and jostled for space overhead. Another time I found myself in a tranquil city garden, watching them float over the crumbling ruins of mogul tombs, crossing flight paths with huge fruit bats in the dusk sky. Travelling to the sprawling concrete of Ghazipur, where Black Kites congregate in their high thousands around the sector’s vast markets and slaughterhouses, led me to the furthest extremes of the capital. Here, children and teenagers work to salvage what they can from the same piles the Black Kites scavenge. They would often inspect the progress of my paintings, suggesting improvements for the sky or where to add more ‘cheel’ - the local name for a Black Kite, derived from the sound of its mewing call. Above Ghazipur’s markets loomed a landfill site that had grown into a two-hundred foot high hill, cutting an imposing landmark on the skyline. The Black Kites, just distant specks, powdered off its peaks and ridges in a way that evoked memories of seabird islands in summer. The site’s summit was like another planet, swamped in a cloud of noxious smog and dust, Black Kites drifting silently in the oxygen-less soup. Returning to roost Lodi Gardens Black kites Over the summit of Ghazipur rubbish dump 56

Chris on the summit Ghazipur rubbish dump 57

Black kites being fed outside Jama Masjid Old Delhi 58

In Delhi a sketchbook and pencil are useful for eliciting conversation from inquisitive passers-by. For this reason my favourite place to work in the capital was around the great mosque Jama Masjid, in the heart of Old Delhi. Members of the community here shared my joy in watching the Kites and maintained the tradition of feeding them, one man I spoke to described it as his, “way of giving back to God”. A Delhi family giving back in a big way are two brothers; Nadeem Shehzad, Mohammed Saud and their cousin Salik Rehman. I visited the family’s three-room apartment from where they also run a rescue centre for the Black Kites. Being the guardians of these birds is no mean feat - Delhi’s Black Kite population is in conflict with a completely different kind of kite, the popular paper kites flown competitively all over the city. The low-flying, slow manoeuvring Black Kite has a problem with avoiding the paper variety. When they collide, the razor sharp string especially designed for competitive kite flying slices the Black Kites wings. Initially Nadeem and Saud struggled to find vets who could treat the resulting injuries, so they began to teach themselves. They have since completed hundreds of wing operations independently, unwittingly becoming authorities on the procedure. I visited the brothers in what they called the slow season and watched Saud operate until ten at night. Nadeem showed me their rooftop aviary housing seventy two injured birds; this was nothing, he told me, compared to the peak competitive kite flying season when it will house three hundred recovering Black Kites at any given moment ‘we never get time for sleep’.

Saud operating Black-eared Kite with severed bicep Recovering kites, vultures and stork Rescue centre 59

Ben Woodhams - KYST My home island of Bornholm

KYST (‘coast’) is the name of a project I have been working on in 2018 on the Danish island of Bornholm, in the Baltic Sea - my home for the last ten years. KYST takes the form of a series of 52 consecutive walking tours following Bornholm’s coastline, one for each week of the year, with each walk no more than two or three kilometres. Each week I start the walk from the same spot where I finished the week before. The concluding walk in the last week of the year (Friday, December the 28th) will take me right back to where I started on Friday the 5th of January – the pier arms of Rønne harbour, Bornholm’s point of entry and exit. Each walk begins at dawn and ends at dusk. During each journey I move slowly – clockwise – along the coastline and observe and record my experiences as I go with the aim of making some sort of physical record of my journey on that particular day, on that particular stretch of the coastline. Everything is completed on the day, in the field, between the sunrise and sunset, and everything I produce is part of the project - also the disasters and disappointments, of which there have been many. During the course of the journey, I have passed through rocky, deserted shores, sandy tourist-filled beaches, small fishing villages, and built-up areas and industrial fishing harbours. On some of the journeys I have been completely alone, on others surrounded by people. In midsummer I was out for over 18 hours, in midwinter less than seven. So far I have been out in freezing snow storms, baking summer heat and torrential rain.

KYST 09.01 Vang Harbour, painting with near boiling water KYST Eider studies, Tejn harbour 60

