Exhibition updates

Society of Wildlife Artists Prizes & Awards

The Prize Winners for the Natural Eye 2015 were announced at the Private View on Wednesday 28 October to a packed Mall Galleries.

The journalist and author Simon Barnes opened the exhibition and said that "Wildlife is the most wonderful stuff we’ve got on this planet, and here, in room after room, we have a celebration of it. As ever, this exhibition is all about different ways of loving the wild world."

In her President's Foreword Harriet Mead writes that "...the variety of approaches, techniques and skills on display are alwasy an inspiration and makes me very proud of the Society."

Below are the Prize Winning works from this year's Natural Eye exhibition. 

Prizes and Awards


The Roger Clarke Award

Tim Wootton SWLA


Langford Press 3D Award

Adam Binder SWLA


Langford Press Printmaking Award

Julia Manning

The building of Wallasea RSPB

The Langford Press Field Sketches Award

Richard Johnson

Bluethroat Studies

Dry Red Press Printmakers Award

Matt Underwood

Spring Blackbird

RSPB Award

Greg Poole

Short-eared Owl flying near digger

The PJC Drawing Award

Richard Allen

Coastal Birds

The Bird Watch Magazine Artist of the Year Award

Jane Smith ASWLA

Fishing Frenzy

Call for Entries

The Society of Wildlife Artists seeks submissions of work that depict wildlife subjects and evoke the spirit of the natural world. The call for entries open on Tuesday 3 May 2016

For more information please click here.

View more highlights from the exhibition here

Image credit

Dafila Scott, Red Hartebeast on a Red Dune (detail)

Society of Wildlife Artists Flight Lines Project

This is an abridged version of an article printed in the Society of Wildlife Artists Exhibition Catalogue

At a time when many of our migrant birds are in decline, the fascination with their journeys has even more relevance. Flight Lines seeks to portray our migrants, their habitats and the people who study them, raising the profile of research to understand the challenges that these birds face. Perhaps most importantly, the project seeks to instil a sense of connection with the migratory journeys made by these summer visitors. The resulting interest can support much-needed research and secure wider engagement with these iconic birds.

The Flight Lines project is 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 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.

Throughout summer 2015, SWLA artists have been paired with British Trust for Ornithology (BTO) bird ringers and nest recorders working on migrant birds. Among others, SWLA artists have documented Cuckoos using stopover sites in Italy’s Po Valley, Reed Warblers in UK reed beds, Stone-curlews in the Norfolk and Suffolk Brecks, Pied Flycatchers in Scotland and migrant birds on the Welsh island of Bardsey.

Taking two well-known and highly respected wildlife artists, Carry Akroyd and Harriet Mead, to my Stone-curlew study areas around Thetford was a challenge, given the birds were having a tough time after the cold and wet spring/summer 2015. Breeding pairs were down and levels of nest predation were high! The study, part of the RSPB’s Stone-curlew recovery and protection programme, has proved highly effective over the years, covering both Breckland heath and farmland. Carry wanted to see both habitats as most of her artwork depicts birds in the wider landscape, while Harriet’s detailed metal sculptures of animals and birds meant we needed to get up close and personal to the birds!

No birds were seen on the heaths but this didn’t worry Carry, who seemed captivated by the unique ‘Brecks’ landscape. Next stop arable farmland, where Stone-curlews nest in sugar beet and game strips. Our luck was in and we found a pair – nervous and wary-looking – a sure sign of nesting. Harriet spotted the nest – two beautiful camouflaged eggs on a carpet of tiny stones and surrounded by rabbit droppings! Not a bad day after all.

- Jeff Baker, BTO volunteer

Stone Curlew by Chris Knights/BTO

I’d never seen a Stone-curlew before and still wouldn’t have now except for the expert ‘stonie-spotters’ getting my eye in. Surreptitious and stealthy, the leggy birds sneak around their nest, so camouflaged against the background they can only be spotted when they move. Which is why they need the right Stone-curlew–coloured background. A mix of browns and grey and white and black; some rough sandy earth in light and dark browns, rough enough for some dips and shadows, some pale and dark stones, short dry grasses and shrivelled sparse herbs. Farmers or rabbits disturb the ground creating the right backdrop. Given this décor, the stonies can move in.

