Artist of the Year In association with
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As the leading magazine for the promotion of bird art, we wish every success for The Natural Eye, the Society of Wildlife Artists’ annual exhibition. Visit us online at www.birdwatch.co.uk
Short-eared Owl 1-4 by Nik Pollard, winner of the 2013 Birdwatch Artist of the Year Award
SWLA THE NATURAL EYE 51st Annual Exhibition
30th October to the 9th November 2014
Harriet Mead Leaf rake boar Found Object Steel
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SWLA President’s Foreword
Welcome to The Natural Eye, the 51st annual exhibition of the Society of Wildlife Artists. At last year’s 50th anniversary show we were honoured to have Sir David Attenborough as our guest opener. His thought provoking and measured speech captivated the audience as he talked about how our fascination with wildlife starts in childhood, “…that curiosity in the natural world and life is within the heart of all of us. If you lose that you have lost one of the most precious of humanity’s possessions.” He warned of how modern life has removed us from experiencing wildlife but that with that loss “comes increasing awareness of the preciousness of the natural world.” Sir David posed the question “How is that communication, that communion with the natural world maintained”? He concluded by suggesting that it was by “film makers and writers, and the wider art community certainly, but above all by fine artists - sculptors, painters and printmakers - who convey not just the appearance of the natural world but, in some magical way, actually convey something special about life and the natural world.” Sir David sums up what I believe to be one of the Society of Wildlife Artists’ greatest strengths - the way that we as practising artists take inspiration from the natural world and communicate our enthusiasm to others. This has been recognised by the British Trust for Ornithology, who selected four of our artists to go to Senegal in January to document the wintering grounds of our summer migrants. The BTO’s forward thinking project will provide other opportunities for our members to show the summer breeding grounds here in the UK. The resulting work will be used in a book telling the story of migration and highlighting some of the issues faced by our summer visitors. Some of the work from the Senegal part of the project is on show in the ‘Out of the Frame’ room and the article in this catalogue gives a taste of the expedition and an overview of the project. The SWLA Friends scheme has been in place for many years, but as we embark on the Society’s next 50 years I hope that we can build on that loyal base of supporters. As a Friend, aside from the many benefits set out on page 9, your subscription will help us to continue to offer bursaries for emerging artists and allow us to forge new collaborations with conservation organisations in the future. I do hope you enjoy the exhibition and, in the words of Sir David, that you feel it conveys ‘something special about life and the natural world.’ Harriet Mead 3
SWLA Overview
PRESIDENT VICE-PRESIDENTS SECRETARY TREASURER COUNCIL FBA GOVERNOR NEWSLETTER EDITOR
Harriet Mead Robert Gillmor, Bruce Pearson, Keith Shackleton, Andrew Stock Chris Rose Michael Warren Max Angus, Daniel Cole, Robert Greenhalf, Greg Poole, Darren Rees Esther Tyson Darren Rees
ENQUIRIES TO
The Federation of British Artists 17 Carlton House Terrace, London SW1Y 5BD Telephone: 020 7930 6844 Fax: 020 7839 7830 Registered Charity No. 328717
COVER IMAGE
Adam Binder, Little Owl II
SWLA HISTORY
In the late 1950s the original work of wildlife artists was not readily available to the ever-growing numbers of people developing an interest in natural history. With the formation of a Society very much in mind, Robert Gillmor and Eric Ennion, with the enthusiastic support of Peter Scott and Keith Shackleton, organised an Exhibition by Contemporary Bird Painters which was opened by Lord Alanbroke in the Reading Art Gallery in 1960. Maurice Bradshaw, then Director of the Art Exhibition Bureau, joined the Organising Committee and, as a result, the Bureau took the exhibition on tour for a year. The great interest shown by provincial galleries extended the tour for a further year. During this period the organisers were joined by R.B. Talbot-Kelly and Maurice Wilson to plan a Society and invite Founder-Members. James Fisher opened the inaugural Exhibition of the Society of Wildlife Artists at 6 ½ Suffolk Street in August 1964. For more information on the SWLA, please visit: www.swla.co.uk
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Dafila Scott Wildebeest at dusk Oil 5
SWLA Members HONORARY MEMBER Shackleton, Keith
39 Holmead Walk, Poundbury, Dorchester, Dorset DT1 3GE
Akroyd, Carry Angus, Max Atkinson, Kim Barrett, Priscilla Bennett, David Binder, Adam Brown, Diana Burn, Hilary Burton, Philip J K Busby, John Clucas, Fiona Cole, Daniel Dalrymple, Neil Davis, John Derry, Nick Dusen, Barry van Ede, Basil Edwards, Brin Edwards, Victoria Ellis, Carl Eveleigh, John Gemma, Federico Gillmor, Robert Goold, Madeline Greenhalf, Robert Gudgeon, Simon Hampton, Michael Haslen, Andrew Haste, Kendra Hodges, Gary Johnson, Rosalie Koster, David Lockwood, Rachel Mead, Harriet
4 Luddington in the Brook, Oundle, East Northamptonshire PE8 5QU Barn Tye Studios, 4 Barn Tye Close, Guston, Kent CT15 5ND Ty’n Gamdda, Uwchmynydd, Pwllheli, Gwynedd LL53 8DA Jack Of Clubs, Lode, Cambridge, Cambridgeshire CB5 9HE 16 Pearl Street, Starbeck, Harrogate, North Yorkshire HG1 4QW The Calf House, Marston Hill Farm, Meysey Hampton, Cirencester, Glos. GL7 5LG Shannel Ballogie, Aboyne, Aberdeenshire AB34 5DR Huish Cleeve Cottage, Huish Champflower, Taunton, Somerset TA4 2HA High Kelton, Doctors Commons Road, Berkhamsted, Hertfordshire HP4 3DW Easter Haining, Ormiston Hall, Tranent, East Lothian EH35 5NJ 44 Greengate, Levens, Kendal, Cumbria LA8 8NF The Old Bakery Studios, Blewetts Wharf, Malpas Road, Truro TR1 1QH 9a Llys-Y-Berllan, Ruthin, Denbighshire LL15 1PJ 6 Redmoor, Birdham, Chichester, West Sussex PO20 7HS 19 Tyning Close, Pendeford, Wolverhampton, West Midlands WV9 5QH c/o New East Frew, Thornhill, Stirling FK8 3QX Mark Cross House, Ripe, Nr. Lewes, East Sussex BN8 6AN 59 Barracks Road, Assington, Sudbury, Suffolk CO10 5LP 403 London Road, Ditton, Aylesford, Kent ME20 6DB 1 Charolais Crescent, Lightwood, Stoke on Trent, Staffs ST3 4TD 4 Broadfield Road, Folkestone, Kent CT20 2JT Via Michele Barbi 12, Rome, Italy 00125 North Light, Hilltop, Cley-next-the-Sea, Holt, Norfolk NR25 7SE The Birches, Brake Lane, Hagley, Worcestershire DY8 2XN Romney House, Saltbarn Lane, Playden, Rye, East Sussex TN31 7PH Pallington Lakes, Pallington, Dorchester, Dorset DT2 8QU 13 Sandy Way, Shirley, Croydon, Surrey CR0 8QT College Farm, Preston, St Mary, Suffolk CO10 9NQ 2 Chalk Lane, Epsom, Surrey KT18 7AR 7 Marlborough Mews, London SW2 5TE 18 Clevedon Road, Richmond Bridge, East Twickenham, Middlesex TW1 2HU 23 Harbour Street, Plockton, Ross-shire, Scotland IV52 8TN Pinkfoot Gallery, High Street, Cley-next-the-Sea, Norfolk NR25 7RB End Cottage, 24 Westgate Street, Hilborough, Thetford IP26 5BN
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Michel, Sally Moger, Jill Neill, William Paige, John Parry, David Partington, Peter Pearson, Bruce Phillips, Antonia Pollard, Nik Poole, Greg Proud, Alastair Reaney, John Rees, Darren Rich, Andrea Rose, Chris Schmidt, Christopher Scott, Dafila Stock, Andrew Sutton, Barry Sykes, Thelma Threlfall, John Tratt, Richard Turvey, Simon Tyson, Esther Underwood, Matthew Warren, Michael Woodhead, Darren Wootton, Tim