Ben Woodhams Hasle Harbour 61

KYST 29.08 Walking to Vige harbour 62

KYST is a journey through time and space, a voyage of discovery and exploration, with Bornholm as a gigantic clock face, sundial or calendar. Each walk is a story of a day, of the changing weather patterns and tidal flows and the rising and setting of the sun. By physically moving through the landscape I move through periods of geological time, in some places passing through millions of years with just a few steps. The arrival and departure of migratory birds, the flowering and wilting of vegetation, even the coming of the tourist hordes, all tell a story of my journey through the year and around the island. I am fascinated by the process of observation and the way in which the physical act of looking – really looking – creates a deep physiological connection between ourselves and our environment. I am equally fascinated by how we respond creatively to this process of observation, and the relationship between the objective physical act of observation and the subjective act of interpretation. And I am deeply fascinated by how this process unfolds within the natural environment and the passing of time and space. While birds have been the focus of my efforts, I am equally fascinated by changes in the sea and sky through the day, and the landscape itself. I’ve been painting lots of ‘slice paintings’ where I split up a sheet of paper into different timed segments, and I’ve also experimented with letting elements of the day itself (the wind, the frost, the rain, the traces of birds and insects…) somehow decide the course of the drawing. On the KYST day itself, I upload some images on my Instagram account and on returning I collate the images and write a blog of the day on my website, including a GPS map of my route. Next year, I will be producing a book and touring an exhibition of the KYST project. KYST 29.09 Vigehavn, Traces of screaming swifts KYST 09.12 Pissebække KYST 09.10 Vang Harbour 63


SWLA THE NATURAL EYE 55th Annual Exhibition

Catalogue list of works 2018

Opposite: Ben Woodhams KYST 19.02 Stammershalle, timed slice painting



Carry Akroyd SWLA Fox on the prowl Collage £1,250


Lapwings & Goldies Oil £950


Salthouse II Wood engraving (ed. of 50) £155 (£110 u/f)


/RD¿QJ3XI¿QV Oil £950


Salthouse Snow Buntings Linocut (ed. of 45) £320 (£250 u/f)


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


Salthouse Wigeon Linocut (ed. of 45) £350 (£280 u/f)



Oil £400


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


Garden Wren Serigraph (ed. of 8) £240 (£175 u/f)


Mute pair Serigraph (ed. of 10) £240 (£175 u/f)


Swans on the river Collage £1,250


Windhover Serigraph (ed. of 8) £240 (£175 u/f)


Winter Thrushes heading home Serigraph (ed. of 8) £885 (£750 u/f)


Winter Wicken Serigraph (ed. of 10) £885 (£750 u/f)


Wood Pigeons Serigraph (ed. of 7) £240 (£175 u/f)


%XOO¿QFKHV Linocut (ed. of 45) £245 (£190 u/f)



Red Admirals Linocut (ed. of 45) £245 (£190 u/f)

2UDQJXWDQ³2OGPDQRIWKHZRRGV´ Bronze (ed. of 12) £75,250


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


Resting with Oystercatcher Linocut (ed. of 45, 5 available) £200 (£155 u/f)

Ptarmigan Bronze (ed. of 15) £9,750

+DZ¿QFKHV Linocut (ed. of 50) £125 (£95 u/f)







Richard Allen SWLA Autumn Goldeneye Oil £300


Laura Andrew Tit trio Oil £950 Max Angus SWLA $OOWKHUHDOPVRIQDWXUHPLQH Linocut (ed. of 45) £320 (£250 u/f)

Salthouse I Wood engraving (ed. of 50) £155 (£110 u/f)






Malcolm Ausden Cold Spring, Burwell Fen Digital iPad image (ed. of 10) £250 (£150 u/f) Vanna Bartlett Helophilus Pendulus Linocut (ed. of 10) £200 (£150 u/f) Marbled White Linocut (ed. of 10) £200 (£150 u/f) Nick Bibby Humpback Whale Bronze (ed. of 15) £18,950

Anne Bignall 7KHIRUHVWLQ6SULQJ Oil £450

Adam Binder SWLA Frog in a pod Bronze (ed. of 18) £4,500


*UHDW:KLWH(JUHWV 5XII the Wadden Sea Watercolour & charcoal £500


.LQJ¿VKHU Bronze (ed. of 24) £2,250



3XI¿Q Bronze (ed. of 12) £3,500

Lapwings & Winter marsh, the Wadden Sea Watercolour & charcoal £500


Two Sparrows Bronze (ed. of 24) £3,600







Louise Bird Bumblebees on Knapweed Mezzotint collagraph & stencil (ed. of 60) £200 (£165 u/f) Stefan Boensch Black-headed Gulls chasing a Red Kite Pastel £400





Grey Seals in strong wind Mixed media £900


Nicola Bramley Avocets Silkscreen (ed. of 3) £270 (£190 u/f)


Marco Brodde ASWLA Cormorants in the Summer heat, the Wadden Sea Watercolour & charcoal £500

Seals & Oystercatchers, the Wadden Sea Watercolour, charcoal & ink £500


Shags Oil £400


Spotted Flycatcher Oil £400


Turnstones Oil £400


Whinchat Oil £400

The colony, the Wadden Sea Watercolour & charcoal £500


Winter Swans, the Wadden Sea Watercolour £500


Anine Cockwell-De Jong Pangolin ‘Inquisitive’ Brown alabaster £1,600


Daniel Cole SWLA *UHHQ¿QFKHV Oil £400

Nick Day Bass Rock Gannets - June 2018 Pastel & pencil £280 Gannets at Bass Rock Pastel & pencil £280 Nick Derry SWLA Dotterels Acrylic £800