I am interested in context; the landscape as it is perceived by the bird. I had driven across Breckland many times so I was familiar with the pines leaning along the straight field edges, but I had never actually stopped and walked on the ground. The sandy soil is almost an inland beach. In uncultivated areas, the ground yields not lush growth but the low growing herbs and meagre grasses that thrive on unimproved impoverishment. So my introduction to a new species was also my introduction to a new kind of habitat, the two completely paired.’

- Carry Akroyd

SWLA member artist Federico Gemma accompanied the BTO Senior Research Ecologist, Chris Hewson, to Italy’s Po watershed, where they caught up with some of the BTO’s satellite-tagged Cuckoos, which pass through Italy on their autumn migration.

Federico Gemma working in the Po watershed by Chris Hewson/BTO

SWLA Artists Kim Atkinson, Greg Poole and Darren Woodhead visited Bardsey Bird Observatory, just off the coast of Wales, to document the autumn migration and the researchers who study it.

The work of Kim Atkinson, Greg Poole and Darren Woodhead in the North Gallery at Mall Galleries

Darren spotted three Wheatears, and when the Shearwater work was done we all went our separate ways, I to the East side of the South End where the Wheatears were all but invisible among the orange lichens and whiskery ramallina, themselves the colour of dry grasses and coppery thrift stems. I am working on concertina format, sitting low in a broad low-lying land with sea on both sides. As if on the prow of a ship. It is clouding in from the West, a flare of swede-coloured sunlight, and fluffy cumulus, charcoal-slate, all along the western sky over a dark sea.’

- Kim Atkinson

Esther Tyson (below) and Harriet Mead explored the reed beds of west Norfolk with BTO researcher Dave Leech, documenting the Reed Warblers and Cuckoos that breed here.

John Threlfall spent the summer recording summer migrants, like Pied Flycatcher and Redstart using Carstramon Wood, Dumfries & Galloway, whose populations are monitored by members of the North Solway Bird Ringing Group.

John Threlfall in the North Gallery, Mall Galleries

Michael Warren and Richard Johnson were part of a wider group of SWLA Member artists to document our summer migrants and the BTO volunteers and researchers who study them.


Michael Warren in the North Gallery, Mall Galleries

The wider work carried out by BTO researchers is funded in many different ways. As a charity, the BTO relies on the generosity of those individuals, trusts and businesses who support its work to deliver the evidence and research outputs that underpin conservation action and policy decisions. If you would like to help the BTO in its work then find out more about fundraising, legacies and other ways of supporting what the organisation does – www.bto.org

This is an abridged version of an article printed in the Society of Wildlife Artists Exhibition Catalogue

Above are just some of the works on display in what is the SWLA’s 52nd Annual Exhibition, the country's showcase par excellence for the very best of contemporary art inspired by the natural world.

View highlights from the exhibition here

The Charles Pears Award 2015

Charles Pears was a renowned British Painter and the first elected President of the Royal Society of Marine Artists. Charles Pears was also a member of the Royal Institute of Painters in Water Colours and Royal Institute of Oil Painters. His works are held in the collections of the London Transport Museum, National Railway Museum, Imperial War Museum, and Tate.

Each year The Royal Society of Marine Artists commemorate his memory with The Charles Pears Award at their Annual Exhibition, given for an outstanding work in any medium by a non-member. This year the award has been won by Tony Williams for his work Ship with Moon.

Tony Williams

I am delighted to have been awarded The Charles Pears Award for 2015 and I extend my warmest thanks to the selectors.

I must admit, to my shame that I had not been aware of the work of Charles Pears so finding him and getting to know his wonderful paintings has been a revelation to me and reminds me that I don’t look at other artists work, which I should. 

I started painting fourteen years ago, having spent my life, thus far, fearing it and the distinct possibility that I would not find the results I wanted. Attending Sutton Art School for three years in the sixties, I studied life drawing and graphic design and my working career after that had been in advertising, as Creative Director at Rex Stewart Grangers in Exeter. During that period I worked on accounts for Camper & Nicholsons, Ratsey & Lapthorn, Jack Holt, Chernikeef and many other marine businesses, I even held a mooring in Cockwood Harbour, one of the hardest things to acquire in history, but in all this time in my life I had never picked up a paintbrush, for fear; being surrounded by a whole family of artists, living with paintings and countless books on painting and looking at the world as though it were a painting. So painting now is an obsession that happens every day, there’s no going back, once it’s got you it won’t let you go, and it is the hardest job I’ve ever done.

