SWLA 63
THE NATURAL EYE
and
From the team at Birdwatch and BirdGuides, good luck to all exhibitors for this year’s Artist of the Year award.
Join the home of birding today and save over 15%
In association with the
SWLA THE NATURAL EYE 63rd Annual Exhibition
1st to the 10th of October 2026 Mall Galleries, The Mall, London, SW1 swla.co.uk
Harriet Mead PSWLA Drill horned Gemsbok Welded found objects
SWLA President’s Foreword
Welcome to The Natural Eye, the 63rd annual exhibition of The Society of Wildlife Artists. As this is my final exhibition at the helm, I would like to share some highlights from my presidency. There have been several collaborative projects of which four have resulted in beautiful books, including the Flight Lines Project with the British Trust for Ornithology, The Wadden Sea in Denmark and, most recently, The Massingham Heath Project. Each has shown the inspiring ability of SWLA artists to respond to a place and share their experience through their work. It has also been a privilege to collaborate with conservation charities and celebrate our shared passion for the natural world. The generosity, support and kindness of our member artists lie at the heart of the Society. When I proposed the Original Artwork Draw as a much-needed fundraiser, I never imagined it would still be running seventeen years later, having raised more than £60,000 through artists’ generous donations of A5 works. Inspired by the draw, Sarah Whittley of Red Hare Press conceived Art Book One, which celebrated the SWLA’s 50th anniversary and raised further funds for the Society. This support has enabled the Society to pursue projects and continue to help emerging artists through its bursary scheme, of which 7 were awarded this year. I am delighted that my idea of the dedicated project space of The Out of the Frame room has become an integral part of the exhibition. It provides insight into artists’ working methods and field studies and is a perfect way to display collaborative and individual projects. This year, it showcases The Massingham Heath Project. I am immensely proud of this ambitious project and its beautiful book, This Healing Heath, launched during the exhibition. It provides a fitting conclusion to my presidency and embodies what I love about the SWLA: talent, generosity, friendship, and the support of its artists and wider community. I am deeply grateful to Tim for his tireless help, Olly for his generosity and enthusiasm, Nick for his beautiful writing and dedication, and everyone who gave their time or money to make the project possible. Above all, I thank the artists for creating their work and continuing to find inspiration in the natural world. Harriet Mead, President
This Healing Heath: The SWLA Massingham Heath Project Realised Tim Baldwin The Massingham Heath Project which concluded its full year of field observation in April, has been a remarkable one for the SWLA. The coming together of a visionary and generous landowner, over 30 artists, a local author and naturalist with a host of volunteers, supporters, SWLA Friends and donors, it has been a truly collaborative experience for all. Since its conception as a fairly small-scale affair, Harriet Mead and myself have had the privilege of steering the project to a point where it has exceeded all our expectations. We are proud to present both a second year of exhibits in the Out of the Frame room at this exhibition and a beautiful hardback book, This Healing Heath, which documents a year on the heath through a fabulous collection of artworks combined with an engaging text by Nick Acheson. Massingham Heath is part of the 2,300-acre Little Massingham Estate in West Norfolk, where since 2017, landowner Olly Birkbeck has sought to restore heathland that was ploughed and forced into reluctant food production as part of the World War II Dig for Victory campaign. Olly inherited the estate unexpectedly without any experience of farming and so brought a fresh eye to the land. He had enjoyed visiting the heath as a child, for although intensively farmed it had retained pockets of the formerly extensive heath which were wildly inviting scrubby islands marooned in a sea of arable land. A vision formed of how these islands could seed the surrounding land and with help from Natural England the regeneration began. The islands grew, their edges blurred and intensively farmed arable land morphed into flower-rich grassland buzzing with insects, dotted with grazing animals and alive with birdsong. I became aware of the heath soon after its restoration had started, coincidental with having moved to nearby Great Massingham and taking on the role of Friends Co-ordinator ‘‘What sets the heath project apart from other residencies to my mind is the way it has built over time to become so much more than its component parts... This tract of previously unloved marginal land has really got under my skin.’’ Brin Edwards
for the SWLA. After watching the land restore itself in leaps and bounds and coming to know the landowner, I introduced him to Harriet, and the idea of a project here began to emerge. Olly’s enthusiasm and typical generosity, meant that the modest plans of a small dual residency were quickly upgraded into something far bigger than we dared hope! SWLA Friend James Holden offered to support the publication of a book with a donation in memory of his late father, and Olly offered us his glamping site and barn as a fabulous base for a week-long residency in May 2025. This became the first of several spread over a year, with shorter visits by smaller groups and single artists between, concluding with a final residency in April of this year. The residency days were long and immersive, resulting in a rich mix of field sketches, oil paintings, watercolours, sculptures, and prints - artists each bringing their unique perspectives to the same landscapes. In addition, and as a testament to the observational skills of the artists, species thought rare or absent were found in numbers and recorded through a rapidly growing portfolio of work. Art could sometimes intersect with science. As well as all the field work, artists have taken part in numerous public engagement events and staged exhibitions, both on the estate and in Great Massingham. There have been drawing workshops, talks, art trails on the heath, moth traps, family drawing activities and demonstrations of screen-printing and clay modelling techniques. This would not have been possible without the coming together of many volunteers, supporters, Friends and generous donors from the local community and wider afield. (above left) Brin Edwards talking to the public at the Art Trail (above right) Olly Birkbeck, Harriet Mead, and Tim Baldwin share a moment on the heath (opposite page) Red Kite Landscape, February. Acrylic on board, Brin Edwards SWLA
“The soundscape of the pig fields hooked me in and seemed to seep into my marks. Long stands of quiet, interrupted by distant clangs of flicking ear tags on arched sheet metal. In the hot, dry air I could hear with pinpoint sharpness, the rasp of rook feet on galvanised steel, scratching as they slid away into low flight. Sudden grunts and wheeling squeals as pigs jostled for space and fought their way to water tanks. Resonating booms as pigs met with the surfaces of hollow feeders and domed pig arcs.” Wynona Legg
Harriet and I had introduced local naturalist and author Nick Acheson to the heath and once a project book had become viable, he was the natural choice to have on board. Nick is a skilled field naturalist and communicator, well known in Norfolk and beyond for his skill as a writer, broadcaster, tour guide and speaker. Although they had not seen each other for many years, Nick had been at school with Olly and both have enjoyed reconnecting through this project. Nick writes: ‘All through my nature-obsessed Norfolk childhood, Massingham Heath languished beneath the plough, beneath yearly doses of pesticides and nitrate fertiliser. It was not a place I knew. It is only in the past three years, through the SWLA’s residency here, that I have got to know this astonishing place. And that I have fallen deeply for it. It has been the richest joy to visit Massingham so many times as we have crafted This Healing Heath; to see the land through the artists’ eyes, through Olly’s eyes, even perhaps through the eyes of the countless creatures that have come back here to live. Massingham Heath is a triumph of nature lovingly restored, a beacon of what we can do when we let nature back into our landscapes and into our lives.’