30 Woodland Way, Bidborough, Tunbridge Wells, Kent TN4 0UY The Studio, 75 Millfield Lane, Nether Poppleton, York, Yorkshire YO26 6NA Rannachan, Askernish, South Uist, Western Isles HS8 5SY The Manor House, Kings Cliffe, Peterborough, Northamptonshire PE8 6XB Holly Hall, The Old School, Milton Lilbourne, Pewsey, Wiltshire SN9 5LQ Kettlebaston Hall, Nr Ipswich, Suffolk IP7 7QA 5 Marshall Road, Cambridge, Cambridgeshire CB1 7TY Willow Cottage, 38 South Mill Lane, Bridport, Dorset DT6 3PN 51 Concorde Drive, Bristol BS10 6PY 32 Kersteman Road, Redland, Bristol, Avon BS6 7BX Plas Bach, Newchurch, Camarthen, Dyfed SA33 6EJ 1 Buxton Road, Brighton, East Sussex BN1 5DE New East Frew, Thornhill, Stirling, Stirlingshire FK8 3AX 706 Western Drive, Santa Cruz CA 95060 6 Whitelee Cottages, Newtown St. Boswells, Melrose, Roxburghshire TD6 0SH Zum Brook 7, 24238 Bauersdorf White Roses, The Hythe, Reach, Cambridgeshire CB25 0JQ Wyncot, Frog Lane, Cuddington, Aylesbury, Bucks HP18 0AX 27 Redlands Lane, Emsworth, Hants PO10 7UT Blue Neb Studios, 18 Newcroft, Saughall, Chester, Cheshire CH1 6EL Saltflats Cottage, Rockcliffe, Kirkcudbrightshire DG5 4QQ 10 Sharpley Close, Fordingbridge, Hampshire SP6 1LG 2 York Rise, Orpington, Kent BR6 8PR 6 Rathbourne Croft, Nethergreen, Parwich, Ashbourne, Derbyshire DE6 1QH 46 Western Avenue, Barton on Sea, New Milton, Hampshire BH25 7PZ The Laurels, The Green, Winthorpe, Nottinghamshire NG24 2NR 2 Ivory Court, Langriggs, Haddington, East Lothian EH41 4BY Nedier Cottage, Evie, Orkney, Highland KW17 2PJ
ASSOCIATE MEMBERS Johnson, Richard Kokay, Szabolcs Manning, Julia Sinden, Chris Smith, Jane Sweeney, Jason
168 Kendal Way, Cambridge, Cambridgeshire CB4 1LT Facanos Utca, 14-1, Hungary - 1213 2 Rosebank, Queen Street, Keinton Mandeville, Somerset TA11 6EQ 47 Colliers Field, Cinderford, Gloucestershire GL14 2SW Cariel, Kintallen, Tayvallich, Lochgilphead, Argyll PA31 8PR Millhouse, Eyemouth, Berwickshire TD14 5RE
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SWLA Friends
The SWLA Friends scheme was set up to encourage involvement from people who have an interest in art and the natural world. Funds raised from the Friends’ support will help to ensure that the SWLA continues to offer bursaries and opportunities for young and emerging artists and will enable the Society to explore new relationships between artists and conservation organisations. In the 20 years since its inception our Bursary scheme has awarded over 80 bursaries to artists who have needed support with a project or help with new skills and techniques for their artistic development. Currently we offer places on the Seabird Drawing Course (pg 56) which is a marvellous way of mentoring artists during an intense course of field working. In addition we accept applications for general bursary proposals from individuals who need help with specific projects or skills. We are also delighted to announce that the Wildlife Trusts are re-launching their Underwater Art Award. This gives an artist the opportunity to become an open water scuba diver and the chance to create work in response to the marine life off our UK coasts (pg 65). The BTO/SWLA Artists to Africa Project (pg 28) is an exciting collaboration that shows how artists can work with other organisations to help bring conservation and research stories to a much wider audience. With your support we can expand on these opportunities and increase our projects so that the enthusiasm, expertise and talents of our artists can go even further.
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Become a Friend of the SWLA and not only will you be helping to nurture artists inspired by the natural world you will also enjoy the following privileges: 1 Attend the private view of the annual exhibition and enjoy a buffet lunch 2 Free entry to exhibitions and lectures arranged by the Society and admit a limited number of guests 3 Receive a Friends newsletter biannually 4 Opportunity to take part in visits to member artists’ studios 5 Receive discounts on events, workshops and courses offered by the SWLA 6 Friends will be entered into a ballot where a proportion of the subscriptions will be devoted to the purchase of a work from the annual exhibition. The successful Friend will be told the amount available (currently £250) and invited to select his or her work from the show. ENROLMENT AS A FRIEND OF THE SOCIETY OF WILDLIFE ARTISTS Become a SWLA Friend during this year’s exhibition for £17 which will cover the remainder of this year and 2015. The subscription will increase to £20 from 1st January 2015. In addition we are offering new Friends who enroll at the exhibition the opportunity to buy a signed copy of The Natural Eye, Art Book One for £17 (retail price £20). Please ask for an enrolment form at the front desk if you are at the exhibition. Outside of the exhibition please visit www.swla.co.uk to download an enrolment form. Alternatively write to us with your name, address, telephone number and email address including a cheque for £20 made payable to ‘The Society of Wildlife Artists’. The Hon Secretary - Friends, The SWLA, 17 Carlton House Terrace, London SW1Y 5BD
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SWLA GALLERY EVENTS
CHRIS ROSE Thursday 30th October, 11.30am and 2.30pm; an illustrated talk by Chris Rose on his work, inspirations and methodology. He will show how he builds a picture from the first inspiration and field sketches, through compositional drawings to the execution of the final studio work with images of the step-by-step building of the painting. 1 hour. FREE PORTFOLIO DAY Thursday 30th October. Led by Harriet Mead PSWLA alongside Chris Rose and Michael Warren. FREE PRESIDENT’S TOUR Thursday 30th October, 12.30pm. Harriet Mead will give an informal tour of the show. 45 minutes. FREE BTO/SWLA MIGRATION PROJECT Saturday 1st November, 10.30am and 1.30pm; the BTO (British Trust for Ornithology) and SWLA will offer a talk about the Migration Project (pg 28). Dr Phil Atkinson from the BTO will give a little background about the science and techniques that have been used to monitor birds, including the satellite-tagging of migrating cuckoos. Robert Greenhalf, Bruce Pearson, Greg Poole and Esther Tyson, the four artists who visited Senegal in January to look at the wintering areas, will talk about the experience and chat about the work that they have produced. Approx 2 hrs-discretionary donation. Booking required: Contact Samantha Graham in the BTO Membership Team Tel. 01842-750050 or email membership@bto.org. DRYPOINT WORKSHOP Sunday 2nd November, 10.30am – 4.30pm; a full day drypoint printing workshop with Bruce Pearson and Greg Poole. An additional materials package is provided and you will be guided through the process of creating drypoint prints by these two expert tutors. £60 (less Friends 10% discount = £54) HARRIET MEAD Thursday 6th November, 3pm; Harriet Mead will give a talk about the Wildlife Trusts’ Diving Bursary and her experiences of learning to dive, drawing underwater and producing the final, found scrap metal sculptures for which she is so well known. 1 hour – FREE
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DARREN REES, PICTURES FROM LIFE Friday 7th November 2.30pm; an illustrated talk by Darren Rees on his work that reflects his many travels to the Arctic, Yellowstone, Ecuador and more. 1 hour. FREE LINOCUT WORKSHOP Sat 8th November, 10.30am - 4.30pm; a full day lino-cutting workshop with Robert Greenhalf and Max Angus. Spend the day learning how to produce linocuts and exploring some of the many different techniques of this form of print-making with two of the SWLA’s finest exponents of the art. NOW FULL MONOPRINTWORKSHOPSun9thNovember,10.30am–4.30pm; a full day monoprinting workshop with Greg Poole and Kim Atkinson. Materials are provided and you will be guided through the process of creating monoprints by these two expert tutors. £50 (less Friends 10% discount = £45) We are very grateful to Intaglio Printmaking for their help in providing the press for the printmaking workshops. To book a place on the workshops please email Darren Rees darrenreesart@btinternet.com or call him on 01786 870538. You do not have to be a Friend of the SWLA to attend. Throughout the exhibition there will be at least one SWLA member artist in the gallery available for advice and to answer questions.