I have found in the work of Charles Pears a kindred spirit and hero of the graphic image and a true painter who I can only admire from afar, hoping that just a small brush full of his great genius can be absorbed along the way and I will forever be grateful to the RSMA for bringing him to me and for having faith in my work.

Tony Williams, Ship with Moon

The painting Ship with Moon has come from a series of romantic/nostalgia studies following bright summer moonrises and a looking back to the days when I lived in south London as a boy and art student cycling up to the river Thames a few miles away with my old camera. It is a subject that allows me to indulge in my love of the constructivists, whilst mellowed by a romantic element.

And one other little discovery I made in my delvings; a picture of Charles Pears standing with his painting of RMS Orcades, the ship which I was given at the age of eight in large scale electric model form. It was made by Lines Bro. in Merton near my home in Wimbledon and it was the greatest possession I could imagine at that time.  That was the ship that started a love of all things marine.

View more highlights from the exhibition here

Image credit

Tony Williams, Ship with Moon (detail)

The Natural Eye

The 52nd Annual Exhibition of the Society of Wildlife Artists, ‘The Natural Eye’, runs at Mall Galleries from 29 October to 8 November; here, our Exhibitions Manager offers an exclusive preview of what to expect at this year’s show:

There are over 300 works on show at the forthcoming Society of Wildlife Artists (SWLA) Annual Exhibition, all of which have been inspired by the natural world: its places and species, or by projects and politics concerned with it.

Many members have been inspired by the natural world on their doorstep. For example, Fiona Clucas has been inspired to create her mixed media work Moss verge, summer by daily walks with her dog around local Levens Moss, where the rich hedgerows, moss pasture land, birds and insects prove a constant source of inspiration. Also influenced by local wildlife and landscape, Antonia Phillips painted Dawn Deer; Dene Woods following her purchase of Uplyme woodland, which presented the artist with exciting new subjects to draw, marking a departure from the artist’s more familiar scenes of seabirds and shorelines (as seen in Oystercatcher trio).

Antonia Phillips SWLA, Dawn Deer; Dene Woods, Uplyme

In contrast to Phillips’s picture of a deer in deep Dene Woods, fellow member Rachel Lockwood has painted, in Watching the forest edge, the sight of a creature (perhaps another deer?) emerging from the forest, out of the shadows and into the light. Meanwhile in Pool Movement, Lockwood swaps woodlands for water, showing young Herons learning to hunt at a pool while Egrets wander amongst them, animatedly threading in and out.

John Reaney is another artist for whom the local area has provided a rich source of inspiration. In the particular case of Parish lamps lit, Reaney has observed at the River Ouse - below Lewes, near his Sussex home - a group of Swallows descending at dusk on a newly cut hay field to feed before roosting, joined bizarrely enough by a bat (seen swooping in from the top right of the watercolour).

Meanwhile at the other end of the British Isles to Sussex, Tim Wootton has drawn, close to his Orkney home, the coastal cliffs of Yesnaby, complete with Greenland Wheatear - one of the artist’s favourite birds. As well as the watercolour Wheatear, Wootton is exhibiting Glorious, a series of four bird studies in oil paint, as a reaction against the “Glorious Twelfth”, that is the start of the shooting season which commences on the 12th August, during which droves of Red Grouse are unashamedly shot for sport. Thus in Greenland Wheatear and Glorious, Wootton has represented subjects close to his home and heart respectively.

Tim Wootton SWLA, Greenland Wheatear

Other exhibitors, meanwhile, have found inspiration much further afield than their local area. Darren Rees travelled far from his home in Stirling, Scotland, to produce his works at a residency with the Scott Polar Research Institute and Royal Navy in Antarctica; whilst there, Rees studied penguin colonies, such as Gentoos at Port Lockroy and even foxes and whales at Svalbard, between mainland Norway and the North Pole. While in contrast, Dafila Scott - granddaughter of Captain Scott himself - has depicted wildlife in much warmer climes, from Wild Turkeys displaying in California, to Giant Eagle Owl in the Kalahari, and suitably rendered in hot red, orange and pink pastels, Red hartebeest on a red dune.