+DZ¿QFKHV Oil £400

Fulmars Acrylic £800



Mistle Thrush Oil £400

Sandwich Terns displaying Acrylic £700



Redshanks Oil £400




John Dobbs NEAC $IULFDQ/LRQ Oil £600



Hippo and Yellow-billed Stork Oil £2,500



Resting Wild Dog Oil £1,800



Running Dogs Oil £1,200



Wild Dog pack Oil £3,300



Sara Dudman 68 Fulmars and Gannets  %HPSWRQ&OLIIV  Oil £1,500 69





Barry van Dusen SWLA Late Summer Sanderlings Watercolour £475 Long-tailed Tits, Glen Artney Watercolour £500 Merganser on the Quinapoxet Watercolour £425 Merlin in Spring oak Watercolour £425


Siblings - young Canada Geese Watercolour £285 Morag Eaton %HUZLFNXSRQ7ZHHGURRIWRSV Paper-plate relief print (ed. of 25) £220 (£175 u/f) Brin Edwards SWLA Brown Boobies Oil £1,950


Nick Elton 84 Brunnich’s Guillemots $ONHIMHOOHWRQWKHWK-XO\ Watercolour £450 85

Curlew evening light Oil £895


Gray Tremblers and green coconuts Oil £1,750


Grey Plover Oil £750


Red Squirrel Oil £650


St Ives Turnstones Oil £650


St Lucia Hummers and Bananaquit Oil £1,850


Wagtail stream Oil £650

Victoria Edwards SWLA The hideout, Hermann’s Tortoise Graphite £850


Leo du Feu 6HDELUGFOLIIV,VOHRI0D\ Watercolour £650 6XPPHUVXQ,VOHRI0D\ Ink & watercolour £550 Jenny Finch Snail Oil £240 John Foker SWLA Barnacles on the Solway Oil £740


Moorhen at Spixworth Oil £460


Shelduck dunes Oil £790







Wren Linocut (ed. of 45) £220 (£170 u/f) Federico Gemma SWLA *ROG¿QFKHVRQWKLVWOH Watercolour £580


Herons, Flamingos and Gulls, Orbetello Lagoon, Tuscany Watercolour £1,000


Red Fox and puddle Watercolour £1,000


Spoonbills, Orbetello Lagoon, Tuscany Watercolour £1,000



Tengmalm’s Owl, Finland Watercolour £950 Water Rail, Burano Lake, Tuscany Watercolour £620

100 :LQWHUPDOH&KDI¿QFK Watercolour £425 101 Wren on rock Watercolour £600 Robert Gillmor PPSWLA 102 The Bewicks are back Linocut (ed. of 24) £475

Madeline Goold SWLA 103 %XWWHUÀ\FRUDO English alabaster £2,250

114 Shelducks and Godwits Woodcut (ed. of 100) £210 (£140 u/f)

104 Endangered species: Coral study Woodcut (ed. of 1) £450

6LPRQ*ULI¿WKV$6:/$ 115 Little Owl pair +LJK¿UHGFHUDPLF £820

105 Kittiwake Limestone £1,950

116 Magpie 1 +LJK¿UHGFHUDPLF £480

106 7ZRELUGV¿JKWLQJRYHUD¿VK Woodcut (ed. of 1) £500

117 Magpie 2 +LJK¿UHGFHUDPLF £480

Robert Greenhalf SWLA 107 Barn Owl Oil £520

118 Roe buck Bronze (ed. of 24) £3,600

108 Bewick’s Swans & Lapwings Woodcut (ed. of 100) £210 (£140 u/f) 109 Ebbing tide Oil £500 110 +DZ¿QFKHV Woodcut (ed. of 100) £210 (£140 u/f) 111 Heron and Shelducks Oil £520 112 Lapwings, evening Oil £500 113 2\VWHUFDWFKHUVÀ\LQJLQ Oil £520

119 Roe doe Bronze (ed. of 24) £3,600 Michelle Hall 120 Shore crab Bronze (ed. of 50) £1,200 Paul Hartley 121 Siskin, Wareham Forest, Dorset Oil £400 122 Water Pipit, the island, St Ives Oil £350 Andrew Haslen SWLA 123 Brooding Avocet Linocut (ed. of 75) £225 (£195 u/f)


Andrew Haslen SWLA 124 )LHOGIDUH Linocut (ed. of 75) £225 (£195 u/f)

Christopher Hicks 135 Autumn - Wryneck Block print (ed. of 7) £150 (£120 u/f)

