Society of Wildlife Artists Annual Exhibition 2014

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

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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

Artist of the Year

Inassociation

with

SWLA THE NATURAL EYE 51st Annual Exhibition

30th October to the 9th November 2014

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Harriet Mead Leaf rake boarFound Object Steel

SWLA President’s Foreword

Harriet Mead

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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.’

SWLA Overview

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PRESIDENT VICE-PRESIDENTS SECRETARY TREASURER COUNCIL FBA GOVERNOR NEWSLETTER EDITOR

ENQUIRIES TO

COVER IMAGE SWLA HISTORY

Harriet MeadRobert Gillmor, Bruce Pearson, Keith Shackleton, Andrew StockChris RoseMichael WarrenMax Angus, Daniel Cole, Robert Greenhalf, Greg Poole, Darren ReesEsther TysonDarren Rees

The Federation of British Artists17 Carlton House Terrace, London SW1Y 5BDTelephone: 020 7930 6844 Fax: 020 7839 7830Registered Charity No. 328717

Adam Binder, Little Owl II

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 duskOil

SWLA Members

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

4 Luddington in the Brook, Oundle, East Northamptonshire PE8 5QUBarn Tye Studios, 4 Barn Tye Close, Guston, Kent CT15 5NDTy’n Gamdda, Uwchmynydd, Pwllheli, Gwynedd LL53 8DAJack Of Clubs, Lode, Cambridge, Cambridgeshire CB5 9HE16 Pearl Street, Starbeck, Harrogate, North Yorkshire HG1 4QWThe Calf House, Marston Hill Farm, Meysey Hampton, Cirencester, Glos. GL7 5LGShannel Ballogie, Aboyne, Aberdeenshire AB34 5DRHuish Cleeve Cottage, Huish Champflower, Taunton, Somerset TA4 2HAHigh Kelton, Doctors Commons Road, Berkhamsted, Hertfordshire HP4 3DWEaster Haining, Ormiston Hall, Tranent, East Lothian EH35 5NJ44 Greengate, Levens, Kendal, Cumbria LA8 8NFThe Old Bakery Studios, Blewetts Wharf, Malpas Road, Truro TR1 1QH9a Llys-Y-Berllan, Ruthin, Denbighshire LL15 1PJ6 Redmoor, Birdham, Chichester, West Sussex PO20 7HS19 Tyning Close, Pendeford, Wolverhampton, West Midlands WV9 5QHc/o New East Frew, Thornhill, Stirling FK8 3QXMark Cross House, Ripe, Nr. Lewes, East Sussex BN8 6AN59 Barracks Road, Assington, Sudbury, Suffolk CO10 5LP403 London Road, Ditton, Aylesford, Kent ME20 6DB1 Charolais Crescent, Lightwood, Stoke on Trent, Staffs ST3 4TD4 Broadfield Road, Folkestone, Kent CT20 2JTVia Michele Barbi 12, Rome, Italy 00125North Light, Hilltop, Cley-next-the-Sea, Holt, Norfolk NR25 7SEThe Birches, Brake Lane, Hagley, Worcestershire DY8 2XNRomney House, Saltbarn Lane, Playden, Rye, East Sussex TN31 7PHPallington Lakes, Pallington, Dorchester, Dorset DT2 8QU13 Sandy Way, Shirley, Croydon, Surrey CR0 8QTCollege Farm, Preston, St Mary, Suffolk CO10 9NQ2 Chalk Lane, Epsom, Surrey KT18 7AR7 Marlborough Mews, London SW2 5TE18 Clevedon Road, Richmond Bridge, East Twickenham, Middlesex TW1 2HU23 Harbour Street, Plockton, Ross-shire, Scotland IV52 8TNPinkfoot Gallery, High Street, Cley-next-the-Sea, Norfolk NR25 7RBEnd Cottage, 24 Westgate Street, Hilborough, Thetford IP26 5BN

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HONORARY MEMBER Shackleton, Keith

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, RosalieKoster, David Lockwood, RachelMead, Harriet