‘‘Base of a big oak, wind roaring in its branches. Sat down to use my drawings to make something of the Bee Fly and the black and white fly. Using pastel, smudging it with vaseline to make it more like finger-paint. A fly (Snakefly) landed, a curious shadow on my paper, only half an inch long or less, the fore-end of thorax extended ending in a broad axe-head, lacy wing folded along abdomen.’’ Kim Atkinson (above) Dark Edged Bee-fly. Mixed media Kim Atkinson SWLA (opposite page) Pigs and Rooks at Church Fellon. Mixed media Wynona Legg SWLA
For the artists, who often work in isolation, the camaraderie is one of the most valued aspects of the residencies, a source of inspiration and where lasting friendships are forged. Many have made deep connections with the heath and returned several times over the course of the year. In This Healing Heath, Nick has skilfully woven a narrative that not only draws out observations from the artists at work but also shows connection with the landscape through conversations with Olly, his farm manager, volunteers and visitors. A key message to take from this project is how quickly nature can return to the land if it is given a chance. In just a few years former arable land has been transformed into a vibrant landscape with a great surge in biodiversity. Insects have followed the flowers, grazing herbivores are doing their magic and the hedges and heathland are once again busy with birds. Olly has shown that farming can indeed make room for nature, something the SWLA has sought to both demonstrate and celebrate in This Healing Heath. In the final chapter Nick speaks with Harriet about what the project has meant to her. ‘For me,’ she says, ‘the heath project has been getting to know this little patch of land. It’s been a delight. SWLA is beyond just a group of artists. They’re my people. And the way the volunteers have rallied round and helped, it’s been tremendous. Getting to know Olly, you feel a tiny part of the pride he has in this place,’ she says. ‘A couple of days into our first residency last May, Olly was absolutely alight with what the artists were doing. I could see that he just got it. Then in August, on one of the open days, seeing the generosity of everyone involved, the artists themselves, and Olly pulling out all the stops, Tim and I had a moment next to Scotsman’s Pit. We’ve done this, we thought. It’s all been generosity and creativity. That’s what it means to me, I think.’ Tim Baldwin
‘‘I was drawing hares chasing through a ploughed field and was surprised to see stone curlews camouflaged against the soil. I didn’t want to disturb them, so made my sketches once I had crept away.’’ Jane Smith
“Some of my favourite times on the heath were early mornings in April when inverted clouds filled the valley and I would scramble to high ground above the mist to paint the frosty landscape. At this time the sun can be caught rising behind one of the wooded broughs, projecting shafts of light out from between the trees that etch hard lines of thawing colour into the exposed frost. Bird calls sound close in the still air, the Goshawk’s tantalisingly so. On one of these mornings a Marsh Harrier drifted close and silent overhead.” Chris Wallbank (above) Pill Box Heath and Lynn Lane through clearing mist. Watercolour Chris Wallbank SWLA (opposite page) Hare and Stone Curlew. Handmade screenprint Jane Smith SWLA
SWLA Seabird Drawing Course Bursary
The John Busby Seabird Drawing Week has been running for over 30 years and is an opportunity for enthusiasts with experience of field sketching to gather for a week of drawing and painting among the many seabird sites in the Firth of Forth, Scotland. The SWLA offers between three and five bursaries for places on the Drawing Week each year. Led by course tutors Darren Woodhead and Nik Pollard, this is a fantastic opportunity to work alongside a group of both new and established artists with the shared aim of creating exciting, diverse and innovative artwork. Each year sees students bond over the triumphs and struggles of working with moving subject matter in all weathers, forming friendships and working relationships which continue well beyond the parameters of the course. The SWLA was delighted to offer no less than five bursary places for the 2026 course.
Amey Zhang ‘‘This course has left me deeply humbled by how much one could learn to see in a 5-second glimpse of a bird, a half-second glimpse of a gesture. It has driven home for me how perception is something we hone, that the moment of seeing in the field, let alone the drawing, rests on the hours and hours of training ourselves to see. Curled up under my tent of a poncho for hours, I had to remind myself to eat something, to unhinge my legs from time to time, to make the trek out to pee. This course felt like a reawakening, a fresh start, and a coming home.’’
Daniela Attard ‘‘What I wasn’t prepared for was how transformative this week would be, from the natural beauty of Scotland, the artists in our group, our wonderful and dedicated tutors, and most impressively the seabirds themselves. Nik and Darren were insightful at all times, imparting knowledge and giving us many suggestions and inspiration. Each day we would set off to different places, including seabird islands, during which we came very close to nesting Herring Gulls, encountered Puffins, and observed fluffy Shag chicks. I will treasure this week immensely. Getting the bursary during teacher training year was a gift. I was living off student loans and part-time work, which made the year particularly challenging. I walked away with so many experiences to share with future art students but also a new approach and hunger for my own practice.’’
Dean Patman ‘‘As an artist specialising in sculpture, I was already familiar with natural history subjects and the challenges of understanding shape, form and movement. Drawing from life, however, was relatively new to me, and I knew there would be a steep learning curve. In the evenings, we would come back together for a meal, share our work and give each other feedback, followed by talks and classes that often went well into the evening. My own practice is quite solitary, so although I enjoy working with other people, the thought of spending seven days in such an intensive environment, particularly with a large group, was a little daunting. Everyone was so warm and friendly, and as the week went on I began to appreciate just how much we learn from one another, as well as from the brilliant tutors. There was something really special about drawing alongside people who share the same interests and passions.’’