145 &OLIIVZLWKQHVWLQJ*XLOOHPRWV and large swell, St Abb’s Head Ink wash & soft pastel £395

125 +DUH )LHOGIDUHV Linocut & watercolour (ed. of 40) £600

136 Turnstone at Bembridge Block print (ed. of 5) £175 (£145 u/f)

146 .HHSLQJZDWFK,VOHRI0D\ Soft pastel £275

126 Hiding Hare Linocut (ed. of 75) £225 (£195 u/f)

Lisa Hooper 137 Black-throated Diver, Assynt Collagraph (ed. of 20) £350 (£300 u/f)

147 6KDJVWXG\,VOHRI0D\ Charcoal pencil £275

127 Hollyhocks & Tortoiseshell Linocut (ed. of 75) £225 (£195 u/f) 128 Lesser Spotted Woodpecker Linocut (ed. of 75) £225 (£195 u/f) 129 Painted Lady Oil £600 130 Resting Hare Linocut (ed. of 75) £225 (£195 u/f) John Hatton ASWLA 131 3DWWHUQVRI$YRFHWV Linocut (ed. of 12) £350 (£310 u/f) 132 7KH/DSZLQJ¿HOG Woodcut (ed. of 8) £460 (£420 u/f) 133 9LVLWRUVIURPWKH1RUWK Linocut (ed. of 12) £325 (£285 u/f) Vickie Heaney 134 Kep Petrel party Linocut (ed. of 40) £200 (£95 u/f)


138 Eiders, Cumbrae Reduction woodcut (ed. of 20) £360 (£300 u/f) Nye Hughes 139 &OLIIIDFHZLWK.LWWLZDNHV St Abb’s Head Watercolour £520 140 Kittiwake Gully, St Abb’s Head Watercolour £350 141 .LWWLZDNHV,VOHRI0D\ Watercolour £420 142 1HVWLQJ6KDJSDLU,VOHRI0D\ Watercolour £480 143 1HVWLQJ6KDJ,VOHRI0D\ Watercolour £550 Emily Ingrey-Counter 144 &OLIIVDQGURFNVZLWK*XLOOHPRWV and Kittiwakes, St Abb’s Head Mixed media £245

148 St Abb’s Head and crashing waves with Kittiwakes and Guillemots Ink wash & soft pastel £245 149 Two Shags and Herring Gull, ,VOHRI0D\ Ink wash & soft pastel £595 Ken Januski 150 American Robin in Crabapple Japanese woodblock (ed. of 40) £250 151 American Woodcock at Magee Marsh Japanese woodblock (ed. of 20) £275 152 Yellow-billed Cuckoo with worm Japanese woodblock (ed. of 20) £225 Richard Jarvis ASWLA 153 Curlew calling Linoprint & watercolour (ed. of 20) £165 (£140 u/f)

154 Green Woodpecker and Bee Orchids Linoprint & watercolour (ed. of 20) £165 (£140 u/f)

Kittie Jones SWLA 164 &OLIIOHGJHV,VOHRI0D\ Ink & pastel £875

Rachel Lockwood SWLA 174 Deer under cover Oil £1,750

155 Rust and Rustica Linoprint & watercolour (ed. of 20) £125 (£95 u/f)

165 Dunbar Kittiwakes Charcoal, pastel & graphite £895

175 Foxes search blue wood Oil £1,795

156 Spotted Flycatcher Linoprint & watercolour (ed. of 20) £125 (£95 u/f)

166 Feeding Curlew Monotype £750

176 Pigeons in a nook Oil £1,750

157 Whitethroat and Foxgloves Linoprint & watercolour (ed. of 20) £125 (£95 u/f)

167 Gannet colony, Bass Rock Charcoal, pastel & graphite £895

177 Twins in the nest Oil £1,295

Richard Johnson SWLA 158 Avocet brooding young - Titchwell Watercolour £850

168 *UH\VHDOV,VOHRI0D\ Charcoal, pastel & graphite £895

Nick Mackman SWLA 178 µ7KDW&KULVWPDV'D\IHHOLQJ¶ Hyena Ceramic £2,250

159 Curlew coming to bathe - Cley Watercolour £1,200 160 )LHOGIDUH&DPEULGJH Watercolour £550 161 Hobby - Burwell Fen Watercolour £995 162 Juvenile Common Terns Burwell Fen Watercolour £695 163 Male Peregrine - Cherry Hinton Chalk Pits Watercolour £995

169 On the edge 1 Charcoal, pastel & graphite £895 170 On the edge 2 Charcoal, pastel & graphite £895 171 7HUQFRORQ\,VOHRI0D\ Charcoal, pastel & graphite £895 Cathryn Kuhfeld 172 Wood Mice in the barn Oil £1,800 Matthew Lintott 173 Voyager Woodcut (ed. of 1) £750