Michel, SallyMoger, JillNeill, WilliamPaige, JohnParry, DavidPartington, PeterPearson, BrucePhillips, AntoniaPollard, NikPoole, GregProud, AlastairReaney, JohnRees, DarrenRich, AndreaRose, ChrisSchmidt, ChristopherScott, DafilaStock, AndrewSutton, BarrySykes, ThelmaThrelfall, JohnTratt, RichardTurvey, SimonTyson, EstherUnderwood, MatthewWarren, MichaelWoodhead, DarrenWootton, Tim

30 Woodland Way, Bidborough, Tunbridge Wells, Kent TN4 0UYThe Studio, 75 Millfield Lane, Nether Poppleton, York, Yorkshire YO26 6NARannachan, Askernish, South Uist, Western Isles HS8 5SYThe Manor House, Kings Cliffe, Peterborough, Northamptonshire PE8 6XBHolly Hall, The Old School, Milton Lilbourne, Pewsey, Wiltshire SN9 5LQKettlebaston Hall, Nr Ipswich, Suffolk IP7 7QA5 Marshall Road, Cambridge, Cambridgeshire CB1 7TYWillow Cottage, 38 South Mill Lane, Bridport, Dorset DT6 3PN51 Concorde Drive, Bristol BS10 6PY32 Kersteman Road, Redland, Bristol, Avon BS6 7BXPlas Bach, Newchurch, Camarthen, Dyfed SA33 6EJ1 Buxton Road, Brighton, East Sussex BN1 5DENew East Frew, Thornhill, Stirling, Stirlingshire FK8 3AX706 Western Drive, Santa Cruz CA 950606 Whitelee Cottages, Newtown St. Boswells, Melrose, Roxburghshire TD6 0SHZum Brook 7, 24238 BauersdorfWhite Roses, The Hythe, Reach, Cambridgeshire CB25 0JQWyncot, Frog Lane, Cuddington, Aylesbury, Bucks HP18 0AX27 Redlands Lane, Emsworth, Hants PO10 7UTBlue Neb Studios, 18 Newcroft, Saughall, Chester, Cheshire CH1 6ELSaltflats Cottage, Rockcliffe, Kirkcudbrightshire DG5 4QQ10 Sharpley Close, Fordingbridge, Hampshire SP6 1LG2 York Rise, Orpington, Kent BR6 8PR6 Rathbourne Croft, Nethergreen, Parwich, Ashbourne, Derbyshire DE6 1QH46 Western Avenue, Barton on Sea, New Milton, Hampshire BH25 7PZThe Laurels, The Green, Winthorpe, Nottinghamshire NG24 2NR2 Ivory Court, Langriggs, Haddington, East Lothian EH41 4BYNedier Cottage, Evie, Orkney, Highland KW17 2PJ

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ASSOCIATE MEMBERS

Johnson, RichardKokay, SzabolcsManning, JuliaSinden, ChrisSmith, Jane Sweeney, Jason

168 Kendal Way, Cambridge, Cambridgeshire CB4 1LTFacanos Utca, 14-1, Hungary - 12132 Rosebank, Queen Street, Keinton Mandeville, Somerset TA11 6EQ47 Colliers Field, Cinderford, Gloucestershire GL14 2SWCariel, Kintallen, Tayvallich, Lochgilphead, Argyll PA31 8PRMillhouse, 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

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

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.

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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 [email protected].

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

MONOPRINT WORKSHOP Sun 9th November, 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 [email protected] 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 GargellenWatercolour and gouache

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SWLA THE NATURAL EYE 2014£ u/f

Jane Ackroyd 1 Burrowing Owl - desert sand Steel for bronze 7,800

Carry Akroyd SWLA 2 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 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

Kim Atkinson SWLA 18 Woodcut (ed. of 7) 575 500

19 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

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£ u/f

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) 320 150

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

Stefan Bönsch 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

Anine Cockwell-De Jong 48 Roly poly Black serpentine stone 1,260

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Antonia Phillips Fulmar flight Monoprint

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Kim Atkinson Whitethroat and St Mark’s FliesOil

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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

John Davis SWLA 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

Nick Derry SWLA 66 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

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£ u/f

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





Nick Elton 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

John Foker 96 Billy Wix Linocut (ed. of 20) 200 100

97 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

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Beatrice von Preussen Female NewtEtching and painting

