The Natural Eye 2019

SWLA

THE NATURAL EYE

Artist of the Year

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.

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DISPLAY UNTIL 25 SEPTEMBER • £4.50

SWLA THE NATURAL EYE 56th Annual Exhibition

The Natural Eye exhibition 2019 is sponsored by Terravesta, world leading Miscanthus specialist.

Terravesta is replacing the global dependence on fossil fuels with Miscanthus - a sustainable solution to our planet’s environmental needs.

24th October to the 3rd of November 2019

Harriet Mead PSWLA Spoon backed Egret Welded found objects 2

SWLA President’s Foreword

Welcome to The Natural Eye, the 56th exhibition of the Society of Wildlife Artists.

It was ten years ago that I was elected as President of the Society and in that time I have seen the Society go from strength to strength. I am enormously proud of the projects, collaborations and bursaries that the Society has been involved with over the years, many of which have been showcased in the Out of the Frame room. First set up in 2011, nine years down the line it has become a very established and inspiring part of our annual show. This year it will be displaying work from the Wadden Sea Project. The brainchild of artist Marco Brodde who has been tireless in securing the funding and organising the artists, the project will celebrate the key area of wetlands in Denmark. A short overview by Marco is on page 49 but you will have to visit the show to see the work that has been created just a handful of days earlier by artists on the first of two trips to the UNESCO World Heritage Site. How’s that for a fresh take on the natural world?

I am among the many still reeling from the sudden loss of Greg Poole who died late last year. If asked what the SWLA as an organisation can offer away from the conventional gallery setting, I think of what Greg could achieve. He was hugely talented and immensely valued for his ability to create extraordinary work in the field and I will remember him for his amazing energy combined with his straight talking attitude and sheer love of the natural world. He had a rare ability to distil the experience of seeing wildlife into a perfectly judged image encapsulating the very essence of the subject. His seemingly simple pieces were actually very complex, the skill required to choose what to leave out is often the most difficult one to master. He will be hugely missed.

Sadly Greg is not the only member to have died since the exhibition last year. We have lost three senior artists: Michael Hampton, John Reaney and Martin Woodcock all of whom were members for many years. We are pleased to have examples of their work to exhibit in the show and have included obituaries in this catalogue.

On a lighter note we have six bursaries this year, four from the John Busby Seabird Drawing Course and two individual projects. It’s wonderful to see new names and new work. Some of our funds come from the SWLA Friends Scheme so please do consider joining so that you can enjoy more from the Society and know that you are helping us to support young and emerging artists.

Once again, I would like to thank all the sponsors of the prizes and awards this year for their continued support.

Harriet Mead President 3

SWLA Overview

PRESIDENT

Harriet Mead

VICE-PRESIDENT

Bruce Pearson

PAST-PRESIDENTS

Robert Gillmor, Andrew Stock, Bruce Pearson

SECRETARY

Brin Edwards

TREASURER

Max Angus

COUNCIL

Richard Allen, John Foker, Kittie Jones, Darren Rees, Christopher Wallbank

FBA TRUSTEE

Nik Pollard

NEWSLETTER EDITOR

John Foker

FRIENDS ADMINISTRATOR

Tim Baldwin

ENQUIRIES TO

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

COVER IMAGE

John Threlfall, Ptarmigan (Pastel) detail

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 including how to submit work visit: www.swla.co.uk

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Nik Pollard SWLA Colony 2 - Gannets, Bass Rock Mixed media 5

HONORARY Members Paige, John

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

SWLA Members Akroyd, Carry Allen, Richard Angus, Max Atkinson, Kim Barrett, Priscilla Bennett, David Binder, Adam Burton, Philip J K Clucas, Fiona Cole, Daniel Derry, Nick Dusen, Barry van Edwards, Brin Edwards, Victoria Ellis, Carl Eveleigh, John Foker, John Gemma, Federico Gillmor, Robert Goold, Madeline Greenhalf, Robert Haslen, Andrew Haste, Kendra Johnson, Richard Johnson, Rosalie Jones, Kittie Kokay, Szabolcs Lockwood, Rachel Mackman, Nick Manning, Julia Mead, Harriet Michel, Sally Moger, Jill Neill, William Parry, David

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4 Luddington in the Brook, Oundle, East Northamptonshire PE8 5QU 34 Parkwood Avenue, Wivenhoe, Essex CO7 9AN Barn Tye Studios, 4 Barn Tye Close, Guston, Kent CT15 5ND Ty’n Gamdda, Uwchmynydd, Pwllheli, Gwynedd LL53 8DA Jack Of Clubs, Lode, Cambridge, Cambridgeshire CB5 9HE Wren Cottage, Main Street, Melbourne, East Riding of Yorkshire YO42 4RE The Calf House, Marston Hill Farm, Meysey Hampton, Cirencester, Glos. GL7 5LG High Kelton, Doctors Commons Road, Berkhamsted, Hertfordshire HP4 3DW 44 Greengate, Levens, Kendal, Cumbria LA8 8NF The Old Bakery Studios, Blewetts Wharf, Malpas Road, Truro TR1 1QH 1c rue de l’Escale, 25000, Besancon FRANCE c/o New East Frew, Thornhill, Stirling FK8 3QX 59 Barracks Road, Assington, Sudbury, Suffolk CO10 5LP 403 London Road, Ditton, Aylesford, Kent ME20 6DB 65 Barn Common, Back Lane, Woodseaves, Staffordshire ST20 0LW 4 Broadfield Road, Folkestone, Kent CT20 2JT 37 South Terrace, Esh Winning, Co Durham DH7 9PS Via Michele Barbi 12, Rome, Italy 00125 North Light, Hilltop, Cley-next-the-Sea, Holt, Norfolk NR25 7SE The Birches, Brake Lane, Hagley, Worcestershire DY8 2XN Romney House, Saltbarn Lane, Playden, Rye, East Sussex TN31 7PH College Farm, Preston, St Mary, Suffolk CO10 9NQ 2 Chalk Lane, Epsom, Surrey KT18 7AR 168 Kendal Way, Cambridge, Cambridgeshire CB4 1LT 18 Clevedon Road, Richmond Bridge, East Twickenham, Middlesex TW1 2HU 27/9 St Leonards St, Edinburgh EH8 9QN Facanos Utca, 14-1, Hungary - 1213 Pinkfoot Gallery, High Street, Cley-next-the-Sea, Norfolk NR25 7RB St Ediths, Bratton Clovelly, Devon EX20 4JW 2 Rosebank, Queen Street, Keinton Mandeville, Somerset TA11 6EQ The Nunnery, Brandon Road, Hilborough, Thetford, Norfolk IP26 5BW 30 Woodland Way, Bidborough, Tunbridge Wells, Kent TN4 0UY The Studio, 75 Millfield Lane, Nether Poppleton, York, Yorkshire YO26 6NA Rannachan, Askernish, South Uist, Western Isles HS8 5SY Holly Hall, The Old School, Milton Lilbourne, Pewsey, Wiltshire SN9 5LQ

Partington, Peter Pearson, Bruce Phillips, Antonia Pollard, Nik Proud, Alastair Rees, Darren Rich, Andrea Rose, Chris Schmidt, Christopher Scott, Dafila Sinden, Chris Smith, Jane Stock, Andrew Sykes, Thelma Threlfall, John Tratt, Richard Turvey, Simon Tyson, Esther Underwood, Matthew Wallbank, Christopher Warren, Michael Woodhams, Ben Woodhead, Darren Wootton, Tim

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 Plas Bach, Newchurch, Camarthen, Dyfed SA33 6EJ New East Frew, Thornhill, Stirling FK8 3QX 706 Western Drive, Santa Cruz CA 95060, USA 6 Whitelee Cottages, Newtown St. Boswells, Melrose, Roxburghshire TD6 0SH Zum Brook 7, 24238 Bauersdorf, Germany White Roses, The Hythe, Reach, Cambridgeshire CB25 0JQ 47 Colliers Field, Cinderford, Gloucestershire GL14 2SW Cariel, Kintallen, Tayvallich, Lochgilphead, Argyll PA31 8PR Pillmouth Farm, Landcross, Bideford, Devon EX39 5JA Blue Neb Studios, 18 Newcroft, Saughall, Chester, Cheshire CH1 6EL Whinpark, Ballogie, Aboyne, Aberdeenshire AB34 5DL 10 Sharpley Close, Fordingbridge, Hampshire SP6 1LG 2 York Rise, Orpington, Kent BR6 8PR Unit 2c Via Gellia Mills, Bonsall, Derbyshire DE4 2AJ 8 The Grove, Lincoln LN2 1RG Plasnewydd, Carno, Caersws, Powys SY17 5JR The Laurels, 64 Gainsborough Road, Winthorpe, Nottinghamshire NG24 2NR Praestegaardvejen 1A, Vestermarie, 3700 Roenne, Bornholm, Denmark 2 Ivory Court, Langriggs, Haddington, East Lothian EH41 4BY Lochside, St Margaret’s Hope, Orkney KW17 2RW

ASSOCIATE Members Bibby, Nick Brodde, Marco Dobbs, John Griffiths, Simon Hatton, John Jarvis, Richard Prickett, Bill Sweeney, Jason

4 Compton House, Compton, Marldon, Paignton, Devon TQ3 1TA Tvaervej 1, 6720, Fano, Denmark 26 Northwood Road, Harefield, Middlesex UB9 6PR 28 Church Street, Castleside, Co Durham DH8 9QW Fossbank, Tatham Fells, nr Lancaster LA2 8PS 1 Arden Way, Market Harborough, Leicestershire LE16 7DB The Winches, Newnham Lane, Newnham, Kent ME9 0LH Millhouse, Eyemouth, Berwickshire TD14 5RE

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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 25 years since its inception our Bursary scheme has awarded over 80 bursaries to artists who have needed support with a project or help with new skills and techniques for their artistic development.