179 µ7KDWIHHOVJRRG¶:LOG'RJSXS Ceramic £2,500 180 The challenge - Sable Antelope Bronze (ed. of 9) £9,950 181 ‘You looking at me?’ - Warthog Ceramic mixed media £2,995 Julia Manning SWLA RE 182 &UDE%D\ 6NRNKROP,VODQG

Etching / linocut (ed. of 25) £510 (£400 u/f) 183 'DOHRI:DOOV 6KHWODQG

Woodcut (ed. of 13) £320 (£240 u/f)



Woodcut (ed. of 25) £860 (£690 u/f) Anna Marett 185 Young Moorhen, Rickmansworth Monoprint & mixed media £200 Melanie Mascarenhas 186 Billy Witch Oil based monotype £420 187 Carpenters, cutters & curios Oil & water based monotype £380 188 'DPVHOÀ\,PDJR Oil based monotype £300 Harriet Mead PSWLA 189 Coat hook Hare Welded found objects £750 190 Forceps Curlew Welded found objects £1,850 191 ,URQ+DZ¿QFK Welded found objects £1,200 192 Itchy Hare Welded found objects £1,250 193 /HDIUDNH3LNH Welded found objects £3,750


194 Sawblade Raven Welded found objects £3,750

205 Mexican Spiny Tailed Iguana Stoneware £1,100

195 Spoon Wild Dog Welded found objects £3,000

206 Octopus Stoneware £1,300

196 Stair rod Grasshopper Welded found objects £750

Liz Myhill 207 Guillemot Rock Watercolour, ink & pastel £500

Stephen Message 197 Avocets Watercolour £1,400

208 6HDWRQ&OLIIV Watercolour, ink & pastel £500

198 )LHOGIDUHV Watercolour £980

209 Stack and swirling Kittiwakes Watercolour, ink & pastel £400

199 Grey Plovers Watercolour £1,200

210 Swirling Watercolour, ink & pastel £400

200 Redwings Watercolour £980

211 The ledge Watercolour, ink & pastel £850

201 Whimbrels Watercolour £1,400

212 Two Shags at the arch Watercolour, ink & pastel £500

Jill Moger SWLA PVPRMS 202 Cranwell’s Horned Frogs Stoneware £1,300

William Neill SWLA 213 The Machair in January Watercolour £625

203 'ZDUI7HJX/L]DUG Stoneware £1,100

214 Water Rail Watercolour £625


Stoneware & ceramic NFS


Welded steel £2,500

David Parry SWLA 216 Barn Owl Oil £650 217 Black Grouse Oil £650 218 Found Badger skull Watercolour £400 219 Fulmar, Cornwall Oil £1,200 220 Little Owl Watercolour £600 Peter Partington SWLA 221 Backwater Heron Oil £2,500 222 Godwits and Dunlin Somerset Levels Oil £850 223 Morning Grebes Oil £1,250 224 Roe Deer in the bluebells Oil £2,500 225 Sleepy Hare and Red-legged Partridge Oil £950

226 6W-DPHV¶7XIWLHV Oil £1,900 227 Waders on the ebb tide Oil £2,950 Bruce Pearson VPSWLA 228 Passing South Georgia at night Drypoint & carborundum (ed. of 6) £475 (£395 u/f) 229 Polar Bear Drypoint & carborundum (ed. of 6) £575 (£495 u/f) Antonia Phillips SWLA 230 $[PRXWK+LOO7KHKDQJLQJ¿HOG Acrylic £415 231 Morning Egret II - River Asker Acrylic £365 232 Morning Egret III - River Asker Acrylic £365 233 Sid Valley - South beyond the Willowherb Acrylic £415 234 7KHGHOLJKWRIWKH¿VKLQJIRUHFDVW Acrylic £575 235 7KHSXUSRVHRIULYHULVODQGZDGLQJ Acrylic £575

236 7KHVXUSULVLQJDWWLWXGHRI6SULQJ snow Acrylic £575 237 7KHWDQJOHGEXV\QHVVRIHDUO\ Summer Acrylic £485 Nik Pollard SWLA 238 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £750 239 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £600 240 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £600 241 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £600 242 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £550 243 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £550 244 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £550 245 (PSHURU'UDJRQÀ\GUDZLQJ Mixed media £550


Greg Poole SWLA 246 Leopard & Carmine Bee-eater Woodcut (ed. of 50) £620 (£520 u/f)

Gary Ramskill 255 Back garden Bats Linocut (ed. of 50) £170 (£95 u/f)

Derek Robertson 265 Bird studies in dystopia Watercolour £1,250

247 Oystercatchers, Starlings & Dunlin Woodcut (ed. of 20) £450

256 *DQQHWV%HPSWRQ&OLIIV Linocut (ed. of 30) £200 (£125 u/f)