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Andrew Stock Choughs above Gargellen Watercolour and gouache 12
SWLA THE NATURAL EYE 2014 £
Jane Ackroyd
1
Burrowing Owl - desert sand
Steel for bronze
7,800
Carry Akroyd SWLA
2
u/f
Avocets
Serigraph (ed. of 10)
340
225
3
Cuckoo
Serigraph (ed. of 12)
485
325
4
Dunes
Serigraph (ed. of 12)
485
325
5
Granite, Gannet, Annet
Serigraph (ed. of 8)
885
650
6
Kestrel
Serigraph (ed. of 11)
340
225
7
Peregrine
Serigraph (ed. of 10)
340
225
8
Shelduck
Serigraph (ed. of 12)
340
225
9
Trees by the loch
Serigraph (ed. of 8)
885
650
Jim Anderson RE
10
Sargasso
Lino & collograph (ed. of 10)
500
350
Max Angus SWLA
11
Alexanders and the racing Hares - North Norfolk
Linocut (ed. of 45)
325
260
12
Cley shingle bank - Cley, North Norfolk
Linocut (ed. of 45)
310
250
13
Cuckoo and the water meadow - Holt, North Norfolk
Linocut (ed. of 45)
310
250
14
Kim Atkinson SWLA
Sailing against the tide - Burnham Overy Staithe
Linocut (ed. of 45)
350
280
15
Winter dunes - Holme Next The Sea, North Norfolk
Linocut (ed. of 45)
290
240
16
Winter House Sparrows - garden at home
Linocut (ed. of 45)
240
190
17
Woodcock pilots (Goldcrest) - North Norfolk
Linocut (ed. of 45)
250
200
18
)ORRGHG ¿HOGV
Woodcut (ed. of 7)
575
500
19
*ROG¿QFKHV DQG WHOHJUDSK SROHV
Relief print (ed. of 2)
450
20
Gulls and Oystercatches, Porth Neigwl
Gouache & acrylic
680
21
Linnets
Oil
540
22
Sow Thistle Summer
Gouache & acrylic
580
23
Whimbrel bathing
Monoprint
580
24
Whitethroat and St Mark's Flies
Oil
540
13
ยฃ Peter Barker
25
Cob and pen
Oil
2,500
Pippa Barrow
26
Nautilus
Bronze resin (ed. of 12)
800
Nicola Beaumont
27
Just passing through
Reduction lino print (ed. of 18)
320
Susan Berry
28
Otter, smooth water
Watercolour
470
Adam Binder SWLA
29
Fourteen Long-tailed Tits
Bronze (ed. of 9)
18,500
30
Little Owl II
Bronze (ed. of 24)
2,900
31
Sparrowhawk
Bronze (ed. of 12)
4,800
32
Twelve sparrows
Bronze (ed. of 9)
18,500
33
Two Long-tailed Tits
Bronze (ed. of 24)
2,650
34
Two sparrows
Bronze (ed. of 24)
2,700
35
Cranes in strong back light
Watercolour & gouache
480
36
Peace for one moment (3 young Grey Herons in their nest)
Watercolour & gouache
380
Nicolas Borderies
37
Chameau Sauvage de Tartarie
Oil
900
Mark Boyd
38
Stacked
Acrylic collage
330
39
Swimmers
Acrylic collage
300
Philip Burton SWLA
40
Lapwings at Llangwyfan
Acrylic
500
John Busby SWLA
41
Was that a Peregrine?
Oil
3,500
Fiona Clucas SWLA
42
Angels on the Moss, Lords Plain
Mixed
700
43
Caerlaverock Winter I
Mixed
900
44
Caerlaverock Winter II
Mixed
900
45
May, Dallam Bridge
Mixed
500
46
Mist clearing, Lords Plain
Mixed
500
47
Three graces, Lords Plain
Mixed
750
48
Roly poly
Black serpentine stone
1,260
Stefan Bรถnsch
Anine Cockwell-De Jong
14
u/f
150
Antonia Phillips Fulmar flight Monoprint 15
Kim Atkinson Whitethroat and St Mark’s Flies Oil 16
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u/f
John Patrick Coffey
49
Oceanodrome; Leach’s Petrels and Shearwater
Ink & watercolour
450
Daniel Cole SWLA
50
Avocets
Oil
725
51
Long-tailed Tits
Oil
445
52
Redshank and three Starlings - Seahouses
Oil
625
53
Two Crows and approaching shower
Oil
1,700
Simon Conolly
54
Murmuration of Starlings
Stoneware
695
David Cook
55
Emperor Goose
Multi-layered paper cut
600
Rebecca Cotton
56
Bird journey over Uist 1
Chalk & charcoal
800
57
Bird journey over Uist 2
Pastel, chalk & charcoal
800
58
At high water
Oil
395
350
59
High in a heathland Pine
Oil
795
740
60
Moving North (Grey Whales)
Oil
795
740
61
Room for one more?
Oil
395
350
62
South Stack Peregrine
Oil
395
350
63
South Stack, Anglesey
Acrylic
395
350
64
Towards Ellens Tower, Anglesey
Acrylic
395
350
65
Turtle
Oil
795
740
66
&KDIÂżQFKHV 7UHH 6SDUURZV DQG :KLWH :DJWDLO
Acrylic
800
67
Garganey, Snipe and Water Pipit
Acrylic
800
68
Lesser Peckers
Collage & acrylic
700
69
Pagney in Spring
Collage & acrylic
900
70
Spotted Crake
Collage & acrylic
700
71
Summer Curlew Sandpiper
Collage & acrylic
900
72
Tree Scruff (Three-Toed Woodpecker)
Acrylic
1,500
Leo du Feu
73
Coot quarrels
Acrylic
600
Caitlin Eakins
74
Natterjack Toad
Bronze (edition of 25)
650
75
Snail
Bronze (edition of 25)
695
John Davis SWLA
Nick Derry SWLA
17
£ Brin Edwards SWLA
76
Eiders and Sand Martins
Oil
1,150
77
High Summer
Oil
1,350
78
Marsh Tits, Longtails and Teasels
Oil
1,200
79
Oystercatcher Laminaria
Oil
1,150
80
Roe Deer and Willowherb - Cowlin's Wood
Oil
1,400
81
Sandwich Tern and Redshank
Oil
850
82
Springtime hedgerow
Oil
1,250
83
Wylfa Terns
Oil
1,500
Victoria Edwards SWLA
84
Over Lilies
Mixed
650
Carl Ellis SWLA
85
Rudd drawing 1
Wax oil pastel
300
86
Rudd drawing 2
Wax oil pastel
300
87
Rudd drawing 3
Wax oil pastel
300
88
Summer Rudd 1
Oil
450
89
Summer Rudd 2
Oil
450
90
Summer Rudd 3
Oil
450
91
Summer Rudd 9
Oil
450
92
Summer Rudd 12
Oil
450
93
A quiet day at St Abb’s
Watercolour
400
94
A view from the Old Chapel, Bass Rock
Conté & watercolour
400
95
End of season gathering, Marble Cliffs, Trevone
Watercolour & pastel
400
96
Billy Wix
Linocut (ed. of 20)
200
97
(YHQLQJ 7KLVWOH¿QFK
Oil
580
98
Mothhawk
Oil
450
99
Two Rooks in orange
Oil
450
100
Yellowhammers in Hag House hedge
Oil
450
Barbara Foster ARBS
101
Emily Crag
Ciment fondu
2,750
Lucy Garrett
102
Masked Boobies, Ascension Island
Linocut (ed. of 10)
260
Federico Gemma SWLA
103
Blackcap on Pittosporum
Watercolour
530
Nick Elton
John Foker
18
u/f
100
Beatrice von Preussen Female Newt Etching and painting 19
Carl Ellis Rudd drawing 2 Wax oil pastel 20
£ Federico Gemma SWLA
u/f
104
Dunlins at sunset - Orbetello Lagoon, Tuscany
Watercolour
550
105
Dunlins in Wintertime - Orbetello Lagoon, Tuscany
Watercolour
600
106
Flamingos landing, Tarquinia Salt Pans, Latium
Watercolour
420
107
Flycatcher in Olive tree, Tuscany
Watercolour
400
108
Peregrine Falcon perched on an old dead tree
Pencil & charcoal
520
109
Red Foxes sketches
Watercolour
390
110
Whinchat, Giglio Island, Tuscany
Watercolour
600
111
Blackthorn Blackbird
Linocut (ed. of 85)
275
250
112
King Penguins
Linocut (ed. of 22)
285
260
113
Poppycock
Linocut (ed. of 85)
275
250
114
Arctic Terns
Woodcut (ed. of 100)
195
130
115
Avocets and Black-headed Gulls
Woodcut (ed. of 100)
195
130
116
Brents and Lapwings
Woodcut (ed. of 100)
195
130
117
Curlews
Oil
580
118
&XUOHZV DQG ¿VKLQJ 7HUQV
Oil
650
119
Flamingos and Pintails