Currently we offer places on the Seabird Drawing Course which is a marvellous way of mentoring artists during an intense course of field working. In addition we accept applications for general bursary proposals from individuals who need help with specific projects or skills.

The BTO/SWLA Flight Lines Project, the DKM/SWLA Turkish Sweetgum Project and the DWT/SWLA Kingcombe residency are recent collaborations that show how artists can work with other organisations to help bring conservation and research stories to a much wider audience. With your support we can expand on these opportunities and increase our projects so that the enthusiasm, expertise and talents of our artists go even further.

Become a Friend of the SWLA and not only will you be helping to nurture artists inspired by the natural world you will also enjoy the following privileges: 1. Attend the private view of the annual exhibition and enjoy 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 and a printed annual year review The Natural Notebook 4. 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 a piece from the show 5. Opportunity to take part in studio visits of member artists 6. 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 www.swla.co.uk or email swlafriends@gmail.com

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Greg Poole Turkish Sweetgum Forest 10

Greg Poole (1960 – 2018)

Greg had a powerful impact on his friends. As SWLA stalwart and former President, Bruce Pearson, recalls, ‘he was masterful at provoking fellow artists into opening up to reveal and question the nature of their work and practice’, and all of us lucky enough to have spent time working with Greg in the field, will remember what Bruce recalls, as his ‘great warmth of character, and genuine curiosity.’

As a painter and print-maker, Greg’s influence was profound.

To watch him work in the field, in the plein air, was to see an artist deeply at ease with his practice, his materials spread out in the semi-circle of prospective mark making that was irrepressibly his own. To walk into Greg’s garden studio was to find those marks reworked, and forged into prints that were collected by a wide network of friends and colleagues, many of who were professional biologists and watchers of nature, all acutely aware of how Greg could distil birds, mammals, insects and flowers, into patterns of unexpected familiarity.

Greg, of course, trained as a zoologist, so he was comfortable in the company of both artists and scientists, and played a major role in advancing the arts and conservation, notably in a series of collaborations with the RSPB, BirdLife, the BTO and others. Back in summer 1999, he joined six other artists at Minsmere, and wrote in an essay that he sought to ‘take in the essence of the place by osmosis, [the] wetness letting me breathe it in through my skin like a frog’. Whether in Suffolk, or Ethiopia, Greg absorbed place. He joined expeditions to capture the fragile edge of the Sahara, creating wonderful work for the BTO’s project Flightlines, where our familiar birds, Chiffchaffs, Wheatears, Pintails, Sand Martins, share the picture space with their winter brethren, the people, cattle, Baobabs of west Africa, and the resident birds there, Crowned Cranes, and Flamingos.

Doga Koruma Merkezi Turkey 11

Many speak of Greg as mentor, and Kim Atkinson’s moving tribute captures his lifelong commitment to being an artistnaturalist. ‘Greg was one of the few precious people who are like a kind of loadstone.’ She remembers thinking, ‘if he felt that nature and artwork were worth a lifetime of enterprise’, then even though she ‘wobbled along’ at times, that catalytic spark was vital. For Kim, Greg provided a constancy that reached back to early meetings on Bardsey in the 1980s, and a time she ‘hadn’t a clue how to even try to tackle anything that moved’. I remember trips to the Bass Rock when Greg, stub pencil and notebook in hand, dragged Gannets, Auks and Gulls into life on the spray stained pages.

Nik Pollard recalls the same, remembering how Greg’s skill included weaving the role of tutor and student into a genuine exchange of ideas, and how his teaching bled in and out of a shared learning too, and drew on a welcome humility that recognised that we are always learning as artists, or should be, and always pressing on, always working away.

Writing about their friendship, Ben Woodhams provides a powerful insight into Greg’s practice, writing; ‘we are all involved in a process of extraction, simplification and inter-pretation. It is sometimes so tempting to be seduced by superfluous detail, or bogged down in intricacies of the natural world, but for me Greg’s genius lay in his ability to distil a complex ‘observation event’ into a series of graphic lines and colour fields.’

Ben was lucky enough to watch Greg as he worked in the field, and was ‘awestruck as he somehow managed to catch the attitude of a bird or the shape of a complex flower with just a few seemingly random marks. It was Gatekeepers and Bees on Scabious Gouache 12

Short-eared Owl drawings Ink

Short-eared Owl flying near digger Monoprint 13

Herring Gulls, Fidra 2 Mixed media 14

certainly not effortless, and Greg worked hard to achieve his vision, constantly moving things around and trying new approaches, but it was always unmistakable and unique truly his own vision.’

And he listened well, to his friends, and to the birds, the hum of nature, its cycles, and moods. Tim Dee remembers sitting on the ground with Greg, in the wood at Highnam near Gloucester, as May a Nightingale sang, a bird of wild music. Tim calls on John Keats, and how Keats spoke of the poetry of the earth, and how it, ‘went in, and did its work’ on Greg. On a wall at home, I have a collage he called, Black Redstart fizz. The bird is there, unmistakably torn in black and russet, its bill open; and its memorably strange rattling crackle of a song is portrayed in what look like a scattering of small jagged black stones.’

Greg played jazz, and several of his friends describe how jazz music influenced him, and his work. That interplay of the certain and uncertain, the space between marks, and notes. Nik Pollard writes beautifully of this element of his work, of how Greg allowed ‘ambiguity in his pictures’, but, ‘not in his understanding … of how his subject was not ‘disconnected from its pictorial surroundings, but embedded within that world.’

When news of Greg’s death reached me, I was working in Kenya. It was early morning, and I walked out into a soundscape of Doves, Orioles and Shrikes, all familiar to Greg from his travels in Africa. I remembered words, ‘the present seemed unbearable, and future unimaginable’, that I’d heard spoken after a bereavement years before.

And yes, we all miss Greg terribly, but can delight in having known him. He was, as Tim writes at the end of his tribute in the Guardian, a rare bird, with a ‘playfulness in how he lived, and in all his art.’ Surely, in our own lives and art, real play is a great legacy to pursue.

John Fanshawe, 2019

Dunbar Kittiwakes Mixed media 15

SWLA Bursary John Busby Seabird Drawing Course

This year’s John Busby Seabird Drawing Course provided course leader Darren Woodhead, myself, Pascale Rentsch and Nik Pollard with a unique challenge – how to continue to inject the spirit of Greg Poole into the week whilst positively embracing a new era for this unique, field-based course.

This year the group was lucky to have the opportunity to visit course founder, the late John Busby’s studio. Situated in the hayloft of an old stable five minutes from his home the space felt like John might have just popped out for a cup of tea. Every shelf you came across was stuffed full of sketchbooks that were testament to his travels. Pulling open drawers I uncovered bundles of small bird sketches – each one exquisite in its delicacy, use of colour and composition.

John Busby was a natural teacher: he wore his knowledge and experience very lightly and continues to inform many people’s work and practice today. The resounding lesson I came away with that day was to continue to find joy in my work – looking through John’s sketchbooks the sense of love for his subject was palpable.

I know how significant the week is – it certainly changed the direction of my practice considerably – but it is wonderful to hear that it continues to work its magic. Beyond the course itself it’s heartening to see that students are continuing to support each other with the challenges of field sketching. I was moved by a couple of conversations from other students about how important the course had been for them. As Wynona Legg said to me - ‘Everyone should have the chance to do this course’!

There is something about immersing a group of people in a week of outdoor working in magnificent and lively locations where the focus is on the energy and fragility of the natural world that is an exceptionally life-affirming event and I am grateful to be able to be a part of it.

Julian on Bass Rock Photo, Louise Wilde Nik and Sally on Bass Rock Photo, Louise Wilde 16

Kittie Jones, 2019

Wynona Legg Drawing Shags from the jetty on Fidra 17

Wynona Legg The Greg Poole Bursary 2019

This year I had the enormous privilege of being awarded the Greg Poole Bursary by the Society of Wildlife Artists, enabling me to attend the John Busby Seabird Drawing Course. A gift like this is bittersweet in the wake of Greg’s recent passing but I feel a huge amount of honour and gratitude to have been able to share the week with so many of those who painted alongside him and to take time to celebrate the drawing locations he loved and toiled from on so many past trips. Reflecting on what this week brought to him and the experiences shared by others, brings to light just what an incredible and unique opportunity this is for so many artists at every step in their journey.

This time I was returning as someone who had experienced the beauty, breakthroughs and unintentional blank pages of the Seabird Drawing Course once before - so in a lot of ways I had an idea of what to expect. But as with any creative journey, the road is always gloriously unpredictable, with moments of overwhelming joy in connecting with nature, deeply nourishing community/excruciating peer pressure and successes both envisioned and accidental!