Polly Hosp ‘‘Birds are SO different. The anatomy is extraordinary (feathers hide and then reveal so much), the movements are incredibly quick and I found I couldn’t rely on my eye-sight to feed my brain with enough information to accurately draw. ...a boat trip across the Firth of Forth to the Island of Fidra quickly settled my anxieties - soaking up the atmosphere on that extraordinary island with Herring Gulls swooping overhead I focused on capturing the natural arch that defines this island. The absolute highlight of this course was the trip to Bass Rock. Being able to sit and draw the magnificent Gannets that were close enough to touch, relying on my eyes, drawing again and again, perfecting the line from beak to tail, seeing the feather tracts in action, being part of the squabbles and tensions that make this colony so unique.’’
Yvette Schoenmakers ‘‘Landing at Bass Rock and carefully making our way past thousands of majestic nesting birds was like nothing I had ever experienced before. It was incredibly special that we, as ‘ordinary mortals’, were given the opportunity, thanks to the Society of Wildlife Artists, to sit in the middle of this colony for hours, observing and painting. It was an added gift that gannet researcher Maggie was also present on The Bass. Her explanations of the birds’ behaviour deepened my experience enormously. I soon discovered that I was an absolute novice at drawing birds from life, lacking sufficient anatomical knowledge, but hungry to learn. ...the sheer scale of the bird colonies at the various spectacular locations, their cries, their constant coming and going, and our complete immersion in it all were overwhelmingly magnificent. ...most beautifully for me, the week underlined that plein air drawing is an ultimate tool for connecting with nature and with the subject through an attentive form of ‘meditation in movement’.’’
The Natural Eye Bursary, 2026 The Society is pleased to offer awards of up to £750 to exceptional applications which, in the view of the selectors, will help the artist to develop their knowledge and skills.
Ana Songel: ‘FOX’ FOX is a stop motion animation that revolves around one night in the life of an urban fox. The fox shelters in a park surrounded by a city during the day, and when the human hustle and bustle dies down, he faces his fears and comes out to enjoy life when nobody else is looking. This idea came to me while I was dealing with insomnia this winter. When looking out the window, being awake during strange hours throughout the night, I started to notice the same fox would come out to my building’s back garden every night. When having a closer look at wildlife and the spaces we inhabit, we quickly understand that the world around us humans is something that we share and not own.
Gail Reid: ‘Dungscape’ Gail Reid’s oil paintings, microscope studies and field sketches show a finely balanced ecosystem hidden in plain sight: wasps, flies, bats, birds, butterflies, and of course the keystone species - dung beetles. Celebrating both diurnal and nocturnal, they feature the burgeoning population of purple emperor butterflies at Knepp, and the UK’s only native dung ‘roller’ beetle - the Minotaur. “Through Dungscape I hope to demonstrate the interconnected and fascinating ecosystem that thrives around ‘healthy’ dung, in the absence of chemical pesticides and fertilizers. But also the interconnected human ecosystem of co-operation and cumulative knowledge that exists between generations of hobbyists, curators, scientists, farmers and ecologists. All working passionately for biodiversity and nature recovery. To honour this connection, the bat, swallow, and rabbit in the final diptych are directly based on Bristol Museum & Art Gallery taxidermy specimens, somewhat enlivened with artistic licence!” Visit www.gailreidartist.com/dungscape for information, references and video documentation of the project.
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. Since its inception more than 30 years ago, our Bursary Scheme has awarded well over 100 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 The Natural Eye Bursary for proposals from individuals who need help with specific projects or skills. The Wadden Sea Project, the Argyll Coasts Hope Spot Project and the BTO/SWLA Flight Lines Project 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 the ‘Meet the Artists’ drinks reception 2. Free entry to the annual exhibition, free catalogue, also admits a guest 3. Receive a quarterly Friends E-Newsletter via email 4. Receive a copy of Art Book One (RRP £15) 5. 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 6. Opportunity to take part in studio visits of member artists 7. Receive discounts on events, workshops and courses offered by the SWLA To become a Friend of the Society or to make a donation please visit our website swla.co.uk or email swlafriends@gmail.com The SWLA is very grateful to Tim Baldwin for running the Friends Scheme (opposite page) Richard Allen SWLA Joining the flock, Avocets. Oil
Amie Haslen SWLA Green Hairstreak and Hawthorn Acrylic
John Foker SWLA Goldcrest Oil on board
Joris De Raedt ASWLA Philippine Nightjar Watercolour on paper
Szabolcs Kókay SWLA Eurasian Scops Owl field sketch Watercolour on paper
Nick Mackman SWLA Wartie baby looking to his right Ceramic and mixed media
Iain Nutting Olive Baboon Steel
Paul Henery SWLA Taking the plunge Acrylic
Renate Jephcott Spooked Oil on stretched canvas
Carry Akroyd SWLA Field border Serigraph (ed. of 14)
Matt Underwood SWLA Sunrise Woodblock print (ed. of 100)
Louise Scammell SWLA Starstruck in the Hope Spot. Mokulito (wood lithograph) (ed. of 6) (facing page) Liz Myhill SWLA Through shallow waters. Mixed media
Nye Hughes SWLA Puffins at rest below the Low Light, Isle of May. Watercolour and charcoal pencil (facing page) Kittie Jones SWLA Guillemot cliff. Screenprint (ed. of 21)
Marco Brodde SWLA The living tree Drypoint and carborundum (ed. of 2)
Jane Smith SWLA Adders Hand made screen print (ed. of 5)
Rachel Lockwood SWLA Leverets in the field Oil
Francesco Calistri Tiger cubs Oil and acrylic on canvas
Lucy McEachern Nankeen Night Heron Bronze (ed. of 25)
Jill Moger SWLA Western American Toads Stoneware ceramic
Darren Woodhead SWLA Kingfisher balancing in windy Willow. Watercolour (facing page) Esther Tyson SWLA Summer on the trail. Oil
Chris Rose SWLA Harlequins Oil on linen
Darren Rees SWLA Carrying fresh leaves Watercolour
Fiona Clucas SWLA Inversion, Leighton Moss Oil
Federico Gemma SWLA Common Snipe Watercolour on paper
Simon Griffiths SWLA Small Fox 1 High fired ceramic
Laura Andrew SWLA Red Squirrel in Sycamore Oil on linen
Richard Tratt SWLA Wayside butterflies Oil
Dafila Scott SWLA Reef with Teardrop Butterfly Fish Pastel on paper
John Dobbs NEAC SWLA African lioness Oil
John Threlfall SWLA Cape Buffalo stare Oil
Adele Pound ASWLA Gorse Bug nymph studies. Carbon pencil and watercolour (facing page) Dan Bright Stonechat studies. Collagraph monoprint (ed. of 2)
Brin Edwards SWLA Blackbirds with grapevine Mixed media on board
Lisa Hooper SWLA Dock Shieldbugs Drypoint with reduction lino overprinting (ed. of 10)
Max Angus SWLA Summer for Swallowtail Butterflies Oil on canvas
Julia Manning SWLA Skokholm tree Watercolour, ink, mixed media, etc.