Woodcut (ed. of 100)
195
130
120
High tide
Woodcut (ed. of 100)
195
130
121
Linnets
Woodcut (ed. of 100)
195
130
122
Raven 1
Ceramic
1,400
123
Raven 2
Ceramic
1,400
Michael Hampton
124
Black Swan event
Watercolour
2,000
SWLA CAS
125
Coot under Dogwood, Kent
Watercolour
300
126
Grebe family, Surrey
Watercolour
380
127
Rescued Koala, Adelaide, S. Aus
Watercolour
430
128
Suburban Kookaburra, Adelaide
Watercolour
550
129
Bear
Monoprint on watercolour
400
130
Macaque
Etching (ed. of 3)
250
Robert Gillmor SWLA IEA
Robert Greenhalf SWLA
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Jack Haslam
Andrew Haslen SWLA
131
Halcyon
Linocut & watercolour
275
132
Hare and Rook
Linocut & watercolour (ed. of 40)
600
200
21
£ Andrew Haslen SWLA
u/f
133
Havergate Hare
Linocut & watercolour (ed. of 40)
275
134
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Linocut & watercolour (ed. of 75)
275
135
Three Snipe
Linocut & watercolour (ed. of 40)
395
136
Woodcock in Winter
Linocut & watercolour (ed. of 50)
275
Kendra Haste SWLA
137
Bottlenose Dolphin
Galvanised wire
4,000
John Hatton
138
Gannets
Linocut (ed. of 14)
200
155
139
Green Plover
Linocut (ed. of 10)
200
155
140
Tommy Noddies
Linocut (ed. of 17)
200
155
141
Tufted drakes
Linocut (ed. of 15)
200
155
Paul Hawdon
142
Spider
Etching (ed. of 40)
285
235
Stephen Henderson
143
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Bleached driftwood
795
144
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Quebec pine and driftwood
3,250
145
Commas in the right place
Acrylic & collage
480
146
Dunlin at Titchwell
Oil
680
Chris Hicks
147
Somerset Summer
Block print (ed. of 10)
125
Chris Hindley
148
Courting Grebes
Painted wood
1,600
149
6WUHWFKLQJ 3XI¿Q
Painted wood
850
150
Invited guests
Reduction linocut (ed. of 24)
250
200
151
Slavonian Grebe
Hand coloured linocut (ed. of 25)
210
170
152
The hunter
Monotype/collage
450
153
Avocets - Burwell Fen
Watercolour
700
154
Barn Owl - evening meadow
Watercolour
890
155
Garganeys - Burwell Fen
Watercolour
890
156
Glaucous Gull - Milton, Cambridge
Watercolour
450
157
Sleeping Shoveler - Burwell Fen
Watercolour
650
158
Kittiwake colony
Ink & wash
350
Russ Heselden
Lisa Hooper
Richard Johnson ASWLA
Kittie Jones
22
95
Tim Wootton Stack of Eiders Watercolour 23
Richard Tratt Red Admiral and Painted Lady Oil 24
£ Kittie Jones
Faisal Khouja Szabolcs Kókay ASWLA
David Koster SWLA
Jonathan Latimer
Rachel Lockwood SWLA
Melanie Mascarenhas
Emerson Mayes
Harriet Mead PSWLA
159
Morus Bassanus I
Pencil & ink
295
160
Morus Bassanus II
Pencil & ink
295
161
Shags and young
Monotype
550
162
Three Shags, Fast Castle
Mixed
350
163
Water Lilies
Linocut (ed. of 70)
300
u/f
120
164
Brown Sicklebill
Oil
1,450
165
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Watercolour
380
166
0DJQL¿FHQW %LUG RI 3DUDGLVH ¿HOG VNHWFK
Watercolour
380
167
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Watercolour
380
168
Flamingos
Lithograph (ed. of 9)
350
250
169
Peacocks and Peonies
Lithograph (ed. of 5)
350
250
170
/LIH RQ WKH OHGJH 3XI¿QV
Acrylic
750
171
Working the paddies (Goa)
Acrylic
1,450
172
Deep in the forest
Oil
3,000
173
Hunters
Oil
3,400
174
Quiet wood
Oil
3,400
175
'DPVHOÀLHV WKH DQJOH RI UHVW
Charcoal, ink, tea & pastel
450
176
'DPVHOÀLHV WKH GDQFH
Charcoal, ink & tea
410
177
Moving through the orchard
Drypoint & goldleaf (ed. of 12)
475
425
178
:LQWHU *ROG¿QFKHV
Drypoint & goldleaf (ed. of 12)
375
320
179
Chainsaw frog
Found object steel
950
180
Drill tailed squirrel
Found object steel
1,950
181
Leaf rake boar
Found object steel
3,000
182
Rake ribbed Caracal
Found object steel
NFS
183
Sawblade Hare
Found object steel
2,500
184
Scissor Green Woodpecker
Found object steel
1,950
185
Spanner backed Hare
Found object steel
1,500
25
Carry Akroyd Cuckoo Serigraph 26
Andrew Haslen Hare and Rook Linocut and watercolour 27
BTO Studying migration
The arrivals and departures of summer migrants, such as Swallow, House Martin and Cuckoo, hint at the changing seasons and deliver a sense of connection with distant lands. In January 2014, a team of four SWLA artists accompanied the BTO’s Head of International Research on a trip to Senegal. By bringing artists and scientists together we set out to raise the profile around some of the issues facing our African migrants. As part of this year’s Natural Eye show we are delighted to be able to present some of the work from this wider project. The BTO is working to understand why populations of many migrants are in decline. By bringing together studies here in the UK, with fieldwork in Africa and new tracking technologies that follow the birds on their migratory journeys, we hope to provide the answers needed to support conservation efforts to halt these declines. Our use of satellite-tracking has already revealed new information on the routes that our Cuckoos use during migration and identified the sites where they winter and stopover to fuel up before crossing the Sahara. See www.bto.org/cuckoos Migration provides a powerful story for wider engagement with the research needed to identify why summer migrants are being lost. While we tend to think of these summer visitors as ‘our’ birds, most of them are only here for a short part of the year. Our satellite tags have revealed that a male Cuckoo may only spend five or six weeks here each summer, highlighting that we need to look across political boundaries if we are to understand the causes of decline. Much of the BTO’s work on migrants has been funded through the generosity of individuals – we have 1,842 Cuckoo Sponsors, for example – and initiatives like Artists to Africa provide a way of increasing this engagement further. The 2014 trip to Senegal took the team to a part of West Africa where significant populations of our summer migrants spend the winter. Migrant waders, like Turnstone, Whimbrel and Wood Sandpiper, make use of the tidal wetlands near St. Louis in the north-west of Senegal, while the world-famous Parc National des Oiseaux du Djoudj holds hundreds of thousands, if not millions, of Sand Martin and high numbers of Sedge Warbler, Yellow Wagtail, Garganey and Chiffchaff. How many of our summer migrants return to Britain to breed will be influenced, at least in part, by what happens to the habitats used on these African wintering grounds.