On the first day, I realised immediately that feelings of overwhelm and pressure were NOT ‘a first timer thing’ but simply a by-product of the journey and experienced by everyone. Witnessing the journeys of self-discovery happening amongst peers I found to be particularly inspiring both years and it is something that you cherish as someone who usually works in isolation. There is something very special about a group of artists sharing personal views about their practice and how they harness the challenges of working in the field.

I think guest tutor Nik Pollard got to the heart of the matter of drawing when he uttered to me in validation “it is important to be obsessed”.

Second two minute blind drawing of Gulls over Fidra Graphite Five minute blind drawing of the bird activity on Fidra Graphite 18

Sandra Fernandez MA RCA SWLA Bursary 2019

I had started moving away from studio-based botanical still-life towards painting and drawing from life. One of the attractions of the John Busby Seabird Drawing course was to go from these fairly sedate subjects of common garden birds to the raucous frenetic activity of large seabird colonies on Scotland’s rugged east coast!

A very memorable day for me was drawing the birds on the rocky outcrops of St Abb’s Head, where the weather changed dramatically from slightly overcast to strong winds, pelting rain and thick mist, which slowly descended on us obliterating our view and in some cases our work.

Strangely, this proved exhilarating as it forced me to stop worrying about my work and paint as quickly as I could to capture the changing light and atmosphere on the imposing rock face in front of me. The rock was set against an ever darkening sky speckled with the tiny white flashes of birds flying past seeking refuge. Normally I never mix my mediums, but the speed in which I needed to capture what I was seeing led me to combine my watercolours with pastels. A combination which I felt achieved the dramatic image I wanted to create and is something I will use in the future.

Students and tutors alike shared ideas, materials and tips on how to cope with painting birds in an ever-changing environment. Working alongside my fellow artists and seeing their unique approaches and use of different materials in their work was enlightening and encouraged me to try painting on site directly in brush with acrylics, in lieu of my usual pencil and watercolour approach. This pushed my work into a new direction and led me to be more expressive with my line and use of colour. The course was created to push artists’ creative boundaries. It has sown seeds of inspiration to cultivate long after the course had ended as I progress on this new artistic journey to draw birds in their natural environment.

Kittiwake Studies St Abb’s Acrylic Dunbar Kittiwakes Acrylic 19

Melanie Mascarenhas SWLA Bursary 2019

The vast, noisy and dynamic seabird colonies within a vividly intense environment were breath-taking and an absolute joy to behold. Naturally this presented the dilemma of meeting the challenge of getting this down on paper. The various drawing exercises the tutors set us each day, which began with a period of just sitting, listening and getting a feel for the place, really helped.

The combined sound and continuous line drawing exercise was particularly useful when faced with drawing Gannets on the incredible Bass Rock; an awesome if somewhat overwhelming sensory experience. It was a huge privilege to actually sit with the enormous colony and draw.

The exercises afforded me the freedom to fully explore my drawing and mark making. I learned to enjoy having a fistful of drawing materials and living through the movement from eye to arm to hand to paper, imprinting the experience as purposeful meaningful marks. It put me on a new, braver path to finding my artistic voice and begin creating my own visual language.

There was a real sense of camaraderie facing the elements and challenges with a truly wonderful group of like-minded enthusiastic artists, which was incredibly uplifting. The tutors were all so informative, helpful and motivating. Everyone, students and tutors alike, were incredibly supportive and it was a relief to know that everyone, no matter how experienced, was also navigating their own personal struggles.

In many respects I have learned so much more than the results on paper can show. This unique opportunity has increased my passion for working outside and I know that what I have learnt will continue to manifest itself over the coming months and that this inspiring week has permanently changed the way I observe and respond to the natural world.

On the Bass Rock Mixed media Sound and continuous line drawing Bass Rock Mixed media 20

Louise Wilde SWLA Bursary 2019

On our first visit to St Abb’s Head the weather soon took hold. It was far too windy to use an umbrella so alongside fog and torrential rain, it wasn’t long before my drawings were literally pouring off the page. However, this was an exhilarating experience and a great leveller, and the weather just made everyone on the course more determined to get something down on paper.

In direct contrast, with a slight breeze and clear skies the conditions for drawing at St Abb’s on our second visit were ideal. I focused in on a small group of nesting Razorbills who were in fairly close proximity, determined to understand their shape and form. However, when I stepped away from my drawing I looked around and as far as the eye could see there was a host of species including Razorbills, Guillemots, Kittiwakes and Gannets that would often spread their huge wings to take off from their rocky stack outposts and plunge into the water. It was a truly awe-inspiring experience that I shall never forget.

Each tutor had their own perspective and approaches which gave balance and direction to the course. The tutors often devised drawing exercises at the beginning of each session, such as continual line drawing and memory drawing which I found to be invaluable as it enabled me to grasp hold of what could often be an overwhelming experience. Informal chats and one to one advice with the tutors also encouraged me to step out of my comfort zone.

Although uncomfortable, I welcomed the opportunity to take my work in a fresh, new direction.

It was an amazing opportunity to be surrounded by so many artists who were clearly passionate about their subject. I felt like I made quite a few friends on the course that I will remain in contact with for years to come.

Sound responsive exercise, St Abb’s Head Charcoal Gannets on Bass Rock Mixed media 21

Cathryn Kuhfeld SWLA Bursary 2019

It all started with my paintings of one small Wood Mouse.

Upon seeing these, someone asked me if I had any work of Dormice - to which I said, I had never even seen a Dormouse, let alone painted one. However, the idea piqued my interest and set me on the path to Wildwood, a local wildlife centre near my home in Kent which has a Hazel Dormouse breeding programme. The staff very kindly allowed me to visit and observe some of their Dormice conservation work which allowed me to see the Dormice being handled as they were checked over and weighed before they settled down to hibernate in October. I did not see the Dormice again until they came out of hibernation in late April/early May which was later than normal due to the long, wet spring. Once they did emerge they proved difficult to observe as Dormice don’t get up early, plus they are reclusive and mostly nocturnal!

Both the Dormouse and Harvest Mouse can seem ubiquitous - they are so frequently depicted in photographs, however the nature of photography means it can be deceptive. I discovered the Dormouse is that lovely golden colour of demerara sugar and they fit perfectly into the palm of a hand, but I could not have been more surprised to discover how tiny the Harvest Mouse is - barely half a finger long, and paler in colour than I expected. I have been able to work from the Harvest Mice and a pair of Water Shrew. It has been fascinating and also really taxing from a practical point of view, making demanding work. The Harvest Mice, besides being very small, are endlessly on the move, darting and leaping about. The Water Shrews are pretty busy creatures too, but they did prove rather easier.

Dormouse studies Watercolour, pen and ink Dormice in the Hazel wood Oil 22

It takes continuous observation and sketching to get to know how animals move and behave. I am learning a lot through the process and I feel I have only just begun to scratch the surface. I am grateful for the SWLA Bursary for spurring me on and aiding me with some very practical funds.

Louise Pallister SWLA Bursary 2019

Whilst researching animals in motion I had become interested in the distinctive and disturbing behaviours often seen in zoos. The wildlife charity Born Free Foundation identifies pacing, swaying and head bobbing as ‘stereotypic’ behaviours, typical of stressed wild animals in captivity. With the support of the bursary I created an edition of ten artists’ books entitled ‘abnormal repetitive behaviour’ that show the pacing of a caged Tiger. It was inspired by both the early animal locomotion photography of Eadweard Muybridge and Born Free Foundation videos of this behaviour in zoos.

The book reformats my drawings of a pacing Tiger into a sequence of images printed using five photopolymer etching plates and then overprinted with dry point cage bars. Using the zig-zag format of a ‘leporello’, or concertina book, helps to show the movement of the Tiger weaving in and out of the panels. A clear border below the images suggests an area outside of the cage. The completed work can be displayed in the round or horizontally across a shelf.

Receiving the bursary allowed me learn the intricacies of book binding including the accurate folding and joining required to make both the images and plate edges match up across five separate prints. I then added embossed covers to protect it and help it stand for display. I did all of this fourteen times to make an edition of ten books, plus two handling copies, and then joined my last two books together to make a double-length version.

Winning a bursary from the SWLA to make an artists’ book was a massive boost to my practice and gave me the impetus to complete a project with which I had been struggling. The personal tuition from book binder Ruth McCann has given me not just the chance to learn and apply new skills to complete a personal project but also the confidence to make further book art in future.