Robert Greenhalf SWLA Avocets, Shelducks and Terns Oil on board
SWLA Overview PRESIDENT VICE-PRESIDENT PAST-PRESIDENTS SECRETARY TREASURER COUNCIL FBA TRUSTEE NEWSLETTER EDITOR ENQUIRIES TO
Harriet Mead Bruce Pearson Bruce Pearson, Andrew Stock John Foker Chris Rose Marco Brodde, Lisa Hooper, Nye Hughes, Kittie Jones, Darren Rees Max Angus John Foker The Federation of British Artists: 17 Carlton House Terrace, London SW1Y 5BD Telephone: 020 7930 6844, Registered Charity No. 328717
COVER IMAGE
Ben Woodhams SWLA Shelducks and Hoodies feeding in the seaweed. Watercolour For more information visit: swla.co.uk
SWLA Members Akroyd, Carry Allen, Richard Andrew, Laura Angus, Max Atkinson, Kim Bennett, David Bibby, Nick Binder, Adam Brodde, Marco Clucas, Fiona Cockwell-De Jong, Anine Coe, James Cole, Daniel Dobbs, John Dusen, Barry van Edwards, Brin Edwards, Victoria Foker, John Gemma, Federico Greenhalf, Robert Griffiths, Simon Haslen, Amie Haslen, Andrew Haste, Kendra
Hatton, John Henery, Paul Hooper, Lisa Hughes, Nye Johnson, Richard Jones, Kittie Kokay, Szabolcs Legg, Wynona Lockwood, Rachel Mackman, Nick Manning, Julia Mead, Harriet Moger, Jill Myhill, Liz Neill, William Parry, David Pearson, Bruce Pollard, Nik Prickett, Bill Rees, Darren Rose, Chris Scammell, Louise Scott, Dafila Sinden, Chris
Smith, Jane Stock, Andrew Sykes, Thelma Thorley-Fox, Rebecca Threlfall, John Tratt, Richard Turvey, Simon Tyson, Esther Underwood, Matt Wallbank, Christopher Warren, Michael Woodhams, Ben Woodhead, Darren Wootton, Tim
ASSOCIATE Members De Raedt, Joris Hosp, Polly Mascarenhas, Melanie Pomroy, Jonathan Pound, Adele Robertson, Derek Wang, Tianyin
List of works 2026
1
2
3
4
Sabina Adamska Hydrangea Beetle Oil on canvas £1,500 Carry Akroyd SWLA A Poppy year at Stonepits, Little Massingham Serigraph (ed. of 9) £545 (£395 u/f) Alert Serigraph (ed. of 8) £545 (£395 u/f) Bee Eaters Serigraph (ed. of 8) £325 (£225 u/f)
Richard Allen SWLA 11 Dusk Brent Geese Oil £950 12 Hobbys on the heath Linocut (ed. of 50) £165 (£125 u/f) 13 Joining the flock, Avocets Oil £950 14 Kestrels Linocut (ed. of 50) £165 (£125 u/f) 15 Magpies, two for joy Linocut (ed. of 50) £165 (£125 u/f)
5
Blackbirds and Cherries Serigraph (ed. of 10) £685 (£550 u/f)
16 Swimming against the tide, drake Pintails Oil £1,250
6
Brents Serigraph (ed. of 7) £325 (£225 u/f)
17 The suitors, Shelducks Oil £850
7
Field border Serigraph (ed. of 14) £455 (£325 u/f)
18 Three Avocets at the creek Oil £1,750
8
Garden border Serigraph (ed. of 14) £455 (£325 u/f)
9
Stork nest Serigraph (ed. of 14) £325 (£225 u/f)
Laura Andrew SWLA 19 Dipping and diving Oil on panel £970
Stella Alexander 10 Short-eared Owl Linocut reduction print (ed. of 9) £200 (£150 u/f)
20 Male Chaffinch Oil on panel £780 21 Red Squirrel in Sycamore Oil on linen £1,800
22 Ridge runner Oil on canvas £1,900 23 The den peckers Oil on panel £1,500 24 Too fat to fledge? Oil on panel £970 25 Treetop Red Oil on canvas £1,400 26 Winter Bullfinch Oil on panel £780 Max Angus SWLA 27 Curlews big skies 4 block linocut (ed. of 25) £360 (£280 u/f) 28 Kingfisher 5 block linocut (ed. of 25) £320 (£240 u/f) 29 Oystercatchers’ land, sea and sky 4 block linocut (ed. of 20) £360 (£280 u/f) 30 Puffins 4 block linocut (ed. of 20) £320 (£240 u/f) 31 Summer for Swallowtail Butterflies Oil on canvas £1,600 Mark Anthony 32 Spotted Catshark, Spiny Seahorse and Starfish in the Solent Ink on watercolour paper £1,275
Daniela Attard (SWLA bursary winner) 33 Nesting Herring Gull on Fidra 1 Gouache, watercolour and pencil £400 Clinton Banbury 34 43 degrees Acrylic on canvas £1,600 Brent Bauer 35 South Channel garden Oil on board £1,500 Brian Baxter 36 Otters Oil pastel on watercolour £650 Nick Bibby SWLA 37 Wren IV Bronze (ed. of 15) £11,500 Clare Bigger 38 Japanese Cranes Stainless steel £22,000 39 Wisp of Snipe II Stainless steel on a corten plinth £7,500
Dan Bright 42 Feeding Curlew Collagraph (ed. of 3) £295 (£195 u/f) 43 Kittiwake sketches. Dunbar. 07/06/26 Wax crayon £200 44 Stonechat and St. Mark’s Flies Collagraph monoprint (ed. of 2) £250 (£150 u/f) 45 Stonechat studies Collagraph monoprint (ed. of 2) £250 (£150 u/f) Marco Brodde SWLA 46 The living tree Drypoint and carborundum (ed. of 2) £2,300 Yolanda Bruce 47 Puffin taking flight, Isle of May Monotype - oil based printing ink £650 Francesco Calistri 48 Tiger cubs Oil and acrylic on canvas £3,400
Amanda Bradbury 40 A flight of Swallows Wire £850
David Cemmick 49 Anteater Recycled paper packaging and electrical wire on steel base £3,000
Nicola Bramley 41 Common Frog Plate lithography (ed. of 8) £200 (£160 u/f)
Fiona Clucas SWLA 50 Inversion, Leighton Moss Oil £3,200
51 Inversion, Leighton Moss 2 Oil £3,200 52 Last light Silverdale Graphite and conte £895 Anine Cockwell-De Jong SWLA 53 Murmuration Stone £1,600 54 To-Be Stone £800 James Coe SWLA 55 Grebe with young Oil on linen mounted on board £1,350 56 Patterns on a rock Oil on linen mounted on board £1,350 57 Plover at the edge Oil on linen mounted on board £950 58 Puffin near its burrow Oil on linen mounted on board £2,000 59 River watcher Oil on linen mounted on board £2,000 Kim Coley 60 Bug jungle Oil on panel £1,750 61 Stag Beetle Oil on panel £950