Demonstrating a decidedly dynamic approach to depicting wildlife (not unlike Dafila), Kim Atkinson’s prints of Starlings, such as Starling drinking, Starling bathing, result from drawings made while watching Starlings and especially from listening to them – the dots and dashes and liquid nature of their song and chatter, translated into prismatic colour and pattern in relief prints. Ben Woodhams, on the other hand, has chosen to draw more silent specimens, so to speak: in particular, a dead Sparrowhawk that had crashed into a neighbour’s window, a dead Merlin which flew into Woodhams’s own window, and a Partridge picked up from the side of the road – each Ben painted in meticulous detail until, according to the artist, it all got “a bit ‘much’”. 

This year, a fair few exhibitors have focused their work on instances where man has supported wildlife and its conservation. For example, Max Angus’s linocut Good to see you is based on the artist’s friend Mr Breeze (the figure in blue beneath the bunting), and the blackbirds opposite his shop which he looks for every spring morning to check if they have survived the night. While as part of the RSPB’s project at Wallasea Island to re-create the ancient wetland landscape ‘to provide a haven for a wonderful array of nationally and internationally important wildlife’, Greg Poole has documented (among other exhibitors) the interplay between the on-site machinery and area’s wildlife, especially well captured in his monotype Short-ear Owl flying near digger, completed in his studio from sketches made in-situ on the Island.

Max Angus SWLA, Good to see you

Above are just some of the works on display in what is the SWLA’s 52nd Annual Exhibition, the country's showcase par excellence for the very best of contemporary art inspired by the natural world.

View more highlights from the exhibition here


Image credit

Dafila Scott SWLA, Red Hartebeest on a Red Dune (detail)

The Royal Society of Marine Artists Exhibition Preview

The Annual Exhibition of the Royal Society of Marine Artists runs from 14 to 25 October, however here our Exhibitions Manager offers an exclusive preview of what to expect at this year’s show:

There are over 300 works on show at the Royal Society of Marine Artists (RSMA) Annual Exhibition 2015, all depicting maritime subjects, however from a startling range of places and perspectives.

Along the English coast towards Penzance, Peter Cronin has painted the picturesque Polperro, a large studio piece composed from ‘in situ’ reference studies looking across the water beyond boats and buoys onto buildings and bodies on shore. While further North, Bruce Mulcahy has painted - ‘on-the-spot’, over several visits - South Bay Lights, Scarborough, an atmospheric nocturne of night-time lights on Scarborough Harbour. Of course Peter and Bruce are far from the only exhibitors to find inspiration outside the studio, en plein air. J.F. Morgan has depicted the seas from her actual experience as yachtswoman, cruising and working at sea, whereas Wendy Borello has painted her underwater “landscapes” in watercolour from her personal experiences whilst scuba diving. While back on dry land, the shapes, colours and patterns of ropes and nets found amongst fishing paraphernalia are the inspiration behind Gareth Brown’s still life, appropriately titled Ropes and Nets.

Bruce Mulcahy RSMA South Bay Lights, Scarborough

From still life to sporting events, Barry Peckham recorded his view Valsheda, off The Needles at six o’clock in the morning off Mudeford Quay whilst observing yachts pass The Needles at the Isle of Wight’s Round the Island Race 2013. Another race, another place, David Allen shows the activity at a combined race day between West Mersea Yacht Club and Dabchicks Yacht Club in his pastel painting Cadets, Toppers and Optimists Waiting to Launch, West Mersea. While Raymond Leech’s End of the Toppers Race, Lowestoft depicts the June 2015 event in Lowestoft, at which 159 of the country’s best young sailors competed in a key qualifying event to secure a place in The Royal Yachting Association’s Junior National Squad.

Barry Peckham RSMA ROI Valsheda, off The Needles

Exhibiting artists have depicted less competitive, calmer scenes too, especially so Nicholas St John Rosse’s serene pictures of the seaside, including a faithful dog afraid of water (The Relucant Bather!), a girl at play on the beach with Pink Bucket, Blue Bucket, and in Exploring, even the artist’s own great grandson at Trebarwith.