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BTO Artists to Africa
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BTO Where art and science meet
Bringing together artists and scientists delivers different perspectives on the same scene. Both artist and scientist question what they see and engage fully with the landscape and birds around them, yet they look with different eyes. The trip was a learning experience for all those involved. For Phil Atkinson, the BTO’s Head of International Research, this was an opportunity to see the landscape in a different way; for the four artists, Robert Greenhalf, Bruce Pearson, Greg Poole and Esther Tyson, this was an opportunity to learn the context around what they were seeing and sketching. Why did the landscape look the way that it did? What were the birds doing and how were changes in the habitats here influencing their populations? While science can provide the all-important evidence upon which conservation decisions and policy can be made, it is our emotional attachment to wildlife that will ultimately drive forward conservation action. Art and science are key players in delivering effective conservation action for migrants and other wildlife. The artwork from this trip will form part of a book on migration and the issues affecting our declining summer migrants. Alongside the artwork will be a narrative that brings together scientific understanding with more personal stories around the wonder of migration. The book is due to be published in 2016.
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BTO A generous gift and lasting legacy
The January 2014 trip was made possible because of the generous legacy left by Penny Hollow and the kindness of her executors. Penny, a long-standing BTO member, was a regular at SWLA exhibitions, a great supporter and a lay member of the society. The bringing together of artists and scientists to raise the profile of our African migrants is a fitting tribute to her interests. During 2015, the BTO and SWLA will be encouraging member artists to document summer migrants on their British breeding grounds. While many of these artists will be working on their local patches, portraying the species they know well, we hope others will take up opportunities to see our birds in other places. Who will rise to the challenge of chest waders and the opportunity to sketch Reed Warblers and Cuckoos in the nest or to see bird ringers in action at a coastal bird observatory? We also plan to catch up with some of our Cuckoos when they stop to refuel in Italy.
31
Robert Greenhalf Out of the Frame
I have always enjoyed seeing familiar birds in unfamiliar places and have often wondered about their final destination. So this for me was a quest for the familiar in the unfamiliar setting of sub-Saharan Africa, the place where many of “our� birds spend most of their lives. At the Djoudj in the north of Senegal, where we spent several days, I naturally gravitated to the wetland areas. The Grande Lac is a shallow seasonal lake, still massive in January, but usually dry by June. Tens of thousands of Pintails, Shovelers and Whistling ducks were up-ending amongst Flamingos. Ruffs, Black-tailed Godwits, Marsh Sandpipers and Stilts fringed the muddy margins. Sand Martins were also present in huge numbers. On 22nd January the sky seemed full of them, horizon to horizon, there must have been millions. Mostly though, I worked in the more intimate surroundings of the Lac de Gainth. Much smaller, with its surface covered with water lilies and surrounded by trees, it had a very different character and species. A platform hide provided both an elevated viewpoint and all important shelter from the midday sun. Chiffchaffs and Sedge Warblers fed feverishly in the tamarisks next to the hide, Yellow Wagtails picked insects from the water lilies alongside Jacanas and Squacco and Purple Herons. Waders were attracted to a muddy patch, Black-winged Stilts, Black-tailed Godwits, Ruffs, Green and Common Sandpipers and Redshanks. Above them in the trees sat Cormorants and Darters, Pied Kingfishers and Blue- cheeked Bee-eaters.
32
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34
Bruce Pearson Out of the Frame
As well as ‘going there’ and a ‘coming back’ every one of the multitudes of millions of migrant birds that ebb and flow with the seasons between European breeding grounds and wintering areas in Africa there also has to be a ‘journey’s end’. A spiky bush, a thorny thicket, a patch of stony ground, a leafy canopy, a pond, a marsh or a stream - or whatever corner of habitat each bird needs to feed and survive. Trying to capture something of the life of migrant birds, and the essential elements in the landscape where they end their journeys was my focus for two weeks in Senegal last February. Offshore and among the coastal scrub, brittle savannah, flowing marshes, hard agricultural landscapes and drylands of the Sahel were some graphic connections birds make between landscapes, places and cultures. On the coast I watched European Storm-petrels streaming over the water as a seething mass of boats and people gathered along the shore as the day’s catch was traded in the evening light, the vista shrouded in columns of familiar terns from Europe and local species all stirred together by marauding Pomarine Skuas. Buried in every thorn bush was a Phylloscopus warbler with a local prinia or weaver alongside. Northern Wheatears flitted from boulders and dung piles snatching insects from the ground between Cream-coloured and Temminck’s Coursers in the fierce sunlight their movements only betrayed by their rippling shadows over the ground. The entire experience was an inspirational juxtaposition of species, places, light and colour.
35
Greg Poole Out of the Frame
The warblers were skulking...but because they moved more slowly they weren’t too difficult to watch. Chiffchaffs that would have been quick flicking around the willows in spring over here were much slower... leaner looking. Phil told us that Whitethroats might have just one acacia bush as their winter home... that would be their territory and they might even return to that same bush in successive years. So you had the sense of the European population of Whitethroats spread out, one to a bush across this belt of Sahel which crosses the continent. On the plain three stand out charismatic species, the Chestnut-bellied Sandgrouse and the two spp. of courser. Variants on sandy coloration... from the orange sand as freshly dug by ants to the bleached straw of the grass... umber dung... raised patches of ground make very low conical mound blown clean to plaster... same colour as the breast of the sandgrouse... around the scapular spotting is the loden dung colour... with the spots themselves fine spun gold... think the leading (lower edge of the folded wing was the same colour...) so as if seeing through the bird to the soil below. Constant stream of Sand Martins and then waves of Yellow Wagtails pouring west into orange sky, dry ground gives off warm glow, silhouettes of acacias... their leaves folded changing their character... filigree’d, closing shop to the intense sun. Crowned Cranes calling loudly ...
36
37
38
Esther Tyson Out of the Frame
We landed in Brussels with a jolt and the flight to Dakar was turbulent! But we arrived in just over 6 hours with a long queue through immigration. Very dark and handsome people, straight forward “TYSON?” It’s good to be back in Africa! We are back at the lake in Djoudj and I’ve set up under a small scrubby acacia to glean what shade I can. The sun is already high and it’s hot! It is peaceful sitting, waiting, as I mix the colours and take in my surroundings, the wind whips up little sand squalls then quietens. I already paint with sand and I’ve already eaten far too much sand! There’s movement to my left, a Jackal! It’s lame in its back right leg and watches me as it passes – I’ve seen Jackals before but this is more, wolf? He’s captivating. I get back to the task at hand, Wheatear, I’ve spent a lot of time watching these guys in the back fields behind the old cottage at Pencilmaren (South Wales) and it’s pretty good seeing them in their winter grounds. She moves back and fore catching insects, standing atop poo, an old brick, a dead branch, foraging again. A moment in the shade of a tree, a dust bath and more foraging. Superb! A pair of Little Bee-eaters swap places on the dead branch, they flit and return over a half-hour period and move over to the trees edging the lake.