Caroline Convey 62 Water dance Reduction linocut print (ed. of 10) £450 (£350 u/f) Robert Creighton 63 Portrait of Willy Mixed intaglio/chine colle (ed. of 10) £400 (£325 u/f) Rebecca Cusworth 64 Born in the Anthropocene Pigment on Yupo £600 Joris De Raedt ASWLA 65 Common Eider Watercolour on paper £1,120 66 Grey predator Watercolour on paper £725 67 Philippine Nightjar Watercolour on paper £725 John Dobbs NEAC SWLA 68 African lioness Oil £4,500 69 African Wild Dog Oil £1,450 70 Fox cub in the garden Oil £1,450 71 Fox cubs Oil £900
72 Garden Fox Oil £1,450
82 Roosting Least Sandpiper, Lubec Watercolour £300
73 Goldfinch Oil £430
83 Ruddy Turnstones at low tide Watercolour £500
74 Inquisitive Fox Oil £1,350
84 Varied Thrush, Petersham, MA Watercolour £600
75 Young Fox Oil £1,200
85 Young Barn Swallows, Wachusett Meadow Watercolour £275
Leo du Feu 76 Lion, Moons and Wrack Watercolour, gouache, crayon and acrylic £1,350 77 The Angel, The Haven, The South Horn Watercolour, gouache, crayon and acrylic £1,350 Barry van Dusen SWLA 78 Chipmunk in the snow, Princeton Watercolour £300 79 Great Blue Heron, Bartletts Pond Watercolour £300 80 Green Anoles, New Orleans, LA Watercolour £375 81 Phoebe in Cattails Watercolour £425
Brin Edwards SWLA 86 Blackbirds with grapevine Mixed media on board £1,850 87 Hawfinch, Stock Dove and Carrion Crow at Lynford Arboretum Mixed media on board £1,450 88 Seals and Sanderlings Mixed media on board £2,250 89 Spouses Vale Spring Mixed media on board £1,850 Vicky Emby 90 Barn Owl study Acrylic on canvas £900 Dan Des Eynon 91 Carp study I Monoprint £450
Emma Faull 92 Ptarmigan Gouache resist with Indian ink wash £1,100 Sandra Fernandez 93 Gannets and Guillemots (Field sketch, St Abbs Head) Art Graf block on paper £380 94 Guillemots (Field sketch, St Abbs Head) Art Graf block on paper £380 Amy Fisher 95 Black-headed Gull, Cley Marsh Monoprint £245 John Foker SWLA 96 Goldcrest Oil on board £490 97 Parakeets in place 1 Acrylic on board £1,800 98 Parakeets in place 2 Acrylic on board £1,800 Jane Gardiner 99 The Rain Beetle Oil on panel £295 Jo Garlick 100 Curlew in grass 3 Soft pastel £450 101 First light, Bempton Cliffs Soft pastel £250
102 I spy... Soft pastel £450
113 Stonechat and Whitethroat Oil on board £1,850
103 Razorbills, Isle of May Soft pastel £250
114 Wigeon and Lapwings Oil on board £520
Federico Gemma SWLA 104 Blackcap among the branches of a Medlar tree Watercolour on paper £480
Simon Griffiths SWLA 115 Flying Lapwing 1 High fired ceramic £1,400
105 Common Snipe Watercolour on paper £480 106 Grey Wagtail among the rocks Watercolour on paper £480 Robert Greenhalf SWLA 107 Avocets, Shelducks and Terns Oil on board £520 108 Common Terns Oil on board £520 109 Golden-ringed Dragonfly and Choughs Oil on board £1,850 110 Hares and Whooper Swans Oil on board £520 111 Oystercatchers and Terns Oil on board £520 112 Resting Terns and Shelducks Oil on board £520
116 Flying Lapwing 2 High fired ceramic £1,400 117 Fox portrait High fired ceramic £1,400 118 Long-tailed Tit trio High fired ceramic £700 119 Small Fox 1 High fired ceramic £800 120 Small Fox 2 High fired ceramic £800 Hector Guest 121 The trial of kings Bronze (ed. of 8) £15,000 Rosanne Guille 122 Our changing food chain (Sark Octopus fisherman) Pastel £1,030
Michelle Hall 123 Adder Ceramic £250 124 Sand Lizard Ceramic £200 125 Toad migration Ceramic and natural wood £300 Liz Harvey 126 Moss Moth 2 Watercolour/paper collage £1,400 Amie Haslen SWLA 127 Green Hairstreak and Hawthorn Acrylic £250 128 Orange-tip and Periwinkle Acrylic £295 129 Scarlet Tiger Acrylic £895 130 Speckled Wood and Cowslips Acrylic £295 Andrew C Hasler 131 Blacktip Reef Shark Oil on canvas £500 John Hatton SWLA 132 Kittiwake company Oil on paper £695
133 Sea Parrots Linocut (ed. of 16) £230 (£180 u/f) Martin Hayward-Harris 134 Stone Curlew in the sun Linocut (ed. of 35) £595 (£400 u/f) Paul Henery SWLA 135 African afternoon Watercolour £895 136 Kicking up the dust Watercolour £895 137 Taking the plunge Acrylic £1,500 138 The brothers Watercolour £1,200 Lisa Hooper SWLA 139 Dock Shieldbugs Drypoint with reduction lino over printing (ed. of 10) £470 140 Flowers and flints Reduction linocut (ed. of 12) £570 (£450 u/f) 141 Glenwhan Hand coloured linocut (ed. of 20) £450 (£390 u/f) 142 Golden Plover, Culswick, Shetland Reduction linocut (ed. of 16) £450 (£390 u/f) 143 Intertidal Reduction linocut (ed. of 13) £490 (£400 u/f)