Many RSMA artists confess to finding Britain their favourite place to paint, with new member Gillian Roberts listing among her personal highlights, Aldeburgh, Southwold, Walberswick, and the Yorkshire coast, as seen in her oil painting Yorkshire Rose and Ocean Crusader at Bridlington. However beyond Britain is well represented in the exhibition as well, from Breakfast on the Riviera with Douglas Gray, to evening in Menorca through the eyes of David Curtis (Evening, Binibèquer Coastline – Menorca), across Italy with David Allen via The Grand Canal at Accademia, and as far as Iceland courtesy of Lorraine Abraham’s Repair and Renovation, Reykjavik Harbour – which depicts boats Lorraine has observed with fascination over frequent visits to Iceland from their dilapidated state upon first sight to them becoming seaworthy following repair and renovation.

Douglas Gray RSMA Breakfast on the Riviera

Above are just some of the works on display in what is the RSMA’s 70th Annual Exhibition, for which the Society is re-introducing a special display of smaller works to hang alongside stunning larger pieces at competitive prices. What better reason to visit the Society’s seventieth Annual Exhibition charting the “Seven Seas”, the country’s foremost showcase for the finest contemporary marine art.

View more highlights from the exhibition here



Image credit

David Curtis RSMA, Evening Binibequer Coastline - Menorca

Peter Brown on Kickstarting his LONDON book

Pete Brown London Book Kickstarter

Peter ‘Pete the Street’ Brown would love to publish a book of his London paintings, and has turned to the world of crowdfunding to help make this happen. Pledges can be made (in return for rewards) on his Kickstarter page which runs until 12 July.

Pete tells us about his first experience of crowdfunding.

It’s been a dream of mine to do a book of my London paintings. When someone suggested the idea of ‘doing a kickstarter’ to help raise the necessary funds it sounded like just the ticket (once they’d explained what a ‘kickstarter’ was!). I also knew that taking this step would focus my mind on the project. A commitment. A plan. A deadline. That’s what I needed.

So we gathered together quotes & prices, mocked-up a cover & inside spreads, dreamed-up ideas for rewards, did some number crunching, and began to piece the jigsaw together. We went ‘live’ a few weeks ago, announcing the campaign via my website, Facebook & Twitter pages, and anxiously awaited a response. I do hope people like the idea.

I felt a giddy mix of adrenalin and relief when I learned that people seemed to LOVE the idea! It was so exciting to watch the total rise as generous backers made pledges. And people were so kind with their messages of support, spreading the word to their friends.

I admit I’ve become rather addicted to checking the latest total. There are nail-biting slow days, followed by sudden rushes. It’s quite a rollercoaster. The campaign runs until 12 July, and it’s going great, but we’re not over the finish line yet. There’s still time to make a pledge if you’d like to be a part of this project

It’s a crazy busy time. That deadline that I mentioned earlier? Oh yes, there’s the small matter of actually writing the book and making sure I have the right balance of paintings to fill its 168 full-colour pages. London is such a vast, varied city, I know I’m not going to be able to cover everything but I want a good mix of locations, weather conditions and light... So I’ve identified ‘gaps’ and have been spending the last few weeks setting up my easel in locations that I’d overlooked in order to plug those holes. The book will also contain anecdotes from my travels around town, along with conversations I’ve had with locals and tourists.

It’s been such an exciting project, and wonderful to get such great support. With all these kind people backing the book, I’d better make sure it’s a damn good one!  

Pete’s Kickstarter campaign runs until 12 July. Rewards include copies of the book itself, plus a variety of other items, including postcards, calendars, original paintings and the rare opportunity to spend the day painting with ‘Pete the Street’.

Artist Talks: Janine Baldwin

Exhibitions Intern Megan Fatharly interviews artist Janine Baldwin, whose work Cropton Forest I (above) won The Haworth Prize, worth £5,000, at The New English Art Club Annual Open Exhibition 2015 at Mall Galleries.

“I was so pleased for her,” says Megan about Janine winning the prize, “…as when I first viewed the exhibition I was drawn to her work because of how she managed to make a chaotic scene appear calm and tranquil”.

Megan Fatharly: How important is drawing to you and how often do you do it?

Janine Baldwin: Drawing is absolutely integral to my artistic practice. Even in my painting, I use oil bars (oil paint in solid form) to allow me to draw on the canvas alongside brushwork. Drawing to me is immediate and spontaneous and I try to channel a lot of energy into my drawing.

MF: How did you become involved with Mall Galleries, and how has winning The Haworth Prize helped your career so far? 