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Carl Ellis Rudd drawing 2 Wax oil pastel

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£ u/f

Federico Gemma SWLA 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

Robert Gillmor SWLA IEA 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

Robert Greenhalf SWLA 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 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

Jack Haslam 129 Bear Monoprint on watercolour 400

130 Macaque Etching (ed. of 3) 250 200

Andrew Haslen SWLA 131 Halcyon Linocut & watercolour 275

132 Hare and Rook Linocut & watercolour (ed. of 40) 600

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£ u/f

Andrew Haslen SWLA 133 Havergate Hare Linocut & watercolour (ed. of 40) 275

134 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 Bleached driftwood 795

144 Quebec pine and driftwood 3,250

Russ Heselden 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 95

Chris Hindley 148 Courting Grebes Painted wood 1,600

149 Painted wood 850

Lisa Hooper 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

Richard Johnson ASWLA 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

Kittie Jones 158 Kittiwake colony Ink & wash 350

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Tim Wootton Stack of EidersWatercolour

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£ u/f

Kittie Jones 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

Faisal Khouja 163 Water Lilies Linocut (ed. of 70) 300 120

Szabolcs Kókay ASWLA 164 Brown Sicklebill Oil 1,450

165 Watercolour 380

166 Watercolour 380

167 Watercolour 380

David Koster SWLA 168 Flamingos Lithograph (ed. of 9) 350 250

169 Peacocks and Peonies Lithograph (ed. of 5) 350 250

Jonathan Latimer 170 Acrylic 750

171 Working the paddies (Goa) Acrylic 1,450

Rachel Lockwood SWLA 172 Deep in the forest Oil 3,000

173 Hunters Oil 3,400

174 Quiet wood Oil 3,400

Melanie Mascarenhas 175 Charcoal, ink, tea & pastel 450

176 Charcoal, ink & tea 410

Emerson Mayes 177 Moving through the orchard Drypoint & goldleaf (ed. of 12) 475 425

178 Drypoint & goldleaf (ed. of 12) 375 320

Harriet Mead PSWLA 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

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Richard Tratt Red Admiral and Painted LadyOil

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£ u/f

Kittie Jones 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

Faisal Khouja 163 Water Lilies Linocut (ed. of 70) 300 120

Szabolcs Kókay ASWLA 164 Brown Sicklebill Oil 1,450

165 Watercolour 380

166 Watercolour 380

167 Watercolour 380

David Koster SWLA 168 Flamingos Lithograph (ed. of 9) 350 250

169 Peacocks and Peonies Lithograph (ed. of 5) 350 250

Jonathan Latimer 170 Acrylic 750

171 Working the paddies (Goa) Acrylic 1,450

Rachel Lockwood SWLA 172 Deep in the forest Oil 3,000

173 Hunters Oil 3,400

174 Quiet wood Oil 3,400

Melanie Mascarenhas 175 Charcoal, ink, tea & pastel 450

176 Charcoal, ink & tea 410

Emerson Mayes 177 Moving through the orchard Drypoint & goldleaf (ed. of 12) 475 425

178 Drypoint & goldleaf (ed. of 12) 375 320

Harriet Mead PSWLA 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

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Carry Akroyd CuckooSerigraph

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Andrew Haslen Hare and Rook Linocut and watercolour

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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 sketch-ing. 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.

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.

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Bruce Pearson Out of the Frame

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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.

Greg Poole Out of the Frame

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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 ...

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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.