266 *UDYH\DUGRIUHIXJHHERDWV Sicily Watercolour £1,250

248 Red Deer Monotype £450

Darren Rees SWLA 257 Adelie parade Acrylic £850

249 Red Fox Monotype £480

258 Big blue sketch Watercolour £450

268 :HIROORZHGWKHSKRQH Watercolour £500

Adele Pound 250 Seal studies, Rathlin Graphite £475

259 Black-browed Albatross  IURP,FH%RXQG

Watercolour £850

269 We used the apps to guide us Watercolour £500

Beatrice von Preussen 251 &UHHSLQJ1HZWV Etching (ed. of 10) £220 (£160 u/f)

260 Dusk Cranes, Bosque del Apache Acrylic £850

Jacob Rock 270 Piranha Mixed media £3,000


Watercolour £850

Chris Rose SWLA 271 Avocet Oil £6,000


Watercolour £350

Róbert Sándor 272 Loess Pitt, paper £1,350

Bill Prickett ASWLA 252 Silverback Fallen Oak (lightning strike) £8,000 Justin Prigmore 253 The clean-up crew Oil £6,500 Alastair Proud SWLA 254 The old rivals - Raven and Peregrine Oil £5,750


263 Swimming with the big blue Acrylic £2,500 264 :KLWHJLDQWLQEOL]]DUG Deception Island Watercolour £1,250


Louise Scammell 273 %OXH-HOO\¿VKDW3LJV1RVH Wood lithograph (ed. of 5) £390 (£220 u/f) 274 Diving birds Wood lithograph (ed. of 10) £480 (£290 u/f)

275 Spider Crab at Thurlestone Wood lithograph (ed. of 5) £390 (£220 u/f) 'D¿OD6FRWW6:/$ 276 Curlew calling, Orkney Pastel £1,440

Jane Smith SWLA 286 Displaying Dunlin Screenprint (ed. of 4) £410

296 Guillemots in the glowing sunset, ,VOHRI0D\ Oil £795

287 Four-spotted Chasers Screenprint (ed. of 6) £390

297 Guillemots on the rock at low tide, ,VOHRI0D\ Oil £795

277 Dunlin on passage Oil £1,880

288 +HQ+DUULHUIRRGSDVV Screenprint (ed. of 6) £440

278 Gannets, Orkney Oil £1,880

289 1HVWLQJ&XUOHZ Screenprint (ed. of 5) £410

279 Hen Harrier, Orkney Pastel £1,440

Liane Stevenson 290 Marabou Charcoal £380

280 Long-tailed Tits and Goldcrest Oil £1,880 281 0DUEOHG:KLWH%XWWHUÀ\ Pastel £580 282 Stranded ice and Killer Whales Oil £1,650 Chris Sinden SWLA 283 Behind the old signal box Linocut (ed. of 25) £200 (£175 u/f) 284 Heathland chatter Linocut (ed. of 27) £220 (£190 u/f) 285 Long-tailed Tits Linocut (ed. of 29) £200 (£175 u/f)

Andrew Stock PPSWLA RE 291 Autumn patterns Oil £8,250 292 Hobby and Willow Etching & aquatint (ed. of 40) £380 (£300 u/f) 293 Trebetherick Point Oil £5,750 Sandie M Sutton 294 Egyptian Vulture: Akbuba ‘The White Father’ Household plastics & street junk £1,300 Rebecca Thorley-Fox 295 Evening repose, Gulls on the shore Oil £1,450

298 Moorhen chick walking over a caution sign Oil £895 299 3XI¿QORRNLQJRXWRIWKHEXUURZ ,VOHRI0D\ Oil £895 300 3XI¿QVDWµ/DG\¶V%HG¶,VOHRI0D\ Oil £1,295 John Threlfall SWLA 301 Here’s trouble! Pastel £980 302 Hippo dawn Pastel £880 303 Jay Pastel £350 304 Meve’s Starlings Pastel £740 305 On the go Pastel £880


John Threlfall SWLA 306 Seeking shade Pastel £880

Simon Turvey SWLA 316 Badgers Oil £875

307 Thistle and Finch Pastel £880

317 Bull Elephant Oil £875

Richard Tratt SWLA SBA 308 Above Poole Harbour, the Adonis Blue Oil £550


309 Dark Green Fritillaries and Common Blue Oil £695 310 Midsummer, the South Downs Oil £695 311 Painted Lady, Dorset Coast Oil £420 312 Purple Emperors Oil £650 313 The Brimstone Oil £695 314 The long hot Summer Oil £3,500 315 :LOGÀRZHUYLVLWRUV Oil £395