39
John Busby Was that a Peregrine? Oil 40
Darren Rees Hoopoe, light study Watercolour 41
£ Harriet Mead PSWLA
186
Tack hammer deer
Found object steel
795
Stephen Message
187
Bewick's Swans
Oil
1,600
Denise Mitchell
188
Kookaburra
Watercolour
550
Jill Moger SWLA SWA RMS
189
Caiman Lizard
Stoneware
1,400
190
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Stoneware
1,200
191
Tuatara
Stoneware
1,000
192
Uromastyx
Stoneware
1,100
193
In tangle
Acrylic
1,850
194
Sanderling
Acrylic
1,850
195
Great Bustards
Pastel
700
196
November Starlings
Watercolour
700
197
White Pelicans
Oil
1,500
198
Flight of Manta Rays
Bronze (ed. of 8)
4,750
199
Grey Seals
Bronze (ed. of 18)
2,750
Dawn Painter
200
Roesel's Bush Crickets
Watercolour, pen & pencil
300
David Parry SWLA
201
Bengal Tiger
Pencil
1,200
202
Frog
Pencil
300
203
One big yawn
Watercolour
2,600
204
Spring Hare
Pencil
440
205
Woodcock
Pencil
350
206
Barn Owl - full moon
Oil
2,750
207
Godwit, Dunlin and Shelduck
Oil
395
208
Hare and two Partridges
Oil
750
209
Hare in Autumn
Oil
1,500
210
Long-eared Owls
Etching (ed. of 50)
120
211
Otter emerging
Bronze (ed. of 12)
1,250
212
Oystercatchers and Herring Gull
Oil
395
William Neill SWLA
John Paige SWLA
Nicolas Pain
Peter Partington SWLA
42
u/f
95
Kittie Jones Shags and young Monotype 43
Brin Edwards Wylfa Terns Oil 44
£
u/f
Peter Partington SWLA
213
Resting Lapwing
Oil
1,950
Bruce Pearson SWLA
214
$ ÀXUU\ RI 6QRZ 3HWUHOV
Watercolour & mixed
3,750
215
Antarctic Minke Whale and Wilson's Storm Petrels
Watercolour
425
216
Breaching Humpback, Southern Ocean
Watercolour
425
217
Fin Whale and seabirds, Southern Ocean
Watercolour
425
218
Killer Whales and Wilson's Storm Petrels, Antarctica
Watercolour
425
219
Senegal shoreline
Relief print (ed. of 24)
450
375
220
Through the reeds
Relief print (ed. of 24)
475
395
221
Wintering migrants, West Africa
Watercolour & mixed
3,750
222
At low tide
Monoprint
195
223
Flock by land and sea
Monoprint
195
224
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Monoprint
385
225
Oystercatcher only
Monoprint
275
226
Standing birds, running tide
Monoprint
385
227
Suncliff and cove
Monoprint
195
228
The glider
Monoprint
385
229
To the coast again
Monoprint
375
230
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Mixed
450
231
Short-eared Owl 1
Monotype
500
232
Short-eared Owl 2
Monotype
500
233
Short-eared Owl 3
Monotype
550
234
Short-eared Owl 4
Monotype
500
235
Black-headed Gull and waves
Woodcut (ed. of 30)
320
220
236
Heron and reeds
Woodcut (ed. of 30)
320
220
237
Senegal - Wheatear, Sandgrouse and Sand Martins
Acrylic
750
238
Senegal 2
Mixed
850
239
Senegal 3
Mixed
850
240
Senegal 4
Mixed
850
241
Senegal 5
Mixed
850
242
Teal and Little Egret
Mixed
750
Antonia Phillips SWLA
Nik Pollard SWLA
Greg Poole SWLA
45
ÂŁ Kit Price Moss
John Reaney SWLA
243
Kittiwake and chick I
Charcoal
325
244
Kittiwake and chick II
Charcoal
325
u/f
245
Down the lane
Watercolour
525
246
Not quite Autumn
Watercolour
525
247
Winter Buzzard
Watercolour
550
248
Burgerbukta colony
Acrylic
650
249
Ceibas, Bromeliads and Parakeets
Watercolour
550
250
Feeding time, Riding Mountain
Watercolour
550
251
Hoopoe, light study
Watercolour
375
252
Pipit and Cottongrass
Oil
650
253
Rothiemurchus Pines and Red Squirrel
Watercolour
550
254
Short-eared Owl, Genovesa
Watercolour
375
255
Winter Magpie
Acrylic
650
Chris Rose SWLA
256
Redshank
Oil
8,000
Kenneth Sachar
257
Elephant 2
Soapstone
2,490
'DÂżOD 6FRWW 6:/$
258
Barnacle Geese, Winter afternoon
Pastel
720
259
Bewick's and Whooper Swans feeding on winter wheat
Pastel
720
260
Crimson-breasted Shrike, Kalahari
Pastel
320
261
Eland in the dry dusty Kalahari at midday
Pastel
720
262
Heron and two Egrets resting at high tide
Oil
820
263
Pair of Bat-eared Foxes foraging at sundown
Pastel
525
264
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Pastel
720
265
Wildebeest at dusk
Oil
940
266
Disturbance
Linocut (ed. of 25)
240
205
267
Goldeneye in the Straits (Sogne)
Linocut (ed. of 25)
220
195
268
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Linocut (ed. of 19)
295
260
269
Great Spotted Woodpecker
Linocut (ed. of 22)
295
260
270
Nesting on the edge
Linocut (ed. of 21)
310
275
271
Winter Heron
Linocut (ed. of 30)
295
260
Darren Rees SWLA
Chris Sinden ASWLA
46
Matt Underwood Moving on Woodblock 47
Barry Sutton The Bushmans’s clock Ceramic 48
ÂŁ Andrew Stock PPSWLA RE
272
Choughs above Gargellen
Watercolour & gouache
2,200
Barry Sutton SWLA
273
Athene
Ceramic
1,595
274
Rhinoceros Unicornus
Ceramic
1,695
275
The Bushman's clock
Ceramic
1,490
276
The silent watcher
Ceramic
3,960
277
Troglodyte IV
Ceramic
360
278
Troglodyte V
Ceramic
360
279
Troglodyte VI
Ceramic
460
Michael Taylor
280
‘Spy-hopping' Minke Whale
Ceramic & stone
385
Jennifer Tetlow
281
Pine Marten
Yorkstone
3,000
282
Pollywogs (tadpoles)
Polyphant (Cornish soapstone)
1,400
Richard Thewlis
283
Gannets at Bass Rock
Watercolour
1,950
John Threlfall SWLA
284
Big voice
Oil
1,200
285
Downstream
Pastel
780
286
Guillemots
Pastel
580
287
Razorbill
Pastel
880
288
Shoreline Martins
Mixed
440
289
Summer wetland
Pastel
680
290
Tide out
Pastel
540
291
Whoopers
Pastel
740
292
Common Blues, male and female
Oil
395
293
Gatekeepers
Oil
360
294
Green-veined Whites
Oil
395
295
Marbled White and Common Blues
Oil
695
296
Red Admiral and Painted Lady
Oil
345
297
Summer visitor, The Clouded Yellow
Oil
695
298
The Dark Green Fritillary
Oil
560
299
The nectar site, Tortoiseshell
Oil
420
Richard Tratt SWLA
u/f
49
£
u/f
Alessandro Troisi
300
Finland Ospreys sketchbook
Pencil
1,000
Simon Turvey SWLA
301
Bearded Tits
Watercolour
485
302
Brown Hare
Watercolour
985
303
*ROG¿QFKHV
Oil
595
304
Great Spotted Woodpecker
Oil
785
305
Grey Wagtail
Oil
895
306
Red Fox
Watercolour
895
307
Wildcat
Watercolour
485
308
Wren and Bluebells
Oil
1,235
309
House Sparrow, dust bath
Oil
600
310
House Sparrow, dust bath 2
Oil
600
311
House Sparrow, dust bath 3
Oil
600
312
House Sparrow, dust bath 4
Oil
600
313
House Sparrow, dust bath 5
Oil
600
314
House Sparrow, dust bath 6
Oil
600
315
Manor Farm, bailer
Oil
1,500
316
Manor Farm, cow shed
Oil
1,500
317
Amelia's garden
Woodblock print (ed. of 60)
180
120
318
Harvest sparrows
Woodblock print (ed. of 60)
180
120
319
Ivy Wren
Woodblock print (ed. of 60)
180
120
320
Magnolia
Woodblock print (ed. of 30)
280
230
321
Moving on
Woodblock print (ed. of 30)
380
330
322
Sleepy Tawny Owl
Woodblock print (ed. of 60)
180
120
323
Spring Woodcock
Woodblock print (ed. of 30)
350
300
Jilly Vainer
324
Winter slumber (Dormouse)
Bronze (ed. of 10)
750
Barry van Dusen SWLA
325
American Tree Sparrows
Watercolour
450
326
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Watercolour
375
327
Pine Grosbeaks and Bittersweet
Watercolour
450
328
Tennessee Warbler and apple blossoms
Watercolour
450
Esther Tyson SWLA
Matt Underwood SWLA
50
John Paige White Pelicans Oil 51
Szabolcs K贸kay Brown Sicklebill Oil 52
£
u/f
Katrina van Grouw
329
Pegwell Bay, Kent - recollection of March 4th 2011
Drawings as digital print (ed. of 100)
550
400
Cyril Vickers
330
Old brown eyes
Etching/aquatint (ed. of 10)
395
350
Beatrice von Preussen
331
Female Newt
Etching & painting
210
Michael Warren SWLA
332
Firecrest
Watercolour
875
333
+DZ¿QFKHV
Watercolour
1,250
334
Northern Parula
Watercolour
525
335
Pallas's Warbler
Watercolour
525
336
5HG ÀDQNHG %OXHWDLO
Watercolour
525
337
Siberian Stonechat
Watercolour
475
338
Woodcock
Watercolour
975
339
Boar
Ceramic (ed. of 8)
2,200
340
Dromedary
Bronze (ed. of 8)
9,800
Toby Wiggins
341
Pigmy Shrew - Sorex Minutus
Oil
450
Loz Wilson
342
Aardvark
Clay oxides
350
343
Grazing
Charcoal & pencil
500
344
Plovers three
Acrylic
400
345
Rubblenest at Funton
Acrylic
900
346
The potterer
Acrylic
400
Ben Woodhams
347
Bass Rock
Watercolour
900
SWLA Bursary Winner
348
Four studies of a Heron, Nexo
Watercolour
200
349
Guillemots at St Abb’s Head
Watercolour & Indian ink
600
350
Shadows moving over a still male Peregrine, about every half hour. Vang
Watercolour
350
351
Shadows moving over a still male Peregrine, about every hour. Vang
Watercolour
350
352
Walking around The Bass, through a storm. The Gannets like X-Wing Fighters around the Death Star
Watercolour
900
Hauspeter Widrig
Mike Woodcock
53
ÂŁ Darren Woodhead SWLA
Tim Wootton SWLA
353