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John Busby Was that a Peregrine?Oil

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Darren Rees Hoopoe, light study Watercolour

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£ u/f

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 Stoneware 1,200

191 Tuatara Stoneware 1,000

192 Uromastyx Stoneware 1,100

William Neill SWLA 193 In tangle Acrylic 1,850

194 Sanderling Acrylic 1,850

John Paige SWLA 195 Great Bustards Pastel 700

196 November Starlings Watercolour 700

197 White Pelicans Oil 1,500

Nicolas Pain 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

Peter Partington SWLA 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 95

211 Otter emerging Bronze (ed. of 12) 1,250

212 Oystercatchers and Herring Gull Oil 395

SWLA 2014.indd 8 30/09/2014 16:42

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Kittie Jones Shags and youngMonotype

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Brin Edwards Wylfa TernsOil

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£ u/f

Peter Partington SWLA 213 Resting Lapwing Oil 1,950

Bruce Pearson SWLA 214 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

Antonia Phillips SWLA 222 At low tide Monoprint 195

223 Flock by land and sea Monoprint 195

224 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

Nik Pollard SWLA 230 Mixed 450

231 Short-eared Owl 1 Monotype 500




Greg Poole SWLA 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




242 Teal and Little Egret Mixed 750

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£ u/f

Kit Price Moss 243 Kittiwake and chick I Charcoal 325

244 Kittiwake and chick II Charcoal 325

John Reaney SWLA 245 Down the lane Watercolour 525

246 Not quite Autumn Watercolour 525

247 Winter Buzzard Watercolour 550

Darren Rees SWLA 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

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 Pastel 720

265 Wildebeest at dusk Oil 940

Chris Sinden ASWLA 266 Disturbance Linocut (ed. of 25) 240 205

267 Goldeneye in the Straits (Sogne) Linocut (ed. of 25) 220 195

268 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

SWLA 2014.indd 10 30/09/2014 16:42

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Matt Underwood Moving onWoodblock

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Barry Sutton The Bushmans’s clockCeramic

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£ u/f

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

Richard Tratt SWLA 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

SWLA 2014.indd 11 30/09/2014 16:42

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£ 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 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

Esther Tyson SWLA 309 House Sparrow, dust bath Oil 600

310 House Sparrow, dust bath 2 Oil 600





315 Manor Farm, bailer Oil 1,500

316 Manor Farm, cow shed Oil 1,500

Matt Underwood SWLA 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 Watercolour 375

327 Pine Grosbeaks and Bittersweet Watercolour 450

328 Tennessee Warbler and apple blossoms Watercolour 450

SWLA 2014.indd 12 30/09/2014 16:42

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John Paige White PelicansOil

£ 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 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

Esther Tyson SWLA 309 House Sparrow, dust bath Oil 600






315 Manor Farm, bailer Oil 1,500

316 Manor Farm, cow shed Oil 1,500

Matt Underwood SWLA 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 Watercolour 375

327 Pine Grosbeaks and Bittersweet Watercolour 450

328 Tennessee Warbler and apple blossoms Watercolour 450

SWLA 2014.indd 12 30/09/2014 16:42

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Szabolcs Kókay Brown Sicklebill Oil

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£ 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 Watercolour 1,250

334 Northern Parula Watercolour 525

335 Pallas's Warbler Watercolour 525

336 Watercolour 525

337 Siberian Stonechat Watercolour 475

338 Woodcock Watercolour 975

Hauspeter Widrig 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

Mike Woodcock 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

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£ u/f

Darren Woodhead SWLA 353 Blackcap in Blackthorn blossom Watercolour NFS

354 Early morning Lapwing Watercolour 4,295

355 Male Stonechat studies Watercolour 1,350

356 Watercolour 1,850

357 Wheatear studies Watercolour 1,350

Tim Wootton SWLA 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

SWLA 2014.indd 14 30/09/2014 16:42

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

ANF/SWLA Young Artist Award

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Nick Derry Pagney in SpringCollage and acrylic (Detail)

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SWLA Bursary Seabird Drawing Course working in the field

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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 [email protected] 01767 650904

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SWLA Bursary Seabird Drawing Course working in the field

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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.

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.

Kevin Jones Bursary Award 2013

Studies of Guillemots from the Seabird Drawing Course

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

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.

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

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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.