Tiger drawings Charcoal Abnormal repetitive behaviour View 3 Etching 23

John Dobbs ASWLA NEAC Cheetah, Kwando Lagoon, Botswana Oil 24

Kittie Jones SWLA Cliffs and stacks, St Abb’s Head Charcoal, pastel & ink 25

Kim Atkinson SWLA Black Guillemots on Anglesey Gouache 26

Andrew Haslen SWLA Hare and Poppies Oil & watercolour 27

Daniel Cole SWLA Kestrel Oil 28

John Foker SWLA Autumn Bramblings Oil 29

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Adam Binder SWLA Two Wrens Bronze (ed. of 24) 31

Max Angus SWLA Peacocks Linocut (ed. of 45) 32

Richard Allen SWLA Minsmere Linocut (ed. of 75) 33

Robert Greenhalf SWLA Nesting Sandwich Terns Oil 34

Jane Smith SWLA Red-breasted Merganser display Screenprint (ed. of 10) 35

Christopher Allan Gars hunt Catfish: State III Colour drypoint (ed. of 12) 36

Matt Underwood SWLA A dozen ducklings Woodblock print (ed. of 30) 37

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Nick Bibby ASWLA Red Deer stags “The Duel” Bronze (ed. of 12) 39

Ben Woodhams SWLA Three winter BHGs on thin ice, Ronne Watercolour 40

Tim Wootton SWLA Ruffs & Reeve Oil 41

Rachel Lockwood SWLA Hares’ abstract thoughts Oil 42

Nick Derry SWLA Tree Sparrows Acrylic 43

Barry van Dusen SWLA Nightsong (Northern Mockingbird) Watercolour 44

Dafila Scott SWLA Lone Swift, North Pembrokeshire Acrylic 45

Chris Rose SWLA Eiders Oil 46

Julia Manning SWLA RE Towards Grassholm Woodcut (ed. of 20) 47

Margrethekog, The Wadden Sea Photo by Tandrup Naturfilm 48

SWLA Wadden Sea Project

In October 2019 the SWLA will visit the Danish Wadden Sea region as part of a collaboration with the Wadden Sea National Park. This visit will be followed by a second residency in the spring of 2020 and is part of a project developed together with the national park administration on the spectacular wetland and UNESCO World Heritage site in the southern part of the country.

Ten artists will have been working in the open and windswept landscape, where they will have focused on the Wadden Sea’s unique natural diversity and cultural values as well as delivering a programme of workshops, events and educational activities for the public and local school children.

Based on the work produced in situ, SWLA and the Wadden Sea National Park are planning a travelling exhibition, a number of different events and the publication of a book. The hope is that the artists’ different approaches and artistic vision will create work that highlights the exceptional natural environment and unique interaction between nature and culture in the Wadden Sea, which is shared between Denmark, Germany and the Netherlands.

For thirty five years the governments of the three countries have been working together to protect the landscape including birds and sea mammals. The public engagement and support is crucial for the implementation of these political efforts. The National Park works closely with local inhabitants and stakeholders as protection of this habitat depends on the understanding and willingness to work together among land owners, farmers and a large variety of organisations. At the same time the region’s common cultural history is evident and easily read in both the landscape and architecture, from north to south and across national borders.

WH Wadden Sea Denmark Nationalpark Vadehavet

Map Wadden Sea 49

Church of Hjerpsted Photo by Jens Laurits Hanse Redshanks Photo by Tandrup Naturfilm 50

Dunlins Photo by Lars Gejl Starlings Photo by Lars Gejl, detail

The Wadden Sea is the largest tidal flat system in the world where natural processes proceed undisturbed. More than 12 million Waders, Geese, Ducks and Gulls depend every year on the area’s food resources during the migration in spring and autumn. The first SWLA visit will focus on the southern part of the Danish Wadden Sea and the marshlands around the town of Tønder. In May 2020 the artist group will visit the northern part and the island of Fanø which with its dunes and sand beaches differs a lot from the green meadows in the mainland’s marshes.

The marshes around Tønder are surrounded by several dykes which have made it possible to reclaim still more land from the shallow Wadden Sea. The first dyke, established in 1556, protected the low lands around the town against storm surges and allowed a new marshland to develop in front of the dyke through the tide’s natural sand deposit.

In the following centuries man and nature joined forces and changed seascape to landscape. Until the late 1920s the marshes were only protected against the sea while very often flooded by fresh water. Huge investments, electricity and establishment of 300 km of channels changed the landscape one more time. Human impact and the possibility of modern farming still offered space for spectacular birdlife for almost a century mainly due to the traditional grazing and water management. Today the core areas are protected by law and regarded as a unique site showing both cultural and natural values.

It is hoped that this project can, in a concrete way, also engage young people and raise their awareness of their common cultural and environmental heritage. The Wadden Sea National Park finds this project particularly interesting because it creates connections between nature, landscape, culture and art, and has an international perspective as like many of the birds that use the Wadden Sea area the project itself crosses national borders.

Marco Brodde ASWLA/Board member Nationalpark Vadehavet

Marco Brodde ASWLA 51

Carry Akroyd In the making

The creative process is all continuous decision-making, conscious and subconscious, about everything: media, method, scale, composition, palette, significant detail. The idea to embark upon may arrive and simmer long before actual making; maybe prompted by an experience or a proposal. It was suggested I should visit the Somerset Levels Great Crane Project, perhaps due to my predilection for flat landscapes, previously having worked a lot around the Fens.

The Crane project ran for five years and I visited right at the end. The re-introduction started with eggs from Germany, and the chicks were then reared and fed by a team wearing disguised overalls and using giant serving-tongs resembling parental beaks. After five years it was assumed the matured Cranes would breed and survive independently.

I was driven around in a Land Rover, visiting various modest eminencies from whence, with binoculars, we attempted to locate the elusive Cranes. It took some time to find them, but when we did, our angle of approach combined with perfect light gave splendid views. My companion took a kind of school register, identifying birds by their different coloured rings. We watched a group of 75 Cranes, the majority of the successful survivors. Suddenly a military helicopter appeared over the hill and the Cranes all flew up, at which moment I snatched a few photographs.

I returned in other seasons, saw Cranes in different locations, considered my picture. Another time, the landscape was mainly under water. I made thumbnail sketches. Many specific details were ditched in favour of attempting a generic landscape, encapsulating typical aspects of the area. The helicopter insisted on being present.

Once in my mind’s eye, the composition can be planned fullsize on editioning paper. There is a lot of rubbing-out and adjusting. The next stage is deciding the first colours, and the order of laying them down, which can be critical to how the work develops. This involves quite a few cups of tea.

Carry Akroyd Mixing colour 52

Using a vacuum table and stretched screen for printmaking 53

All in the process From planning to printing 54

The first colour selected, I start to cut a stencil, usually from tissue paper - susceptible to tearing, or blowing away if the studio door opens. The stencil organises where the first colour lands on the paper by blocking areas.

I place my planning drawing onto the printing table, arrange the cut stencil over it, and gently lower the screen down on top. For me, as soon as the image starts to form on paper, any pre-existing notion has to adapt to the dynamics of the developing image.

Colour mixing next. I work with water-based inks these days, having abandoned oil-based inks out of concerns about the solvents for thinning and cleaning. Acrylics are not blameless. I work frugally and waste little. Besides colour shade, viscosity and translucency also must be controlled, especially on subsequent layers. Printmaking is all about hours preparing for a layer of ink without exactly knowing how it will look.

The ink is spread along a blocked-off margin, so that it can be pulled lightly across the screen with a squeegee to ‘flood’ the mesh with ink over the whole area. The squeegee is then pulled back across with definite downward pressure, to deliver a thin ink layer through the mesh and onto the paper, stencil permitting. The screen is raised, and the light tissue stencil has adhered to the wet underside of the screen, ready to serve again on the next printing.

When I see my planning drawing interact with the first colour, I may modify the shade before printing onto a clean sheet. Taped points on the table ensure each sheet registers in the same position.

I continue flooding, pulling, and transferring to the drying rack - about 10 times, creating a stack of 10 prints plus the Adding layers Drying time 55

planning print. Prompt working is necessary to prevent ink from drying into the mesh, and then screen, squeegee and mixing knives washed immediately afterwards. Any residual ink is scraped into storage pots.

While prints and screen are drying, I plan where the next layer of colour needs to be printed, and if the colour is transparent, predict what will happen where it overlaps with the previous colour. The photographs are of the third layer: creamy yellow blending to yellow green, in some places directly onto the white of the paper and elsewhere over the blue and green that have already been laid down. The blend may change from one print to another.

There are random cows in my image to indicate grazing land, and I decided one of them needed to be a particular brown. It is possible to fill a restricted part of the screen with a different colour pushed into the mesh with a brush or a piece of card, and when the main colour is pulled across the isolated patch is integrated into the whole.

My intention here was to show the Cranes grazing, becoming alert and then flying up, to give a sense of movement and a kind of time sequence. I wanted to portray the landscape typical of the levels: the flat moors intercepted by drains with protruding fingers of higher ground. The woodlands crowning the rising ground are very different in character to the Willows of the low moors.

More cups of tea are necessary to decide if the image is complete, or whether further layers required. The final part was to add an essential red patch to the head of each Crane, which I did with a colour pencil.

In the end, the 10 prints will all differ slightly, and one or two may be rejected altogether. I have reserved one to give as thanks to my guide, Harry.

Layer on layer Pulling the composition together 56

Carry Akroyd SWLA Level Cranes 57

Esther Tyson In and around a working quarry

Six months in, of a twelve month project and I’ve barely scratched the surface! Ravens and Falcons have captivated my attention from the beginning. It’s been a real luxury spending hours in the field getting to know these birds, watching, drawing, painting them with little interludes between.

Often considered a blight on the landscape, I’ve discovered the quarry is a real treasure trove of wildlife and wild flower in and between the grazed farm land and raw workings of a quarry environment. It’s exciting.

I’d planned for ‘Flora and Fauna in and around a working quarry’ however I’ve found the wealth of flora is vast!

Wild flowers will have to feature next spring/summer to give myself any chance of understanding them, in turn developing a language in paint and how I might recreate this sense of place...