Blackcap in Blackthorn blossom
Watercolour
NFS
354
Early morning Lapwing
Watercolour
4,295
355
Male Stonechat studies
Watercolour
1,350
356
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Watercolour
1,850
357
Wheatear studies
Watercolour
1,350
358
A string of Fulmar
Charcoal
795
359
Light in the dark: Waxwings
Oil
650
360
One day on Papa Westray
Charcoal
950
361
Stack of Eiders
Watercolour
835
u/f
ANF/SWLA Young Artist Award Established in 1990 Artists for Nature Foundation (ANF) is a unique organisation that uses the creative output of artists producing paintings, drawings, prints and sculptures, inspired and mostly created on location by renowned and talented artists from all over the world as a medium to draw attention to the need for nature to be appreciated as an essential element of sustainable development. We are very happy to give the 2014 ANF/SWLA Young Artist Award this year to Nick Derry. Nick will be invited to our next ANF project and he will receive two of our project books of his choice. Ysbrand Brouwers Founder/Director ANF
54
Nick Derry Pagney in Spring Collage and acrylic (Detail) 55
SWLA Bursary Seabird Drawing Course working in the field
56
SWLA Bursary John Busby’s Seabird Drawing Course
The ‘Seabird Drawing Week’ began after I retired from teaching at Edinburgh Art College in 1989. Artist friends, mostly members of SWLA or ex Edinburgh students were the first to come and draw from the exciting colonies of Auks, Kittiwakes and Gannets to be seen close-up on the cliffs and islands in the Forth. Our first courses were based at Carberry Tower near Musselburgh, a Church of Scotland centre for group courses. It was more of a journey from there to North Berwick for a boat, but we also managed to include Edinburgh Zoo, lochs in the Queen’s park, and a visit to The Burrell in Glasgow to see an exhibition of Joseph Crawhall’s paintings. Moving to Blenheim House Hotel in North Berwick gave us closer access to islands and estuaries and warm hospitality provided there by Ailsa. The Bass rock is privately owned and we are greatly indebted to Sir Hugh Dalrymple for allowing us to land and draw there. In early days the Gannet population was smaller than it is today. The top of the Bass was grass covered and lighthouse keepers kept the paths to the fort and beyond clear. Now with lights automatic and no keepers, the gannets have spread everywhere with hardly space for an artist to sit down. Constant activity and noise sets all the artistic pulses racing, and over the years many of today’s wildlife artists have joined in the week. Of all the Seabird Drawing participants only one fell into the sea on landing, fortunately it was a warm day and he managed to dry himself and laugh it off. We ‘lost’ another member who went down the cliffs to search for a missing camera case. When Fred Marr’s boat arrived half full to pick us up, his absence was not noticed. I rushed back to the harbour after someone said “Where’s Martin?”. He had thumbed a lift from a passing fishing boat and was walking back to the hotel. Luckily he saw the funny side too. The funniest moment I remember was when David Measures, about to eat his sandwiches, said- “Oh good, they have put an olive in mine”. He took a big bite. The ‘olive’ was a slug! The course needed keen tutors from the start and I am so grateful to Greg Poole, Darren Woodhead, John Threlfall, Janet Melrose , Anna Kirk-Smith, David Measures, & all who taught & demonstrated their ‘ways’, and especially to Mark Boyd, who has taken over the organising. I am more than happy to see that this is our 25th Anniversary! John Busby 2014
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SWLA Bursary John Busby’s Seabird Drawing Course
Tutoring on John Busby’s Seabird Drawing Course is more like camaraderie than teaching. We’re all out there doing the same thing with our diverse approaches. We all share the thrill of being out on the cliffs or shore at the height of the seabird breeding season. Soaked in ozone, we also share the challenge of how to get anything down on paper that might represent the barrage of sensory input. There is some kind of charging of the batteries that comes from working alongside others in all weathers in such great landscape. Greg Poole 2014 The Seabird Drawing Course is quite simply one of the best weeks of my year. The energy and the enthusiasm and the focus of this like-minded group of artists is infectious and inspiring. In addition the locations that we visit are wild, exciting and spectacular. This is an opportunity to indulge our passion for working direct from nature to the full. John Threlfall 2014 Right from the word go there is the usual buzz: a clamour of suppressed anticipation, of new experiences for the new attendees, or the ‘what will this year be like’ for those who have been before. The Islands and the coast of the Firth of Forth are enchanting, exhilarating and challenging (their subjects more so!) but most of all rewarding. Nothing can replace the high of mark-making: capturing a light, an energy, a happening and the memory of that experience. There is always trepidation about having to show work in the evening but this is what really creates that swirl of energy, ideas and possibilities. Add to that, with the perils and challenges of so many of our seabirds so finely balanced, any recognition that we can give to our ever-so precious seabirds and their habitat is critically important. I see the course as an encouragement to those who are passionate about working outside/direct from the natural world, and who could possibly go on to be exhibitors at the SWLA and maybe future members eventually. As there is nothing like this anywhere else and with colleges often struggling to encourage artists to work from such intense first hand experiences, this is an amazing opportunity to start encouraging artists to work in this way. Darren Woodhead 2014 2015 Seabird Drawing Course 27th June to 4th July. For more information and to book a place on the course please contact Mark Boyd mark.boyd@zen.co.uk 01767 650904
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SWLA Bursary Seabird Drawing Course working in the field
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Kevin Jones Bursary Award 2013
When I saw the Seabird Drawing Course bursary on the SWLA website I never thought I would win it. I had been sketching for about 2 years and when I first started they weren’t very good. Through perseverance I felt I had improved but my confidence was still lacking. My hope therefore was to overcome this by working in a group of fellow artists. When the course started I felt straight away that this would help my confidence. Being outside in a group allowed me to let go of any inhibitions and reservations that I have when I’m sketching alone and encouraged me to work in a very different way. Up until the course I had always worked in an A4 sketch book. But here I was working on A2 paper clipped to a board and using much larger brushes. I was able to experiment in this way as everyone worked so differently, all with their own personal style so I felt much more relaxed and could try something new and really test myself. I tried a technique of drawing with the brush where you paint directly on to the paper without any previous pencil drawing for structure. It was very difficult but I really enjoyed it and liked the results it produced.
Studies of Guillemots from the Seabird Drawing Course
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I am very grateful to the SWLA for giving me such a great opportunity and enabling me to experience something I could only otherwise have dreamed of. Without the bursary I wouldn’t have been able to visit the Bass rock or meet the wonderful people who also attended the course. It has enabled me to visit some of the best places in the world for observing seabirds and has helped me develop confidence and new techniques. All of which will help me work directly from life in the field in the future.
The birds were so close together on the cliffs at St Abb’s Head that whenever they moved it would start a noisy discussion with their neighbours.
As the wind got up I managed to find a sheltered spot on the Bass rock and sketch these 3 Gannets nesting.