144 Long-winged Coneheads Drypoint with reduction linocut overprinting (ed. of 10) £360 (£295 u/f) 145 Puffins, Sheep Rock, Fair Isle Reduction linocut (ed. of 24) £450 (£390 u/f) 146 The heath in Winter Reduction linocut (ed. of 10) £360 Polly Hosp ASWLA (SWLA bursary winner) 147 Desert unicorns Drypoint and relief (ed. of 5) £780 148 Gannets on Bass Rock Collagraph (ed. of 5) £780 149 Going, going, gone Drypoint and relief (ed. of 3) £575 150 Guillemots at St Abbs Photopolymer on Somerset (AP) £780 151 Herring Gulls on Fidra Collagraph (ed. of 5) £780 152 Puffins on Fidra Drypoint and chine colle (ed. of 3) £475 Nye Hughes SWLA 153 Kittiwake nest, Lady’s Bed, Isle of May Watercolour and wax pastel £920
154 Puffins at rest below the Low Light, Isle of May Watercolour and charcoal pencil £1,150
Renate Jephcott 163 Spooked Oil on stretched canvas £1,200
Szabolcs Kókay SWLA 174 Edible Frog field sketch Watercolour on paper £470
155 Razorbill pair, Isle of May Watercolour £920
Kittie Jones SWLA 164 At the bay’s edge Screenprint (ed. of 14) £410 (£275 u/f)
175 Eurasian Scops Owl field sketch Watercolour on paper £470
156 Seabird research hide, Corner Stone, Isle of May Watercolour and pastel pencils £860
165 Greenface, Isle of May II Monotype £900
176 European Pond Turtle field sketch Watercolour on paper £470
157 Sitting Eider, Isle of May Oil pastel £840
166 Guillemot cliff Screenprint (ed. of 21) £410 (£275 u/f)
177 Female Red-footed Falcon field sketch Watercolour on paper £470
Sarah Hutchinson 158 Guillemot shuffle Pastel on paper £950
167 Kittiwake cliffs Screenprint (ed. of 14) £410 (£275 u/f)
178 Great Bustard field sketch Watercolour on paper £470
168 Preening Terns Pastel and pencil on folded paper £550
Rachel Lockwood SWLA 179 Joy in the garden Oil £4,750
Reece Ingram 159 The night watchman Carrara marble £2,500 Ken Januski 160 Cedar Waxwings in Juniper Mokuhanga (Japanese woodblock) (ed. of 18) £300 (£225 u/f) 161 Warbling Vireo, Common Yellowthroat and Wilson’s Warbler at reservoir Mokuhanga (Japanese woodblock) (ed. of 20) £350 (£295 u/f) 162 Yellow-rumped Warblers after snow storm Mokuhanga (Japanese woodcut) (ed. of 25) £275 (£225 u/f)
169 Resting Terns, Scatness Pastel and pencil on paper £1,100 Helen Kennedy 170 Amongst the nettles Pastel pencil £800 171 Kittiwake Etching and monoprint £260 172 Puffin ‘Isle of May’ Etching £240 Brad Kenny 173 Soft flow Oil on canvas board £790
180 Leverets in the field Oil £4,750 181 Watching Little Owls Oil and charcoal £4,750 Sam MacDonald 182 Atlantic Blue Pewter, resin copper and aluminium £12,000 Nick Mackman SWLA 183 Wartie baby alert and getting up Ceramic and mixed media £2,500
184 Wartie baby asleep Ceramic and mixed media £2,500
194 Stronger together Pastel £420
185 Wartie baby looking to her left Ceramic and mixed media £2,500
Julia Manning SWLA 195 Pines Wood and lino cuts (ed. of 25) £460 (£380 u/f)
186 Wartie baby looking to his right Ceramic and mixed media £2,500 187 Wartie baby standing Ceramic £2,500 Myrthe Majoor 188 Home of the Giants Animated short film (animated monotypes) Framed monotypes from the animation are for sale as below 189 Perching Gyrfalcon Monotype £750 190 Rock Ptarmigan Monotype £750 191 Running Pine Marten Monotype £750 192 Young Muskox Monotype £750 Isabella Mandl 193 Shadows I Pastel £420
Harriet Mead PSWLA 204 Blade tailed Godwit Welded found objects £2,750 205 Drill horned Gemsbok Welded found objects £2,500
196 Skokholm tree Watercolour, ink, mixed media, etc. £800
206 Drill tailed Stoat Welded found objects £2,750
Melanie Mascarenhas ASWLA 197 Black-crowned Night Herons, Dhakke Fish Market Acrylic and oil-based printing ink £495
207 Ring spanner Snipe Welded found objects £2,500
198 Black-rumped Flamebacks Ink, gouache, pastel and coloured pencil £610 199 Bonnet Macaques, Western Ghats Acrylic and oil-based printing ink £450 200 Custard Apple thieves Ink, gouache, pastel and coloured pencil £700 201 Marakutika Acrylic and oil-based printing ink £495 202 White-throated Kingfishers and Spine-tufted Skimmer Ink, gouache and coloured pencil £600 Lucy McEachern 203 Nankeen Night Heron Bronze (ed. of 25) £5,000
208 Shear Coot Welded found objects £2,750 Philippa Mitchell 209 Arctic Terns return to the Isle of May Oil on canvas £995 210 Raft of Auks Oil on canvas £895 211 Terns-a-courting Oil on canvas £475 Jill Moger SWLA 212 Green Tree Monitors Stoneware ceramic £1,500 213 Western American Toads Stoneware ceramic £780
Joanna Moore 214 Pelican pod (New arrivals at the WWT London Wetland Centre) Pencil £320 Liz Myhill SWLA 215 Courting among the rocks Mixed media £1,690 216 Lazing in the shallows Mixed media £1,650 217 Over the edge Mixed media £1,690 218 Sudden commotion Mixed media £1,690 219 Through shallow waters Mixed media £1,690 William Neill SWLA 220 Shelduck family Acrylic £825 221 Whoopers in June Acrylic £850 Iain Nutting 222 Olive Baboon Steel £2,750 David Parry SWLA 223 Little Owl Pencil £700
224 Ngorongoro Pride Lion Pencil £1,200
234 Swifts and skies - 29th June Watercolour £950
225 Spotted Flycatcher on the staddle stone Gouache £750
235 Swifts’ low, fast pass - 2nd July Watercolour £875