327 Reindeer study Oil £1,400 328 Winter Sparrow Oil £950 329 Winter Sparrows Oil £1,550

319 Lion Oil £1,375

Matt Underwood SWLA 330 Honeysuckle and wild roses Woodblock print (ed. of 100) £170 (£130 u/f)

320 Lions, Masai Mara Oil £845

331 Lark ascending Woodblock print (ed. of 60) £300 (£250 u/f)

321 6XIIRON+DUH Oil £1,245

332 Magnolia Woodblock print (ed. of 60) £200 (£160 u/f)

322 Swallows Oil £735

333 6ZLIWV, Woodblock print (ed. of 30) £300 (£250 u/f)

323 Zebra Oil £935

334 6ZLIWV,, Woodblock print (ed. of 30) £300 (£250 u/f)

Esther Tyson SWLA 324 At the edge, Fox Oil & graphite £950

Christopher Wallbank SWLA 335 )LHOGIDUH Watercolour £300


336 0DFDTXHVRI0RGLQDJDU Charcoal £4,325

326 Reindeer study Oil £1,200

337 Snow Leopard, Rumbak Valley Watercolour £800

Michael Warren SWLA 338 %ODFNFDS 1XWKDWFKHV Watercolour £775

349 6PDOO&RSSHU%XWWHUÀLHVDQG passing Stoat Watercolour £1,950

339 %XOO¿QFK0DUVK7LW *ROGFUHVWV Watercolour £775

Tim Wootton SWLA 350 $UHDVRQWREHOLHYHÀHGJHG Kittiwakes at last Oil £650

340 Curlews Watercolour £975 341 Goldeneyes Watercolour £825 342 *ROG¿QFKHV Watercolour £825 343 *UHHQ¿QFKHV7UHH6SDUURZV  Yellowhammers Watercolour £2,500 344 Jays & Song Thrush Watercolour £775 345 Wrens Watercolour £675 Darren Woodhead SWLA 346 .LQJ¿VKHUSDLURQ$OGHU Watercolour £1,550 347 3LQNIHHWDUULYLQJRYHU6DOWPDUVK Watercolour £2,650

351 An Autumn shower Oil £675 352 In an Orkney coastal garden; Painted Lady on Hebe Pencil, watercolour & gouache £275 353 In my garden; Red Admirals on Buddleia Pencil, watercolour & gouache £275 354 .LWWLZDNHÀLJKWVWXGLHV, Pencil, watercolour & gouache £295 355 .LWWLZDNHÀLJKWVWXGLHV,, Pencil, watercolour & gouache £295 356 1HWKHUWRQ6WHJJV:DUHEHWK Stromness Oil £650 357 5D]RUOLJKW Oil £650

348 5HG$GPLUDO%XWWHUÀLHV Watercolour £1,250


Visitors’ Choice 2017

Andrew Stock PPSWLA RE A time-step of Turnstones Oil 78

Ian Langford (1956 – 2017) Ian Langford was a conservationist and publisher and a dedicated supporter of wildlife artists and of the SWLA, presenting 3 awards at our annual exhibition at the Mall Galleries. His many friends in the Society were shocked and saddened to learn of his untimely death from cancer last year but delighted that his wife Angela has agreed to continue with the Sketchbook Award in Ian’s name and honour. Ian was born in Birmingham and though trained in machine woodworking, his real passion was ornithology and the natural sciences and he was able to finally realise his calling whilst working for the Scottish Ornithologists’ Club, RSPB Scotland and then as an area officer in Galloway with Scottish Natural Heritage. So wide ranging were his interests however that one job was never going to be enough. During this time he ran a second hand bookshop in Wigtown and opened a Tropic House nearby with its carnivorous plants and free-flying butterflies which went on to win a Royal Horticultural Society gold medal in 1989. He and Angela also planted up orchards with Scottish apple varieties and they dug and created many wildlife ponds, including one for a delighted Donald Watson. Ian ensured that the bookshop could accommodate a small art gallery and it was here that his lifelong love and knowledge of wildlife art could be shared with visitors. The seeds for Langford Press Publishing were now sown and came to fruition in 2001 by launching the Wildlife Art Series which aimed to ‘excite and inspire readers with the best in contemporary wildlife art’. Many artists were given the opportunity to be published for the first time and Ian would always stress that it was, first and foremost, ‘their’ book. He gave licence to create, to be artist, author and have a big say in the layout. Ian saw his role as facilitator, always supportive and positive and ensuring that the product was of the highest possible quality. The success of this series encouraged him into other areas of publishing; art techniques, biographies, facsimiles of Charles Darwin’s books and a small set of children’s books. Ian, Angela and daughter Zoe would later move to East Anglia as Ian worked a number of roles for Natural England, alongside the flourishing publishing business. He even found time to teach silversmithing at Peterborough College! For those who knew him personally he will be remembered for his cheerfulness, his modesty, his unwavering generosity, for his energy and enthusiasms and for everyone else with a bookshelf and an interest in wildlife art and conservation he is remembered as a publisher of a wonderfully varied and beautifully presented suite of books that certainly does ‘excite and inspire’. John Threlfall, 2018