In addition I’ve spent time painting guys in high viz, the machines and the blasted rockface. I knew early on this cycle puts up Pigeons, prey for our Falcons. Story has it the quarries were full of Pigeons before the Peregrines moved in… weeks later the Pigeons walked everywhere. This still makes me smile!

There is far too much information to fit into a small editorial but I hope these 3 diary extracts go some way to give you a sense of my days out there in this wilderness of plenty.

150219 Heavy frost this morning, beautiful, still, slight breeze down the valley behind the quarry. Jackdaw. Crow.

Magenpie. Buzzard sitting in a thorn bush then flies around the road rock face to the left of the bridge. Back by the time I return from looking at the smaller of the two. Robin singing Chaffinches male and female. Redwing, half a dozen Esther A cold March quarry morning wrapped up 58

Wild flowers Boundary lines 59

Hot! Peregrine chick Oil 60

and quiet. Hear Bullfinch first thing. Frost in the shadow lush green in the sun. Catkins out on the Hazel.Two Robins a foot apart, topside. Scent of a Fox. Rosehips, small number.

1538 Found the old Raven nest on a ledge on rock face far side above the old rusty buildings. Can’t see anything on it… twigs sticks orange twine and blue farm string. Will need a closer vantage point. A possible new site… Brief interlude – gronk, two Ravens over to the north side of the quarry. Parallel flight above the scree, valley and trees over to the old barn (small quarry). Pigeons on the rust tin roof. Jackdaws milling around the old rock face...

010519 Ravens. It looks like messy tail is out of the nest.

Fall or fledge? Found him! Fledged! Flown over to the right a grassy outcrop. Now on grass bank below rocky outcrop just below top side. Four remain in nest and all is quiet.

Wonder if they jump staggered? A day at a time? Fledgelad made his way up to the topside walking. Along the fence line then up and very unsteady on a barbed fence – hope he doesn’t string himself up now, after all this! And over the other side into lush green pastures. Adult in to feed him other on the post. Youngster regurgitated food and adult fed him again... Wandering around exploring, up to his knees, picking up bits (probably sheep poo) and dropping them again. Ha, in the gateway looking out into the vast expanse of big wide world…

310519 Falcon, circles twice behind and above then landed on the first green bench. A familiar perch going by all the poo. Noisy, screeching for maybe 3 minutes then I thought I was going to lose her behind a bund but she upturns and lands on a ledge joining the male and what could be... a chick! The same colour as the earth below. Unbleached.

There is one obvious, TWO! another has lifted its head.

Exciting! I really hope these guys make it. Oh my goodness, they are so lumpy clumpy and downy soft. Pale bills almost anaemic. Definitely two. They really are spellbinding!

Three littlies, Resting Peregrine chick Oil 61

62

SWLA THE NATURAL EYE 56th Annual Exhibition

Catalogue list of works 2019

Opposite: Esther Tyson, Day one, first fledged

63

1

2

3

4

5

Hashim Akib Bonobo Acrylic £1,100 Carry Akroyd SWLA Bird in a bush Serigraph (ed. of 6) £850 (£650 u/f) Coastpath joys Acrylic £2,250 Heron dusk Acrylic £480 .LQJ¿VKHU Acrylic £585

11

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

23

Seapie and the retreating tide Linocut (ed. of 45) £320 (£250 u/f)

24

The Red List - Willow Tits Linocut (ed. of 45) £260 (£200 u/f)

25

The reverist Owl Linocut (ed. of 45) £320 (£250 u/f)

26

The same yesterday Linocut (ed. of 35) £320 (£250 u/f)

Garden birds Linocut (ed. of 12) £595 (or £95 each, unframed)

13

High tide Lapwings Oil £750

14

,Q WKH PHDGRZ E\ WKH VHD Oil £750

15

Minsmere Linocut (ed. of 75) £155 (£120 u/f)

16

Oystercatcher rock Oil £400

17

Snow Buntings Oil £295

28

18

Snow Buntings & Sea Kale Linocut (ed. of 75) £155 (£120 u/f)

29

Gannets passing the North coast of Pen Llyn Charcoal & watercolour £750

30

3RRO DERYH 1DQWPRU Black Darters in October Mixed media £790

31

The sound of Swallows Monotype £750

Level Cranes Serigraph (ed. of 8) £850 (£650 u/f)

7

Moon Owl Lithograph (ed. of 50) £220 (£110 u/f)

8

Storm Cock Serigraph (ed. of 6) £295

9

Two Kites Serigraph (ed. of 7) £475 (£360 u/f)

19

Christopher Allan *DUV KXQW &DW¿VK 6WDWH ,,, Colour drypoint (ed. of 12) £425 (£350 u/f)

20

21

64

22

12

6

10

Richard Allen SWLA Diver trilogy Linocut (ed. of 50) £275 (or £95 each, unframed)

Laura Andrew Goldcrests in Yew Oil £995 The form Oil £1,750 Max Angus SWLA Lazy hazy days Linocut (ed. of 34) £320 (£250 u/f)

27

Gillian Apthorpe St Abb’s dance Mixed media £350 Kim Atkinson SWLA Black Guillemots on Anglesey Gouache £750

32

33

34

35

Frances Bell RP Langur Monkeys, Narlai Oil ÂŁ2,000 Nick Bibby ASWLA Emperor Penguin Bronze (ed. of 12) ÂŁ32,500 /LWWOH 2ZO ,, Bronze (ed. of 15) ÂŁ7,995 UDQJXWDQ 2OG PDQ RI WKH 2 forest (Miniature) Bronze (ed. of 25) ÂŁ8,750

36

Pangolin (Bronze) Bronze (ed. of 50) ÂŁ3,995

37

Red Deer stags “The Duel�

Bronze (ed. of 12) ÂŁ37,500

38

7RDG ,, 6LOYHU

Sterling silver (ed. of 25) ÂŁ5,750

39

Adam Binder SWLA Otter (Tail down) Bronze (ed. of 12) ÂŁ6,000

Clare Buckle Minsmere sun Screenprint (ed. of 20) ÂŁ250 (ÂŁ100 u/f)

42

Walrus Bronze (ed. of 12) ÂŁ6,000

43

Woodcock Bronze (ed. of 24) ÂŁ2,950

53

Wren Bronze (ed. of 36) ÂŁ1,800

54

Stefan Boensch Boxing Hares Mixed media ÂŁ580

(JUHW DW ÂżUVW OLJKW %ULJVWHHU Moss 1 Gouache NFS

55

Gannets and Guillemots around the same top of the cliff Ink ÂŁ270

(JUHW DW ÂżUVW OLJKW %ULJVWHHU Moss 2 Gouache ÂŁ720

56

Nocturne, Tuscany 1 Gouache ÂŁ475

57

Nocturne, Tuscany 2 Gouache ÂŁ475

58

Nocturne, Tuscany 3 Gouache ÂŁ475

59

Nocturne, Tuscany 4 Gouache ÂŁ475

60

Water life, Foulshaw Moss Charcoal ÂŁ925

44

45

46

47

48

Guillemots in harsh weather conditions, St Abb’s Head Mixed media ÂŁ520 Marco Brodde ASWLA Circling over “dog’s teethâ€?, Egyptian Vultures, MonfragĂźe Charcoal & watercolour ÂŁ500

49

Curlews Charcoal & watercolour ÂŁ500

40

Otter (Tail up) Bronze (ed. of 12) ÂŁ6,000

50

41

Two Wrens Bronze (ed. of 24) ÂŁ3,500

Hoopoes, Extremadura Charcoal & watercolour ÂŁ600

51

Red-rumped Swallows near the castle, Trujillo Charcoal & watercolour ÂŁ500

52

61

Fiona Clucas SWLA Curlew on Redmire Moor Mixed media ÂŁ1,400

Daniel Cole SWLA Kestrel Oil ÂŁ400

65

62

Daniel Cole SWLA Magpies Oil £750

Tree Sparrows Acrylic £900

82

73

Wrybills Monoprint & acrylic £900

83

74

Wrybills, Banded Dotterels & Red-necked Stint Collage & acrylic £950

Nightsong (Northern Mockingbird) Watercolour £475

84

Osprey in the rain Watercolour £550

85

6DUVRQV ,VODQG Watercolour £475

86

Worm hunters (American Robins) Watercolour £475

63

Razorbills Oil £400

64

Ringed Plovers Oil £1,750

65

Swallows over Towan Beach, Cornwall Oil £2,250

75

66

Waxwings Oil £400

76

67

Wrynecks Oil £400

77

68

69

70

71

66

Jackie Curtis 'UDJRQÀLHV Linocut (ed. of 19) £240 (£120 u/f) The energy of Starlings Dawn at Ham Wall Linocut (ed. of 24) £250 (£125 u/f) Nick Derry SWLA Little Penguins Monoprint & mixed media £850 Marmots & Alpine Choughs Collage & acrylic £900

Barry van Dusen SWLA Barred Owl study Watercolour £395

72

Yellow-bellied Toad Mixed media £800 John Dobbs ASWLA NEAC Buffalo Oil £700 Cheetah, Kwando Lagoon, Botswana Oil £2,450