226 Tawny Owl Pencil £700 Bruce Pearson VPSWLA 227 Shelduck, Red Kite and Oxeye Daisies Relief print (ed. of 8) £625 (£500 u/f) Chris Pendleton 228 Drake Smews Linocut (ed. of 25) £370 (£280 u/f) 229 Heron Linocut (ed. of 25) £420 (£320 u/f) Jonathan Pomroy ASWLA 230 Avocets at Cley Watercolour £750 231 Bangers! (Prospecting Swifts) 22nd June Watercolour £675 232 Curlew near Danby, North York Moors Watercolour £875 233 Marsh Harrier at RSPB Greylake Watercolour £875
Adele Pound ASWLA 236 Gorse Bug and seed heads Carbon pencil and watercolour £285 237 Gorse Bug nymph and exploded seed heads Carbon pencil and watercolour £285 238 Gorse Bug nymph studies Carbon pencil and watercolour £295 239 Gorse Bug nymphs tiny and small Carbon pencil and watercolour £295 240 Gorse Bugs Carbon pencil and watercolour £295 241 Gorse Shieldbugs Carbon pencil and watercolour £295 Claire Redford 242 Forest companions Oil £650 Darren Rees SWLA 243 Beaver and Blue Wake Watercolour £325
244 Carrying fresh leaves Watercolour £325
255 Inquisitive Grey Seal Watercolour £750
245 Kestrels and Eagle, Loch Katrine Watercolour £650
256 Top of the Cleaver, St Abbs Head Watercolour £2,500
246 New Zealand Falcon Watercolour £275
Stephen Rew 257 Rhino Bronze (ed. of 10) £3,950
247 New Zealand Fantail Watercolour £275 248 The Cleaver, St Abbs Watercolour £650 249 Towards Jura, White-tailed Eagle Watercolour £650 Gail Reid (SWLA bursary winner) 250 Fly dive Linocut (ed. of 30) £120 (£95 u/f) 251 Hornet Robberfly Linocut (ed. of 20) £575 (£375 u/f) 252 Purple Emperor Linocut (ed. of 20) £575 (£375 u/f) Min Reid 253 Makwa Bronze resin on marble plinth (ed. of 12) £2,400 Ian Rendall 254 Incubating Kittiwake, Dunbar Harbour Watercolour £900
Sarah Rhiannon 258 King Oil £600 AJ Roberts 259 Beachcombers Acrylic on canvas £2,250 260 Leaf litter Acrylic on canvas £400 261 Ringlets Acrylic on box canvas £1,200 Derek Robertson ASWLA 262 The measure of the long watch Watercolour and gouache £1,590 263 Under the Woodcock moon Watercolour and gouache £4,950 Martin Rolt 264 The Swan: Stop the world Pen and ink on paper (‘Stipple’ drawing) £5,500
Chris Rose SWLA 265 Harlequins Oil on linen £6,000 Mary Ruggeri 266 Deer grazing Oil pastel on paper £1,200 Ellen S. Barkin 267 Cheetah studies Watercolour and graphite on paper £800 Louise Scammell SWLA 268 Hope Cove blues Mokulito (wood lithograph) (ed. of 5) £725 (£485 u/f) 269 Starstruck in the Hope Spot Mokulito (wood lithograph) (ed. of 6) £585 Yvette Schoenmakers (SWLA bursary winner) 270 Bonding Reduction linocut (12 layers) (ed. of 6) £480 271 Hoog and droog (High and dry) Reduction linocut (ed. of 20) £330 272 Meerkoet op de Vecht (River Coot) Reduction linocut (ed. of 18) £480 Dafila Scott SWLA 273 Reef with Saddleback Butterfly Fish Pastel on paper £1,600
John Threlfall SWLA 295 Butter wouldn’t melt Pastel £680
274 Reef with Teardrop Butterfly Fish Pastel on paper £1,600
285 Pond Hand made screen print (ed. of 5) £445
275 Under the overhang, reef fishes, Raja Ampat Pastel on paper £1,600
Andrew Stock PPSWLA 286 A small parcel Etching and aquatint (ed. of 20) £280 (£200 u/f)
276 Whooper Swans, Cleddau estuary Pastel on paper £1,600
287 Last to leave Etching and aquatint (ed. of 20) £230 (£150 u/f)
297 Curlew dusk Oil £580
Chris Sinden SWLA 277 Avocet Linocut (ed. of 30) £145 (£115 u/f)
Rachel Taylor 288 Goshawk Copperfoiled stained glass on slate base £3,400
298 Eider down time Oil £440
278 Ghost Linocut (ed. of 23) £365 (£310 u/f) 279 Red-legged Partridge Linocut (ed. of 20) £345 (£290 u/f) 280 Turnstones Linocut (ed. of 18) £345 (£290 u/f) Jane Smith SWLA 281 Adders Hand made screen print (ed. of 5) £250 282 African Hoopoe and Giraffes Hand made screen print (ed. of 5) £595 283 Hares and Stone Curlew Hand made screen print (ed. of 2) £445 284 Impala Hand made screen print (ed. of 5) £395
289 Nightjar by moonlight Copperfoiled stained glass on stained granite base £7,200 Clare Templey 290 Dahlia Anemone Pastel £600 Becky Thorley-Fox SWLA 291 Black-headed Gull in the sea mist Oil £1,395 292 Little Egret, incoming tide Oil £1,250 293 Precious cargo Oil £495 294 Watching the tide Oil £550
296 Cape Buffalo stare Oil £740
299 Golden moment Pastel £680 300 Independence day - Common Sandpiper chick Oil £940 301 Ringed Plovers Oil £680 302 Waiting for the pack Oil £940 Christopher Tomlin 303 Mouse study Oil on canvas £490 Richard Tratt SWLA 304 Browns and Whites Oil £545 305 Butterfly undersides Oil £450
Matt Underwood SWLA 328 Dandelions Woodblock print (ed. of 60) £300 (£250 u/f)
306 Common Blues and Adonis Blue Oil £420
317 Mute Swan Oil on board £845
307 July butterflies Oil £695
318 White Storks Oil on board £1,275
308 Marjoram visitors, Martin Down Oil £750
319 Wildcat Etching (ed. of 75) £225 (£160 u/f)
309 Small Tortoiseshells and Red Admiral Oil £695
Esther Tyson SWLA 320 A quiet moment Oil £950
310 The Comma and Common Blues Oil £545
321 Alert Oil £850
311 Wayside butterflies Oil £1,500
322 Goldfinch and Dandelions Oil £650
Emily Tull 312 Cluster camouflage (Turnstones) Hand embroidery £750
323 Goldfinch on Knapweed Oil £1,600
Tally Walker Warne 333 A bigger slug XIV Ceramic stoneware £1,800