Ben Woodhams Bursary Award 2013

Shadows moving over a still male PeregrineWatercolour

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

Birdwatch Artist of the Year (£1000 plus Swarovski equipment) RSPB Award Dry Red Press Award The Langford Press Award

The Society of Wildlife Artists would like to thank the individuals and companies who generously award the following prizes:

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

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SWLA Bursary Award Winners

2006 WINNERS Stephanie Black Helen Bullard Hannah Seward (WWT Wetlands for Life)

2007 WINNERSMartin Aveling Helen Bullard Gareth Williams

2008 WINNERS Jethro Brice Kate Joanne Aughey Li Lian Kolster

2009 WINNER Christopher Wallbank

2010 WINNER David Lowther

2011 WINNER Meg Buick

2012 WINNER Gina Ellis

2013 WINNERSBen WoodhamsKevin Jones

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

SWLA Undersea Art Award 2015

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

www.intaglioprintmaker.com email info@in intaglioprintmaker.com

9 Playhouse Court | 62 Southwark Bridge Road | London SE1 0ATTel: 0207 928 2633 Fax: 0207 928 2711

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

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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

Working Hard for Wild Birds of Preyand Their Habitats - Join Us

Creative ConservationPractical ResearchImaginative Education

Hawk and Owl Trust, PO Box 400, Bishops Lydeard, Taunton TA4 3WHT: 0844 984 2824 | W: hawkandowl.org/join | E: [email protected]

/hawkandowltrust | @hawkandowlukPhoto | Andy Thompson

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The BIRDscapes Gallery

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

Open daily 11am to 5pm

The BIRDscapes Gallery,Manor Farm Barns, Glandford, Nr HoltNorfolk. NR25 7JP 01263 741742 [email protected]

Great contemporary bird art

Wide range of styles, rooted in observation

Over 60 artists, including 20 members of the S WL A

An exciting programme of exhibitions

Strong environmental commitment

ARTcafé next door

BIRDscapes, the UK’s specialist bird art gallery

Wild Birds and Wild Places

John Threlfall S WL ANovember 15th to 30th

Paintings

Original prints

Sculptures

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

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The BIRDscapes Gallery

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

Open daily 11am to 5pm

The BIRDscapes Gallery,Manor Farm Barns, Glandford, Nr HoltNorfolk. NR25 7JP 01263 741742 [email protected]

Great contemporary bird art

Wide range of styles, rooted in observation

Over 60 artists, including 20 members of the S WL A

An exciting programme of exhibitions

Strong environmental commitment

ARTcafé next door

BIRDscapes, the UK’s specialist bird art gallery

Wild Birds and Wild Places

John Threlfall S WL ANovember 15th to 30th

Paintings

Original prints

Sculptures

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

ISBN 978-1-904078-64-7Published by the Langford PressPrice £38Available from Mall Galleries Bookshop, [email protected] and [email protected]

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 3pmThursday 30th October 12pm to 2pmFriday 31st October 10am to 12 noon

REPTILE TO REEF - Ceramic Sculpture - Jill Moger

WAS 36

rePtiLe to reefJill Moger

CERAMIC SCULPTURE

Norfolk & BeyondPeter Wileman PPROI RSMA FRSA

26 Oct – 9 November 2104

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Nature matters – and so does your supportNature 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

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

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.

Bed Head - Tina Jenkins Winner - Threadneedle Prize 2014

threadneedle.com/foundation | threadneedleprize.com

FIGURATIVE ART TODAYThe Threadneedle Prize 2014

Mall Galleries 30 Sept 2014 - NEAC.indd 1 30/09/2014 13:05

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

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.

Bed Head - Tina Jenkins Winner - Threadneedle Prize 2014

threadneedle.com/foundation | threadneedleprize.com

FIGURATIVE ART TODAYThe Threadneedle Prize 2014

Mall Galleries 30 Sept 2014 - NEAC.indd 1 30/09/2014 13:05

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Call for entries:ww

w.davidshepherd.orgEnter the David Shepherd Wildlife Foundation’s annual ART COMPETITION - help save wildlife

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

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: [email protected]

For full details and rules please see www.davidshepherd.org or call 01483 272323

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. Entry from now until 13 February 2015

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NEW for 2015 win a feature in magazineWIN£10,000

Enter Today!

The Natural Eye ART BOOK ONE

Hardback, 128 Pages, Full Colour, £20 A stunning book produced by the members of the

Society of Wildlife Artists

Available from www.swla.co.uk

Society of Wildlife Artists Annual Exhibition 2014

Documents