78

Mock charge Oil £1,250

79

Running Wild Dogs Oil £1,150

80

Tiger Oil £1,450

81

Two Wild Dogs, Kwara Concession, Botswana Oil £6,000

87

Brin Edwards SWLA Bearded Tits, reed bed Oil £1,450

88

Eastern Spinebills, Mornington Peninsula, Victoria Oil £1,650

89

Oystercatchers & Lapwing against the light Oil £795

90

Red-necked Avocets with Black Swan Oil £1,500

91

Superb Fairy Wrens with New Holland Honeyeaters Oil £1,650

92

Three Bearded Tits Oil £595

93

7KUHH 6NRNKROP 3XI¿QV Oil £595

94

Two Bar-tailed Godwits Oil £1,850

95

96

97

98

Nick Elton Looking for a space, Torrellneset, Svalbard Charcoal & watercolour £380 Sandra Fernandez St Abb’s - A wild beauty Watercolour & pastel £755 John Foker SWLA Autumn Bramblings Oil £680 Black-headed Gulls Elmley Marshes Woodcut (ed. of 20) £390 (£300 u/f)

99

Bog Bleaters Woodcut (ed. of 26) £220 (£170 u/f)

100

Budpickers Oil £490

101

Heron estuary Oil £520

102

Swallows and planning permission Oil £1,250

103

104

105

Julian Friers On the callows Oil £7,500 Federico Gemma SWLA Barn Owl Watercolour £600 Common Snipe at sunset, Norfolk Watercolour £950

111

112

Winter Wallcreeper Watercolour £1,000 Robert Gillmor PPSWLA Avocet and chicks Silkscreen (ed. of 25) £325 (£300 u/f)

113

Avocets preening Silkscreen (ed. of 30) £295 (£270 u/f)

114

Black-winged Stilts Silkscreen (ed. of 31) £375 (£350 u/f)

115

Green Plovers Silkscreen (ed. of 34) £375 (£350 u/f)

116

Heron Silkscreen (ed. of 30) £375 (£350 u/f)

106

Grey Wagtail standing on rocks Watercolour £1,000

117

107

Greylag Geese Watercolour £950

Nine Avocets Silkscreen (ed. of 26) £375 (£350 u/f)

118

108

Little Owl, Extremadura, Spain Watercolour £550

Preening Egrets Silkscreen (ed. of 31) £375 (£350 u/f)

119

109

Red Deer running, Abruzzo National Park Watercolour £300

The Sentinal Silkscreen (ed. of 35) £325 (£295 u/f)

110

Whitethroat on Giant Fennel, 9HQWRWHQH ,VODQG Watercolour £500

120

121

Robert Greenhalf SWLA Curlews & Woodpigeons Woodcut (ed. of 100) £210 (£140 u/f) Great White Egrets Woodcut (ed. of 100) £210 (£140 u/f)

67

Robert Greenhalf SWLA Lapwings Oil £500

133

123

Low tide loafers Oil £500

134

124

Nesting Sandwich Terns Oil £900

125

3XI¿QV Woodcut (ed. of 100) £210 (£140 u/f)

122

126

127

128

Razorbills Woodcut (ed. of 100) £210 (£140 u/f) Shelducks chasing Oil £850 6LPRQ *ULI¿WKV $6:/$ Kestrel on Oak &HUDPLF KLJK ¿UHG

£650

135

136

137

7KUXVK PRXQWHG RQ 2DN ,,

&HUDPLF KLJK ¿UHG

£175 Michelle Hall Octopus Bronze £2,000 Lorna Hamilton Shared space Oil £1,250

143

144

Kendra Haste Tiger head Galvanised wire mesh £2,750 John Hatton ASWLA Avocet chase Linocut (ed. of 18) £275 (£240 u/f)

145

Barn Owl over reeds Woodcut (ed. of 24) £250 (£215 u/f)

Jack Haslam Tree Frog Etching & aquatint (ed. of 10) £250 (£200 u/f)

146

Guillemot gathering Woodcut (ed. of 20) £325 (£280 u/f)

Andrew Haslen SWLA Arrival Handcoloured linocut (ed. of 40) £550

147

138

*ROG¿QFK Linocut (ed. of 12) £225

139

Hare and Daisies Oil & watercolour £1,250

Lisa Hooper Caerlaverock Linocut (ed. of 16) £310 (£250 u/f)

148

Phalaropes, Shetland Linocut (ed. of 19) £490 (£420 u/f)

149

Pintail Linocut (ed. of 16) £360 (£290 u/f)

129

Quarrel of Sparrows &HUDPLF KLJK ¿UHG

£360 (for three, or £120 each)

140

130

Raven &HUDPLF KLJK ¿UHG

£1,550

Hare and Poppies Oil & watercolour £1,450

141

131

Tawny Owl on tall post &HUDPLF KLJK ¿UHG

£820

.LQJ¿VKHU Linocut (ed. of 40) £275

151

142

132

7KUXVK PRXQWHG RQ 2DN ,

&HUDPLF KLJK ¿UHG

£175

7KH ¿HOG HGJH Oil & watercolour £1,250

Guillemot colony, St Abb’s Head Watercolour £290

152

.LWWLZDNHV DQG 6KDJ ,VOH RI 0D\ Watercolour £570

68

150

Nye Hughes Cliffscape with Kittiwakes and Bird’s-Foot Trefoil, St Abb’s Head Gouache £875

153

154

155

156

157

158

159

160

161

Kittie Jones SWLA $ ÀXUU\ RI 7XUQVWRQHV Pastel & charcoal £625

3XI¿QV )XOPDU DQG 0DOORZ )LGUD ,VODQG Watercolour £625

162

Redwings Linoprint & watercolour (ed. of 20) £140 (£115 u/f)

David Hunt Fox Acrylic £1,250

163

Ringed Plover Reduction linoprint (ed. of 20) £150 (£125 u/f)

173

Cliffs and stacks, St Abb’s Head Charcoal, pastel & ink £895

164

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

174

Kittiwake & Pigeon Monotype £550

165

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

175

Mute Swans, Duddingston Loch Ink, pastel & charcoal £695

176

Nesting Shags, Fidra Charcoal, pastel, ink & gouache £895

177

3XI¿QV Monotype £750

178

Shag & chick Monotype £550

179

Turnstones at the river mouth Charcoal, pastel & ink £850

Emily Ingrey-Counter Guillemot colony and Lichen Soft pastel & charcoal £325 Stormy sea with Kittiwake and Guillemots Soft pastel & ink wash £315 Ken Januski Avocet and Moorhen at Minsmere Japanese woodblock (ed. of 16) £250 (£150 u/f) Great Crested Flycatcher against blue sky Japanese woodblock (ed. of 40) £225 (£125 u/f) Purple Finch and Hairy Woodpecker at Andorra Japanese woodblock (ed. of 20) £275 (£175 u/f) Richard Jarvis ASWLA *ROG¿QFKHV Linoprint & watercolour (ed. of 20) £125 (£95 u/f) Male Reed Bunting Reduction linoprint (ed. of 12) £120 (£95 u/f)

166

Richard Johnson SWLA House Sparrows in Winter Lilac Watercolour £700

172

167

Juvenile Peregrine at the chalk pits Watercolour £850

168

Male House Sparrow Watercolour £650

169

Morning Barn Owl Watercolour £550

180

170

Short-eared Owl at Burwell Fen Watercolour NFS

181

171

Whitethroat along Reach Lode Watercolour £600

Szabolcs Kokay SWLA Blakiston’s Fish Owl studies Watercolour £1,500 Cautious crossing (Chimpanzee in Uganda) Oil £2,500

69

182

Szabolcs Kokay SWLA +DUOHTXLQ 'XFN ¿HOG VNHWFK Watercolour £650

183

Middle Spotted Woodpecker Watercolour £650

184

6WHOOHU¶V 6HD (DJOH ¿HOG VNHWFK Watercolour £650

185

186

187

188

202

Towards Grassholm Woodcut (ed. of 20) £495 (£395 u/f)

193

Hares’ abstract thoughts Oil £4,995

203

Twinletts Woodcut (ed. of 20) £590

194

1LJKW PRYHPHQW RQ WKH ¿HOGV Oil £4,250

195

Wynona Legg Feeding time at the gullery Ink & soft pastel £650

196

Keeping an eye Ink £625 Shag chick, Fidra Ink & soft pastel £680 Shag with chicks Ink & soft pastel £650

190

Three Shag chicks Ink & soft pastel £680

70

A third baby Oil £1,595

Cathryn Kuhfeld Studies of Collared Doves Oil £1,250

189

191

192

Rachel Lockwood SWLA 3 young Owls close together Oil £1,295

Terence Longhurst Badgers in the moonlight Watercolour £450 Nick Mackman SWLA Badger, laid back Ceramic £1,750

197

Badger, sitting alert Ceramic £1,750

198

Badger, sitting back paws crossed Ceramic £1,750

199

200

201

Badger, standing sniff Ceramic £1,750 Julia Manning SWLA RE Mad Bay (Skokholm) Mixed media £1,500 3XI¿Q UDIW Woodcut (ed. of 25) £260 (£190 u/f)