324 Red Oil £850
334 A bigger slug XV Ceramic stoneware £1,250
325 Reindeer Oil £850
335 After the rain XXVII Ceramic stoneware £1,300
326 Summer Gold Oil £600
336 After the rain XXVIII Ceramic stoneware £1,200
327 Summer on the trail Oil £1,900
Christopher Wallbank SWLA 337 Arctic Skua watch Watercolour £850
Simon Turvey SWLA 313 Brimstone on Bluebell Oil on board £575 314 Brown Hare grooming Etching (ed. of 75) £225 (£160 u/f) 315 Heron Etching (ed. of 30) £245 (£180 u/f) 316 Lapwings Oil on canvas £1,645
329 Over Poppies Woodblock print (ed. of 100) £400 (£350 u/f) 330 Sunrise Woodblock print (ed. of 100) £350 (£300 u/f) Dominique Vassie 331 Orphaned Swifts, crochet nest Pastel on paper £400 Aurélien Vlna 332 Leopard Pen and black ink and color ink and gold leaf £2,850
338 Grey Seal watch Watercolour £850 Michael Warren SWLA 339 Clouded Yellows and Sedge Warbler Watercolour and graphite £675 340 Golden Plovers, Lapwings, Teal and Fieldfares Watercolour and graphite £1,750 341 Great Crested Grebes Watercolour and graphite £750 342 Little Owl Watercolour and graphite £750 343 Shovelers Watercolour and graphite £1,750 344 Swallows and House Martins Watercolour and graphite £750 Ben Woodhams SWLA 345 BHG feeding frenzy III. Bro Odde, Bornholm Watercolour £450 346 Lapwings arriving one evening. Early Spring, Bornholm Watercolour £1,500 347 Marsh Harrier preening in morning sun. Udkæret, Bornholm Watercolour £650
348 Shelducks and Hoodies feeding in the seaweed. Nexø Sydstrand, Bornholm Watercolour £1,500 349 Spring Lapwings resting on the shore, Nexø Sydstrand, Bornholm Watercolour £1,500 Darren Woodhead SWLA 350 Autumn Tit flock and Rowan colours Watercolour £3,995 351 Kingfisher balancing in windy Willow Watercolour £1,650 352 Puffin pair exchanging nest material Watercolour NFS 353 Spring storm and puffin whirl over the Isle of May Watercolour £4,495 354 Wigeon drakes and reflections Watercolour £1,450 Tim Wootton SWLA 355 Arctic Terns, Summer evening Oil on canvas panel £1,850 Sherrie York 356 In the shallows Reduction linocut (ed. of 20) £650 (£475 u/f)
357 Rainy days and Mondays Reduction linocut (ed. of 18) £500 (£350 u/f) KT Yun 358 Carabus Intricatus Glass £9,950 Amey Zhang (SWLA bursary winner) 359 Guillemots at St Abbs Charcoal £425
Awards and prizes 2026 The Natural Eye is an open exhibition and welcomes submissions from non-member artists. For more information on how to exhibit and how to become a member of the Society, please visit swla.co.uk The SWLA would like to thank all our sponsors and partners for their generous support. The Society of Wildlife Artists is a registered charity run entirely by volunteers, the vast majority of whom are member artists. As President, I would like to extend my heartfelt thanks to all the artists who give their time to run the Society and are generous in their support of our fund raising initiatives such as the A5 Original Artwork Draw at the Global Bird Fair each summer. Funds raised enable us to continue to offer bursaries to emerging artists and allow us to run projects and collaborations. The Massingham Heath Project is the SWLA’s first major project without a NGO partner. It was made possible by an army of volunteers and the generosity of multiple donors including fellow artist Thelma Sykes and SWLA Friend James Holden. If you would like to support the Society please visit swla.co.uk/support-us to find out ways that you can help such as joining our Friends Scheme or making a donation. Any donation, however small, will be gratefully received. Harriet Mead PSWLA
The Birdwatch and Swarovski Optik Artist of the Year Award The BIRDscapes Gallery ‘Conservation through Art’ Award British Trust for Ornithology Award Daler-Rowney Award The Head & Heart Award RSPB Award Trymwood Studios Art Prize The Swarovski Optik New Artist Award The Michael Harding Oil Painting Prize The Michael Harding Watercolour Painting Prize Art Safari Works on Paper Award Mall Galleries / FBA Award Dry Red Press Award
This Healing Heath
The SWLA at Massingham Heath In the west of Norfolk lies a shallow valley where, until World War Two, the chalk and sand were never ploughed. For seven subsequent decades, unprofitable crops were grown here, until Massingham Heath was inherited by a visionary. Nine hundred acres of the heath have since been given back to nature, sown with hand-gathered wildflower seeds from local sites. The rest of the estate is in regenerative agriculture. Wild species have flooded back, filling this little valley with the ceaseless song of skylarks, the dappled wings of moths and butterflies, the golds and pinks and blues of countless flowers. From 2025 to 2026, more than thirty members of the Society of Wildlife Artists visited Massingham Heath, to document the land’s astonishing recovery. Their work is presented as This Healing Heath.
This Healing Heath can be purchased at The Natural Eye Exhibition, Mall Galleries, and www.swla.co.uk
Hardback, RRP £ 35 ISBN 978–1–0668232–0–8