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Walking around The Bass, through a storm. The Gannets like X-Wing Fighters around the Death Star Watercolour
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Ben Woodhams Bursary Award 2013
Making the application for SWLA’s Seabird Bursary was, in a sense, easy - I was desperate to spend time with other artists and see how they worked. I live on Bornholm, an island in the Baltic, where there are very few people who seem to share my twin passions of birds and art, and I jumped at the chance. On the first day I couldn’t understand why everyone was getting so worried about the weather, and whether or not we would get to visit Bass Rock. Surely it couldn’t be that good? It was, and then some. I will never forget my time on the Bass - deafening noise, an unholy stench, a stinging wind, and gannets as far as the eye could see. St Abbs head was almost its equal, a dizzying collection of cliffs and stacks sprinkled with a maelstrom of seabirds, an overwhelming cacophony. We were lucky-ish with the weather, and whenever it did rain, it was incredibly fortifying to look around and see other people huddled under their umbrellas - if there is one lesson that I have learned from this course, it is that the best, most exciting work is often that produced when you are being most challenged by the environment. Six exciting and unforgettable days - looking, drawing, painting and discussing. All of the tutors were incredibly approachable and supportive, and the other course participants were no less inspirational and encouraging. The SWLA bursary meant that I could relax and enjoy myself and get as much out of the course as possible, and I am very grateful for that.
Shadows moving over a still male Peregrine Watercolour
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Visitors’ Choice Winner 2013 Harriet Mead ‘Hammer Horned Giraffe’
The Society of Wildlife Artists would like to thank the individuals and companies who generously award the following prizes: Birdwatch Artist of the Year (£1000 plus Swarovski equipment) RSPB Award Dry Red Press Award The Langford Press Award
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The Langford Press Field Sketches Award The Hawk and Owl Trust’s Roger Clarke Award PJC Drawing Award Birdscapes Award RSPB Wildlife Explorers Wild Art Award
SWLA Bursary Award Winners 2006 WINNERS Stephanie Black Helen Bullard Hannah Seward (WWT Wetlands for Life)
2009 WINNER Christopher Wallbank
2007 WINNERS Martin Aveling Helen Bullard Gareth Williams
2011 WINNER Meg Buick
2008 WINNERS Jethro Brice Kate Joanne Aughey Li Lian Kolster
2010 WINNER David Lowther
2012 WINNER Gina Ellis 2013 WINNERS Ben Woodhams Kevin Jones www.intaglioprintmaker.com email info@in intaglioprintmaker.com 9 Playhouse Court | 62 Southwark Bridge Road | London SE1 0AT Tel: 0207 928 2633 Fax: 0207 928 2711
SWLA Undersea Art Award 2015
We are very grateful to Intaglio Printmaking for their help in providing the press for the printmaking workshops
The Wildlife Trusts and SWLA are thrilled to launch the Undersea Art Award 2015. First established in 2007 this bursary is a fantastic opportunity for an established artist to learn to dive. Open to any artist with a passion for nature who wants to find out more about the astonishingly varied submerged landscapes and amazing wildlife around UK shores. The successful applicant will have a selection of their resulting work shown at next year’s exhibition and their experiences and art will be used to publicise the plight of our marine habitats and the need for protected areas at sea. Our seas are suffering from overfishing, exploitation for resources and damage to natural habitats. The Wildlife Trusts are working hard to secure areas at sea where wildlife and habitats are protected from damaging activity – protecting key areas is vital to the future health of our seas, their ecosystems and wildlife. For info about the Undersea Art Award see www.wildlifetrusts.org or www.swla.co.uk
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‘Out of the Frame’ in last year’s show featured a series of sketches by Michael Warren recording observations at the RSPB Langford Lowfields reserve in Nottinghamshire. The last 15 years of these sketches are now available in a book Taking Flight. see: www.mascotmedia.co.uk or the Mall Galleries bookshop
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Creative Conservation Practical Research Imaginative Education Working Hard for Wild Birds of Prey and Their Habitats - Join Us
Hawk and Owl Trust, PO Box 400, Bishops Lydeard, Taunton TA4 3WH T: 0844 984 2824 | W: hawkandowl.org/join | E: membership@hawkandowl.org /hawkandowltrust |
@hawkandowluk
Photo | Andy Thompson
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The BIRDscapes Gallery BIRDscapes, the UK’s specialist bird art gallery
John Threlfall S WL A
Paintings
November 15th to 30th
Wild Birds and Wild Places Great contemporary bird art Wide range of styles, rooted in observation Over 60 artists, including 20 members of the S WL A
Original prints
An exciting programme of exhibitions Strong environmental commitment ARTcafĂŠ next door
All on the welcoming Bayfield country estate, with the Bayfield Bird Walk leaflet available from BIRDscapes
Sculptures
Open daily 11am to 5pm The BIRDscapes Gallery, Manor Farm Barns, Glandford, Nr Holt Norfolk. NR25 7JP 01263 741742 68 art@birdscapes.co.uk
Meandering, John Threlfall S WL A; Stonechat and Alexanders (detail), Stuart Medland; Blackthorn Blackbird, Robert Gillmor S WL A; Hoopoe Jug, Phil Arthur
Jill Moger
rePtiLe to reef
REPTILE TO REEF - Ceramic Sculpture - Jill Moger ISBN 978-1-904078-64-7 Published by the Langford Press Price ÂŁ38 Available from Mall Galleries Bookshop, sales@langford-press.co.uk and jill_moger@hotmail.com Jill Moger will be signing copies of her book at Mall Galleries during the SWLA exhibition on the following days:Wednesday 29th October 1pm to 3pm Thursday 30th October 12pm to 2pm Friday 31st October 10am to 12 noon
CERAMIC SCULPTURE WAS 36
Norfolk & Beyond Peter Wileman PPROI RSMA FRSA 26 Oct – 9 November 2104
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Nature matters – and so does your support Nature matters for all of us. That’s why we’re working with communities, schools, businesses and landowners to protect wildlife and wild places and increase the value we all place on nature. We need your support – whether it’s by giving time through campaigning or volunteering or through making donations, becoming a member or simply spreading the word. Find out more: wildlifetrusts.org
Schoolchildren on a day out with Cornwall Wildlife Trust
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FIGURATIVE ART TODAY The Threadneedle Prize 2014
The Threadneedle Foundation is pleased to support Mall Galleries and The Threadneedle Prize, a leading competition for figurative and representational painting and sculpture. Since its establishment in 2008 The Threadneedle Prize has become recognised as one of the country’s major art prizes and a vibrant and engaging forum for creative talent. As well as supporting new techniques that stretch the potential of young, emerging and established artists, it provides an exciting and varied exhibition for everyone to see.
threadneedle.com/foundation | threadneedleprize.com Bed Head - Tina Jenkins Winner - Threadneedle Prize 2014
Important information: Threadneedle Asset Management Limited (TAML) registered in England and Wales, no.3701768, 60 St Mary Axe, London EC3A 8JQ. TAML is authorised and regulated by the Financial Services Authority. Threadneedle Investments is a brand name and both the Threadneedle Investments name and logo are trademarks or registered trademarks of the Threadneedle group of companies. threadneedle.com T4230
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Image courtesy Kate Simpson
Wildlife Artist of the Year 2015 Nine categories to suit all artistic styles and mediums
Endangered, 3D, Wild World, Portraits, Original Prints, Contemporary, Monochrome, Silver Artist and Young & Wild Expert judges include David Shepherd, fellow artists, conservationists and art critics.
W0I,N 00y0!
ÂŁ1Enter Toda
Entry from now until 13 February 2015
NEW for 2015 win a feature in magazine For full details and rules please see www.davidshepherd.org or call 01483 272323
The David Shepherd Wildlife Foundation is a UK registered charity (1106893) working to save critically endangered mammals in the wild. David Shepherd Wildlife Foundation, Saba House, 7 Kings Road, Shalford, Guildford, Surrey GU4 8JU UK. Tel: 01483 272323 Email: dswf@davidshepherd.org
Call for entries: www.davidshepherd.org
Enter the David Shepherd Wildlife Foundation’s annual ART COMPETITION - help save wildlife
The Natural Eye ART BOOK ONE
Hardback, 128 Pages, Full Colour, ÂŁ20 A stunning book produced by the members of the Society of Wildlife Artists Available from www.swla.co.uk