204

Melanie Mascarenhas Amongst the Alkanet Oil & water-based monotype £390

205

Fulmars at Seacliff Oil-based monotype £350

206

Rhythm of St Abb’s Mixed media £480

207

Spinne Oil-based monotype £420

208

The diadem Oil-based monotype £380

209

Harriet Mead PSWLA Doe hoe Roe Welded found objects £9,950

210

Run and jump Welded found objects £2,250

211

Sickle winged Hobby Welded found objects £2,750

212

6LFNOH ZLQJHG 6ZLIW , Welded found objects NFS

Liz Myhill Nest ledge Watercolour, pastel & gouache £500

Louise Pallister The price of everything Photopolymer etching £300

213

6LFNOH ZLQJHG 6ZLIW ,, Welded found objects £1,850

223

214

6LFNOH ZLQJHG 6ZLIW ,,, Welded found objects £1,850

224

233

Spoon backed Egret Welded found objects £1,850

Nightfall Watercolour, pastel & gouache £890

225

Pilgrim’s haven Watercolour, pastel & gouache £890

234

Golden Eagle Pencil £600

235

Hare Pencil £650

215

216

Jill Moger SWLA PVPRMS Baby Spotted Catshark Stoneware £450

226

William Neill SWLA Columbian Grackles Watercolour £625

232

David Parry SWLA Badger Pencil £400

217

Deep Sea Skate (1/4 life sized) Stoneware & ceramic £2,000

227

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218

European Fire Salamander Stoneware £370

Dunlin, low tide, South Uist Watercolour £625

Samburu Cheetah Pencil £750

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Mandarin Salamander Stoneware £290

Visitors, Howmore River, South Uist Watercolour £625

Snowy Owl, Sweden Oil £1,200

Iain Nutting Rhesus Macaque (with large fruit) 2019 Welded reclaimed steel £2,200

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Mudskipper Stoneware £340 Susan Monteath Swans at Aveton Gifford Oil £220 Luis Morris ROI Brown Trout in River Test Oil £300

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Julie Orpen An eclipse of moths Engraving & linoprint (ed. of 50) £200 (£150 u/f) Nicolas Pain Thresher Sharks with Mackerel Foundry cast bronze (ed. of 18) £4,800

Peter Partington SWLA $ GD\ ZLWK WKH 3XI¿QV Skokholm Watercolour £375

239

Bottling Seal Watercolour £490

240

Kites in Oxfordshire - Spring time Oil £450

241

Lapwing and chicks Oil £690

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242

Peter Partington SWLA One Red Knot Oil £650

243

Skokholm Guillemots Watercolour £550

244

Wild Swans at Coole Watercolour £650

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Bruce Pearson VPSWLA Across the marsh at Morston Watercolour & mixed media £2,750 Among the Saguaros Relief print (ed. of 12) £425 (£375 u/f) Bears on the sea ice Oil £3,250 Southern ocean Drypoint & carborundum (ed. of 6) £475 (£395 u/f) Towards midnight, East coast, Greenland Oil £2,750 Nik Pollard SWLA Colony 1 - Gannets, Bass Rock Mixed media £950 Colony 2 - Gannets, Bass Rock Mixed media £950

Darren Rees SWLA Blue Cranes Acrylic £600

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Colony 3 - Gannets, Bass Rock Mixed media £1,000

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Colony 4 - Gannets, Bass Rock Mixed media £1,000

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Colony 5 - Gannets, Bass Rock Mixed media £1,000

Buzzard study Watercolour £375

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255

Colony 6 - Kittiwakes, Dunbar Mixed media £850

Crocodile, Rio Sierpe Watercolour £375

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Colony 7 - Kittiwakes, Dunbar Mixed media £850

Dozing Peregrine, Dunblane Watercolour £450

267

257

Colony 8 - Kittiwakes, Dunbar Mixed media £850

Forth Humpback Acrylic £600

268

Teal pair, Kinneil Watercolour £450

269

White-necked Puffbird study Watercolour £375

270

Yellow-rumped Cacique, Napo Watercolour £450

258

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Rachel Porter Small Elephant Hawkmoth studies Watercolour & graphite £425 Swallow over Enlli wetlands Watercolour & mixed media £850 Bill Prickett ASWLA Ray trio 1 Birch plywood £450

261

Ray trio 2 Birch plywood £450

262

School of Rays Birch plywood £750

271

Derek Robertson Black olives red Watercolour £400

272

Dark harvest Watercolour £860

273

The day the Bees died Watercolour £860

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The disappeared Watercolour £400 Chris Rose SWLA Eiders Oil £6,000

276

Grey Phalarope Oil £400

277

Young Bear Acrylic £650

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283

Louise Scammell Britt, Ballsaddle Rocks Wood lithograph (ed. of 7) £380 (£210 u/f) &RPSDVV -HOO\¿VK /RQJ &RYH Wood lithograph (ed. of 5) £680 Lant and Sugar Kelp, Prawle Point Wood lithograph (ed. of 7) £380 (£210 u/f) 'D¿OD 6FRWW 6:/$ Barnacle Geese, frosty morning Pastel £1,050 Choughs and cows, North Pembrokeshire Acrylic £1,750 Gemsbok in the evening, Kalahari Pastel £1,440

284

Hartebeest and red dune, Kalahari Pastel £1,440

285

Little Egrets hunting in a drying wetland Pastel £1,050

286

Lone Swift, North Pembrokeshire Acrylic £1,750

287

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Jane Smith SWLA )XOPDU ¿GHOLW\ Screenprint (ed. of 6) £390

295

Gannet display Screenprint (ed. of 8) £390

296

3XI¿QV Screenprint (ed. of 15) £280

297

Muntjac and Rabbits Acrylic £1,050

Red-breasted Merganser display Screenprint (ed. of 10) £440

298

Swifts, Pembrokeshire Acrylic £1,900

Turnstones Screenprint (ed. of 14) £280

299

Barry Sims Osprey, Cayuga Lake Watercolour £200

Under water Gannets Screenprint (ed. of 3) £440

300

Chris Sinden SWLA Blossom Linocut (ed. of 21) £170 (£140 u/f)

301

Eiders Linocut (ed. of 11) £170 (£140 u/f)

302

Juvenile Red Linocut (ed. of 21) £195 (£165 u/f)

Hostile environment Mixed media (ed. of 10) £1,185

303

Under the surface Stained glass & slate (ed. of 10) £2,175

Shelducks Linocut (ed. of 26) £195 (£165 u/f)

Andrew Stock PPSWLA RE April vine Watercolour £4,250 Rachel Taylor Chough Mixed media (ed. of 10) £1,475

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Rebecca Thorley-Fox Herring Gulls Oil £725 Lesser Black-backed Gull and passing Little Grebe, Autumn UHÀHFWLRQV Oil £465

Esther Tyson SWLA $GXOW DQG ¿UVW ÀHGJHG 5DYHQ Screenprint (ed. of 250) £250 (£210 u/f)

314

Large Blues on wild Thyme Oil £450

325

315

The Brown Argus, Dorset coast Oil £360

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Thistle visitor, the Small Tortoiseshell Oil £550

$GXOW DQG ¿UVW ÀHGJHG 5DYHQ preening Screenprint (ed. of 250) £250 (£210 u/f)

327

'D\ RQH ¿UVW ÀHGJHG Screenprint (ed. of 250) £250 (£210 u/f)

328

'D\ WZR VHFRQG ÀHGJHG Screenprint (ed. of 250) £250 (£210 u/f)

329

Young Ravens in the nest Screenprint (ed. of 250) £410 (£280 u/f)

330

Young Ravens in the nest 2 Screenprint (ed. of 250) £410 (£280 u/f)

331

Young Ravens in the nest 3 Screenprint (ed. of 250) £410 (£280 u/f)

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Young Ravens in the nest 4 Screenprint (ed. of 250) £410 (£280 u/f)

John Threlfall SWLA Are you asking?

Pastel £540

317

%XOO¿QFKHV Pastel £540

318

Brimstone, Painted Lady, Comma and Red Admiral Watercolour £875

319

Elephant herd Oil £1,345

320

*ROG¿QFKHV Oil £965

321

Herring Gull Oil £575

322

Lion Oil £875

333

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Snowy Owl Watercolour £965

334

Night patrol Woodblock print (ed. of 100) £140 (£95 u/f)

324

Spring - Green Woodpecker Oil £1,675

335

Uplift, Bempton Oil £3,500

Flyby Pastel £680 Mountain Hare Pastel £880 Ptarmigan Pastel £780 Winter Harrier Pastel £780 Richard Tratt SWLA %XWWHUÀLHV DW 0DUWLQ 'RZQ Oil £1,200 Coastal meadow with Painted Lady Oil £695

Simon Turvey SWLA Badgers Oil £875

Matt Underwood SWLA A dozen ducklings Woodblock print (ed. of 30) £250 (£200 u/f)

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:LOGÀRZHUV %HPSWRQ Oil £3,500 Elwin van der Kolk Long-eared Owl Acrylic £2,000 Pied Wagtails Acrylic £1,100 Christopher Wallbank SWLA *XLOOHPRW ORRPHU\ )RZOVKHXJK , Graphite & egg tempera £1,600

348

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Spotted Redshanks Watercolour £1,250 Louise Wilde Crow Etching (ed. of 30) £200 (£105 u/f) Razorbill at St Abb’s Head Etching (ed. of 30) £200 (£105 u/f) Martin Woodcock (1935 - 2019) A pair of Partridges Watercolour £525