2008 WINNERS Jethro Brice Kate Joanne Aughey Li Lian Kolster

2014 WINNERS Lara Scouller Becky Thorley-Fox Claire Williamson

2009 WINNER Christopher Wallbank

2015 WINNERS Evelina Flodstrรถm David Hunt Rachel Porter

2010 WINNER David Lowther 2011 WINNER Meg Buick 2012 WINNER Gina Ellis 2013 WINNERS Ben Woodhams Kevin Jones

2016 WINNERS Tora Benzeyen Wynona Legg 2017 WINNERS Lorna Hamilton Emily Ingrey-Counter* Helen Kennedy Liz Myhill Adele Pound *Drawing, Bass Rock

Wild Birds and Wild Places Great, contemporary bird and wildlife art

BIRDscapes: leading UK venue for wildlife art.

• Wide range of styles, rooted ŝŶŽďƐĞƌǀĂƟŽŶ ͻKǀĞƌϳϬĂƌƟƐƚƐ͕ŝŶĐůƵĚŝŶŐϯϬ members of the SWLA ͻdžĐŝƟŶŐƉƌŽŐƌĂŵŵĞŽĨ ĞdžŚŝďŝƟŽŶƐ • ARTcafé next door ͻĂLJĮĞůĚŝƌĚǁĂůŬ

Open daily 11am to 5pm The BIRDscapes Gallery, 'ůĂŶĚĨŽƌĚ͕EŽƌƚŚEŽƌĨŽůŬ NR25 7JP ϬϭϮϲϯϳϰϭϳϰϮ ĂƌƚΛďŝƌĚƐĐĂƉĞƐ͘ĐŽ͘ƵŬ ďŝƌĚƐĐĂƉĞƐ͘ĐŽ͘ƵŬ

Original Prints



&ƌŽŵůĞŌ͗ĂŵƐĞůŇŝĞƐĂŶĚ,ŽďďŝĞƐ(detail) Greg Poole SWLA; Gannets Paul Harvey; ^ƉƌŝŶŐ^ŽŶŐ (detail) John Threlfall SWLA

UK ART BOOK PRODUCTION & PUBLISHING Made in Norfolk by Mascot Media presenting this year’s nature in print award

brown trout and waffles Living in Søgne

Chris Sinden

Found in the Fields

carry akroyd

Working with artists, art galleries, art groups, retailers & others to create beautiful UK-made books Research O Writing O Editing O Photography O Scanning O Image processing O Design O Layout O PDF production O Proof reading O Print procurement O Publishing O Promotion O Distribution Alan & Marion Marshall Mascot Media Ltd Granary Barn, Mill Road, Sutton, Norfolk NR12 9RZ

Tel: 01692 582811 Email: web:

Come and share the 30th year of the

John Busby Seabird Drawing Course JILL MOGER SWLA Hydrothermal vent (sea chimney) and associated sculptures

22nd-29th June 2019

Nature-in-Art Wallsworth Hall Twigworth Gloucester GL2 9PA 19th March to 19th May Open Tuesday to Sunday 10am to 5pm

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 Nik Pollard. Be inspired by the energetic frenzy of the seabird colonies around the Firth of Forth at the height of the breeding season. We welcome applications from any artist who would relish an intensive week working directly from nature.

ISBN 978-1-904078-64-7 Published by the Langford Press Available from the Mall Galleries Bookshop and

Jill Moger half page.indd 1

for more details please email- Seabird Drawing

05/09/2018 11:26


Flight Lines

Flight Lines

Flight Lines

Tracking the wonders of bird migration

Through art and the written word, the BTO/SWLA Flight Lines project highlights the challenges that migrant birds face, bringing to a wider audience the research and conservation work that is being done to help them. This book follows the journeys of those birds that migrate between Britain and Africa, from their departures in autumn to their return in spring. BTO is a Registered Charity, Number 216652 (England & Wales), SC039193 (Scotland).

Bruce Pearson, Sahel. Drypoint/carborundum

Hardback, 224 Pages, ÂŁ25 Available from the Mall Galleries, and all good bookshops



The Natural Eye 2018  

The Society of Wildlife Artists showcases the very best of fine art inspired by the natural world. Renowned for displaying a wide ranging co...

The Natural Eye 2018  

The Society of Wildlife Artists showcases the very best of fine art inspired by the natural world. Renowned for displaying a wide ranging co...