JB: I first exhibited with Mall Galleries in 2011, when my work was selected for the Society of Women Artists Annual Exhibition. From there I became interested in their other open exhibitions and I had my work selected by The Pastel Society in 2013, 2014 and 2015. In 2014 I was delighted to receive The Arts Club Charitable Trust Award for my work After the Rain at The Pastel Society exhibition. This year I was honoured to win The Haworth Prize which has been fantastic on so many levels. It brings my work to new audiences, both in the gallery space itself and through online and printed publicity for the shows. I would encourage any artist to submit work for the Mall Galleries’ open exhibitions as they put together diverse shows of an excellent standard, and being selected can lead to a whole range of opportunities. Artists can also apply to become a member after acceptance into consecutive shows. 

Janine Baldwin, After the Rain

MF: What’s been your favourite piece you've created?

JB: I can’t pick a favourite but I feel that my work is evolving all the time, which is exciting. I like different phases of my work for different reasons. 

MF: What artists influence you?

JB: Willem de Kooning, Patrick Heron, Cy Twombly, Joan Eardley and Peter Lanyon are amongst my absolute favourites. More recently, as I have been developing monochromatic work, I find artists such as Emma Stibbon inspiring. 

MF: How do you market yourself as an artist? What do you find has been successful and not so successful?

JB: I always make use of listing sites and databases which showcase artwork, and social media also plays a vital role in sharing information and new work. Newspaper articles are still a great way to reach thousands of people therefore getting to know your local arts editor is a good idea. I wouldn’t necessarily advise paying for adverts in magazines as it is often expensive and there is no guarantee the advert will be seen.

Janine Baldwin, Cropton Forest II

MF:When is your next up and coming exhibition?

JB: I will be taking part in a summer postcard show in my homewtown of Scarborough. It has been fun to make 4"x6" postcards and an ideal wat to try out new ideas and mediums without the commitment of a larger canvas or paper.

MF: What places inspire you?

JB: The landscapes and seascapes of Yorkshire are really where my heart is and I have returned to them repeatedly over the years. I am very focused on forests at the moment such as Cropton Forest and Silpho Forest, both in North Yorkshire, and I will never tire of the coastlines here in Yorkshire. Some have such a wild and remote feeling and the combinations of light, weather, colours and atmosphere are infinite. 


This interview first appeared on Megan’s blog, Megan’s Art Space

Society of Wildlife Artists Call for Entries

Society of Wildlife Artists Call For Entries Open Art Exhibition

There is under a week left to submit to the Society of Wildlife Artists' Open Exhibition. Work for this year's exhibition must be submitted online by 12 Noon, 7 August

Pre-selection from online entries will take place, after which successful artists will be invited to deliver their work to Mall Galleries, London, for final selection.

The Society of Wildlife Artists seeks submissions of work that depicts wildlife subjects and evoke the spirit of the natural world.

If you are thinking of submitting work to this year's SWLA Open Annual Exhibition then the Prize Winners from the 2014 exhibition, listed below, may help you decide what to submit this year.

RSPB Award

Federico Gemma SWLA, Whinchat, Giglio Island, Tuscany

The Dry Red Press Award

Max Angus SWLA, Woodcock pilots (Goldcrest) - North Norfolk

The Langford Press Award

Nicholas Pain, Flight of Manta Rays

The Langford Press Field Sketches Award

Szabolcs Kokay SWLA

image: Brown Sicklebill


The Hawk and Owl Trust's Roger Clarke Award

Adam Binder SWLA, Sparrowhawk


Birdscpaes Gallery Special Conservation Award

Carry Akroyd SWLA

image: Granite, Gannet, Annet

Image credit

Adam Binder SWLA, Sparrow Hawk

The New English Art Club: In Their Own Words Part Two

Michael Fairclough NEAC

At Sea - Dusk IX

It was the last of one sequence of 9 paintings, part of several series which were provoked by a Channel crossing. Other series in a similar vein are Sea Passage and Dog-Watch, each developing the theme of the fading of light until the final Dog-Watch paintings are virtually black and very simple - except that they are actually deeply colourful and full of texture!

Richard Pikesley

Edge of the Sea, Lyme Regis

For years I’ve painted on this beach, not just in summer but in foul winter weather too, but I hadn’t found this view until I saw it when returning from a swim. Painting whilst up to my knees in seawater brings some obvious practical difficulties but over the last two summers I had made many little watercolours whilst paddling at this spot. A little tin of colours and a single sheet of paper clipped to the lid of a cigar box makes a decent portable studio and the splashes from passing bathers don’t do too much damage. The oils of this subject are in part developed from these tiny watercolours though some of the smaller ones were painted on the spot from the end of a timber breakwater.