*XLOOHPRW ORRPHU\ )RZOVKHXJK ,, Graphite & egg tempera £1,800

351

Andean Cock of the Rock Watercolour £525

Michael Warren SWLA Blackbird & Long-tailed Tits Watercolour £775

352

Blackbirds and apples Watercolour £500

342

Blackcap Watercolour £525

343

Grey Plovers Watercolour £1,250

344

Nightingale Watercolour £525

345

Nightjar Watercolour £725

346

347

Redshanks Watercolour £1,050

353

354

Laughing Thrushes Watercolour £425 Ben Woodhams SWLA BHG group on sandstone, July, Salthammer Watercolour £700

355

BHG group on thin ice, January, Ronne Watercolour £700

356

July feeding frenzy, Salthammer Watercolour £1,150

357

Shelduck throwing preening shapes, Nexo Watercolour £350

358

Studies of a dead Hobby Watercolour £1,800

359

Three winter BHGs on thin ice, Ronne Watercolour £1,150

360

Tufted Ducks on icy water, January, Ronne Watercolour £700

361

Whooper Swans & Canada *HHVH :LQWHU ¿HOG Watercolour £600

362

Darren Woodhead SWLA Singing male Willow Warbler in Apple blossom Watercolour £4,795

363

Singing Willow Warbler in blossom colours Watercolour £1,950

364

Tree Sparrows in Autumn hedgerow Watercolour £7,495

365

Tim Wootton SWLA A change is in the air; Dunlins Watercolour £375

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Tim Wootton SWLA Among the Marsh Marigolds; Drake Shoveler Watercolour £650 ,Q WKH $SSOH WUHH :D[ZLQJV Watercolour £975

Visitors’ Choice 2018

Chris Rose SWLA Avocet Oil 76

368

On the cottage wall; Painted Lady Oil £550

369

Ringed Plovers at Warebeth Watercolour £975

370

Ruffs & Reeve Oil £750

371

Waxwings in Fuchsia Oil £650

Michael Hampton (1937 – 2019) Michael Hampton, who has died aged 82, was elected an SWLA member in 1980. He spent 27 years with a commercial art studio before leaving to paint full-time and regularly exhibited his distinctive watercolours in the SWLA annual exhibitions.

He often created large watercolour paintings, with meticulously observed water textures and patterns as backgrounds to one of his favourite subjects - the Great Crested Grebe. Many of these were inspired by the birds which he watched on the lakes and gravel pits close to his home. Many of his paintings showed their unique behaviours such as the courtship rituals of head dipping, preening and the extraordinary display where breeding pairs ‘dance’ while holding nesting material. In The Natural Eye, Art Book One, Michael wrote: ‘Watching the Norwood Grebes restarted my interest in bird painting, with their fascinating displays and striking plumage.’ His love for this species was evident in his unique grebe’s head signature which he used on all his work.

Michael also enjoyed creating paintings of big cats and in 1987 he gained international recognition when his watercolour ‘Amur Tiger’ received the World Wildlife Fund for Nature Fine Art Award. Although he preferred working in watercolour, Michael also used acrylic, pastels and scraperboard. Over the years, Michael’s paintings have appeared on many magazine covers and calendars. His distinctive style has led to many private commissions. Collectors include the late founder of Howletts and Port Lympne wild animal parks, John Aspinall, for whom Michael painted many big cats.

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John Reaney (1940 – 2019) After a certain amount of encouragement from birding friends and a couple of successful exhibitions at the RSPB Portslade office, John gave up his day job of eighteen years as a draughtsman in the electronics industry, to become a freelance artist. He had studied art at evening classes for three years where he was able to experiment with various media, before finally plumping for pastels.This proved to be a good choice, ideally suited to his favourite subjects, evening landscapes where colours merge, form softens and outlines blur.

In the field, John would make meticulous sketches of the landscape with details and written notes of its various elements and of course of the mammal or bird subjects. Back in his home in Brighton he would carefully compose his painting, skilfully placing the elements and subject to faithfully reflect his memory of the encounter. Landscape and animal subject were conceived together, both having equal importance. John had a way of drawing you the viewer in, you were there with him, sitting quietly in the corner of the field in the fading light, absorbing the atmosphere, awaiting the emergence of a badger, or for a fox to slip silently down the hedge line.

The influence of his favourite painters, the Impressionists, can be seen in John’s pastels. He would work on toned pastel paper, building the image from touches of colour to create a surface that vibrates.

I first met John in the 1970s when he started showing his work in an annual exhibition and sale of Wildlife Art which I organised for the Sussex Wildlife Trust at their headquarters at Woods Mill, Henfield. His work looked good on the walls of the ancient mill and mill house and we sold several.

In 1983 the RSPB commissioned a series of pastels of some of their reserves around the county and they were used in a calendar and a book. Further commissions followed and his watercolours, pastels and pen and ink drawings can be found in a number of publications. 1986 saw the publication of Nicholas Hammond’s lavish book “Twentieth Century Wildlife Artists” which included a chapter on John and his work. Also that year, he had work accepted for the Society of Wildlife Artists Exhibition and the following year he was elected a member.

In spite of ill health in recent years, John always seemed to remain upbeat in his uniquely pessimistic way. His quiet presence will be missed by all who knew him, but his work will continue to give pleasure to those lucky enough to have examples on their walls.

Robert Greenhalf, 2019 78

Martin Woodcock (1935 – 2019) In February, wildlife artist and illustrator Martin Woodcock died at the age of 84. He was an important member of the SWLA for many years and the tributes that have since been paid show how well respected he was as an artist and how much genuine warmth and affection there was for him as a person.

Martin’s illustrating career began in the early 1970s when he was asked to illustrate a new Collins guide The Birds of SouthEast Asia, but his magnum opus was to be the seven-volume Birds of Africa, which famously took twenty five years to complete. His dedication was demonstrated by the many research expeditions he undertook to Africa to make sketches and field notes of some of the rarest species, many of which had never been illustrated before. The final volume was published in 2013, bringing to a close a project that had seen Martin produce over 5,000 illustrations of more than 2,000 species of birds. Birds of Africa was one of a number of acclaimed identification guides that earned him a deserved international reputation.

From his many trips to Africa Martin grew to know the continent and its wildlife well, especially the birdlife. He was always very generous with his knowledge and experience, freely offering help to other illustrators, sometimes sending copies of his own field drawings and notes on African birds for species few people had seen and for which photographs were almost non-existent. He became the first chair, and later president, of the African Bird Club and under his stewardship the Club became a leading organisation in the conservation of African birdlife.

Many of his beautifully observed African field sketches are reproduced in his charmingly relaxed, and often witty, Safari Sketchbook – a Bird Painter’s African Odyssey. The book is an account of his many adventures in Africa and it just makes you wish you could have been there with him! As well as the many thousands of illustrations produced for the purpose of field identification Martin also made sharply observed yet sensitive paintings of wildlife with an acute understanding of composition, balance and colour, and his paintings graced SWLA exhibitions for many years.

Martin was always hugely enjoyable company. He was a warm, modest and affable man with a wonderfully sardonic, often self-deprecating sense of humour that earned him very many friends. He will be greatly missed.

Chris Rose, 2019 79

Print Bind Deliver Repeat

The John Busby Seabird Drawing Course 13th – 20th June 2020 Enjoy a week long field based drawing and painting course, working alongside our team of experienced Tutors Darren Woodhead, Nik Pollard, Kittie Jones and guest artist TBC. Be inspired by the energetic frenzy of the seabird colonies in and around the Firth of Forth at the height of the breeding season.

We welcome applications from any artist who would relish an intensive week working directly from nature.

Contact: seabird.drawing@gmail.com or Darren Woodhead tel: 07961 970385

The art of printing

Tel: 01603 868862 Email: contact@swallowtailprint.co.uk www.swallowtailprint.co.uk

Swalowtail advert september18th 2019.indd 1

18/09/2019 14:41

Specialists in Sporting, Maritime & Wildlife art By Royal Appointment

CHRIS ROSE Recent Works

22 OCTOBER – 2 NOVEMBER 22 – 24 October: London 10am-6pm (Private view Tuesday 22nd October 6-8pm, late opening Wednesday 23rd October 6-8pm) 26 October – 2 November: Petworth 10am-6pm, Saturday 11am-4pm (Private view Saturday 26th October 12-2pm)

The Old Tavern, Market Square, Petworth,West Sussex GU28 0AH Tel: +44 (0)1798 344 207 19 Ryder Street, St James’s, London SW1Y 6PX Tel: +44 (0)207 839 8083 Image: Grey wagtail oil on linen, 90 x 75 cm

WILDLIFE ARTIST YEAR 2020 OF THE

CALLING ALL AMATEUR AND PROFESSIONAL ARTISTS ENTRIES NOW OPEN FIRST PRIZE: £10,000 Wildlife Artist of the Year brings together artists to celebrate the beauty of the natural world.

Enter and help us protect endangered species. Take a look at our website to find out more: davidshepherd.org/way Entries open from 30 October 2019 - 10 February 2020

UK registered charity (1106893) David Shepherd Wildlife Foundation, Saba House, 7 Kings Road, Shalford, Guildford, Surrey GU4 8JU UK Tel: 01483 272323 Email: dswf@davidshepherd.org

Image credit: ‘Closing In’ - Amber Tyldesley

Finalists will be exhibited at the Mall Galleries in London in Spring 2020

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