Peter Clossick NEAC

Juilet Yardley Mills

Widely known as JYM she was one of Frank Auerbach’s favourite models, who sat for me for many years. We became close and as a “muse” she was inspirational, I owe her a lot. The painting was done over many hours and sessions, through many stages, with JYM always there in front of me, looking determined and regal.

Susan Ryder NEAC RP

The Buffalo Chair

I love this view 'looking through' in my daughter's house, and managed to find time to paint it while looking after a sick grandson who lay on a sofa watching me and the television!

Diana Calvert NEAC

Gooseberries in the Irish Pot

I love painting gooseberries as I find them very beautiful and they are all different, the Irish Pot is just that, a very lovely pot that I bought in a craft shop in Connemara.

New English Art Club Prizes & Awards

Scarborough-based Janine Baldwin has been announced the winner of the first ever £4,000 Haworth Prize for landscape painting and drawing for her charcoal drawing, Cropton Forest I.

The Prize, sponsored by The Haworth Trust is for young artists (aged 35 years and under) living and working in the North of England, creating work inspired by their surroundings.

Janine, 35, says of her winning work:

“There are so many beautiful landscapes in Yorkshire I love but, Cropton Forest in North Yorkshire is one of my favourites. It offers a beguiling mix of intense darkness between the trees and patches of sunlight dappling the forest floor, and there are multiple layers within this landscape – tall linear tree forms, overgrown scrubland and deeply entrenched paths. To depict these layers in my work, as well as convey life and movement, I have made grooves in the surface of the paper and layered with charcoal, graphite and pastel. Marks on the paper have also been erased in order to create a transient effect, reflecting the changing shape of the forest. Above all I hope to capture the essence of Cropton Forest, and the sense of peace and tranquillity it evokes."

Richard Pikesley, President of the New English Art Club, was on the selection panel: “We chose Cropton Forest I as the winning piece because of its strength and immediacy, the observational quality of its drawing and for the haunting atmosphere it creates looking through the woodland.”

The Prize builds on the New English Art Club’s tradition of painting and drawing from observation and of supporting emerging artists.

Buy online now

Other Prizes & Awards

The Zsuzsi Roboz Prize

The Zsuzsi Roboz Prize of £5,000 is awarded by The Alfred Teddy Smith and Zsuzsi Roboz Art Trust, to a work of excellence in the New English Art Club Annual Exhibition.

Arthur Neal NEAC

Corner of the Studio II

"Arthur Neal could be conveniently described as a "painter's painter" - in other words a painter that other artists would like to emulate in his use of paint and structure. Tonal values hold the construction of this abstract portrayal of the studio interior, but there are other works by the artist on show here in both oil and pastel. A good painter wanting to be discovered." - David Messum

Buy online now

The Doreen McIntosh Prize (£5,000)

James Bland NEAC

Woman at a Table

Woman at a Table, one of James’ recent studio paintings. Painted from life, the sitter is positioned next to the 2 dimensional cardboard prop of the table and objects, which James makes himself, allowing accurate yet distorted perspective of the space and objects around the figure, creating a dreamlike sensation.

Commission James Bland NEAC to create a work just for you

The Arts Club Charitable Trust Award (£1,000)

Sarah Jane Moon

Studio II


Buy online now

The Winsor & Newton Award (£500)

Michael Weller

Late January Pears

The NEAC Critics' Prize (£250)

Tom Hughes

Clifton Suspension Bridge, Contre Jour, January

Commission Tom Hughes to create a work just for you

The Prize of the Worshipful Company of Painter-Stainers (£200)

Michael Whittlesea

Self 2015

Buy online now

The Dry Red Press Award

June Berry NEAC

A Walk Across the Fields

Commission June Berry to create a work just for you


Call for Entries

The NEAC seeks work which demonstrates excellence in both concept and draughtsmanship. The Call for Entries is currently open, submit your artwork before Friday 4 March 2016.

For more information please click here.

The New English Art Club Annual Open Exhibition is open from 18 - 27 June. 

Image credit

Tom Hughes, Clifton Suspension Bridge, Contre Jour, January (detail)