SWLA | The Natural Eye 2025

The and Artist of the Year

WISHING all entrants the best for The Natural Eye, the Society of Wildlife Artists’ annual exhibition celebrating nature. In association with

Calling Raven by Harriet Mead SWLA, winner of the 2024 Birdwatch and SWAROVSKI OPTIK Artist of the Year award.

See the December 2025 issue of Birdwatch for this year’s winner (on sale 27 November).

The winner of the 2022 Birdwatch and Swarovski Optik Artist of the Year award was Stag Rocks, Evening Light by Paul Henery – this year’s winner will be announced in the December 2023 issue

SWLA THE NATURAL EYE

62nd Annual Exhibition

16th to the 25th of October 2025

Mall Galleries, The Mall, London, SW1

swla.co.uk

SWLA President’s Foreword

Welcome to The Natural Eye, the 62nd annual exhibition of the Society of Wildlife Artists.

This has been a busy year for the Society. In May we launched the SWLA Massingham Heath Project, an ambitious project not least because it is the first that the SWLA has run without the support of a collaborating charity or organisation. This year-long project is following the rewilding journey of a farm in west Norfolk. Landowner Olly Birkbeck inherited the estate 8 years ago and has been restoring an area of heath and meadows, marginal land which had been ploughed during the war effort and cultivated ever since. Olly has been a generous host, allowing us to use his beautiful glamping site and barn for the residencies and events. So far 32 SWLA artists have spent time on site documenting what they find, and the results have been spectacular. The logistics of a project this size has at times been rather intimidating, but SWLA Friend Tim Baldwin has worked tirelessly to ensure things run smoothly. A small selection of work will be on display in the Out of the Frame room and you can learn more about the project which will culminate in a book and exhibitions in this catalogue.

The Bursary Scheme is another important part of the Society. Established more than 30 years ago, we have awarded well over 120 bursaries, with 5 given this year. The scheme is a brilliant way of offering help and guidance to new and emerging artists.

The bursaries and the project are funded through the SWLA, a tiny charity run entirely by volunteers. We work hard to raise funds but are looking for donations to help with the Heath Project in particular. To find out more about how to help please see the last page of this catalogue.

In February we lost Peter Partington. A member for 40 years, Peter was a kind and generous friend to many of us and always supported the Society in every way that he could. Indeed, when I sent out an email asking for artists to participate in the Heath Project, Peter was the first to respond. He shall be remembered for his beautiful, energetic and carefully observed work and for his humour, friendship and kindness.

Peter never stopped being excited and inspired by the natural world. The Natural Eye celebrates over a hundred artists who share that delight, and I hope that you enjoy seeing their work.

Harriet Mead, President

Tim Baldwin SWLA Massingham Heath Project

Back in 2018 at The Natural Eye preview, I answered the call for a volunteer to take on the task of running the Friends’ membership list, having no idea where it would lead. Whatever I might have thought, the possibility that six years later the Society would be planning a project on the doorstep of my newly adopted home village was not among them! Now this jigsaw of a project is a reality and we are almost six months into following a Norfolk farming estate through a full year as it seeks to give back space to nature. The project’s genesis has been a story of multiple elements being in the right place at the right time, then coming together to make a whole that is so much greater than the sum of its parts.

I had moved to Great Massingham in rural West Norfolk earlier that same year and soon became aware of an interesting development on the edge of the village. An open landscape of fields, interspersed with patches of bracken, gorse and belts of pine had been transformed into a sea of poppies. This was the start of an ambitious rewilding scheme, now spread over 1200 acres of the Little Massingham Estate. Former poor arable land, pressed into reluctant food production during World War 2, was being allowed to return to its former grassy heath.

The poppies were not sown, as many thought, but a natural occurrence from the seed bank when the land had been left fallow after its final cropping. By this time, I had become involved in managing a small parish owned “Biodiversity Project” and through this met the landowner of the estate, Olly Birkbeck. We quickly formed an alliance to promote an awareness of biodiversity locally, working in close parallel but at very different scales. Olly was generous in allowing me free access to the developing heath, which I came to know well, and he was pleased to receive my feedback and observations as I did so.

Fast forward to 2022 and at that year’s post-Covid Natural Eye, Carry Akroyd asked if I knew Olly Birkbeck and of his scheme to restore Massingham Heath. She had met Olly through her work for the Oldie magazine and was keen to visit the area which she did the following year. In the meantime, Harriet had also become aware of the heath and we had walked it together, so between Carry and herself the possibility that it could become an SWLA project venue began to emerge.

Harriet explains

...I first visited Massingham Heath on a damp November day in 2022 and despite the fact that it was the start of winter, the masses of spent seed heads were evidence of the wonders that spring and summer would bring. A habitat rich in native plants will provide food and cover for a myriad of wildlife, so it was clear that this place would be full of inspiration for SWLA artists. Tim introduced me to landowner Olly Birkbeck and the idea of inviting our member artists to spend time here to celebrate the heath and be inspired by the creatures and plants that make it their home, soon developed into a more ambitious project to follow the changing landscape through a full year and publish a book filled with the results.

Meetings followed, at which Olly offered the SWLA carte blanche to visit the heath and in early May made his beautiful barn and glamping site available before the main season for a launch residency. By then a group of willing volunteers had been recruited to support the artists during their stay and the barn became our HQ and venue for events to which the public could be invited. Some sixteen artists assembled on the first day to be greeted by Olly who led a tour around the heath and wider estate. The artists’ enthusiasm for what they saw was infectious, everyone itching to get stuck in and before long the landscape was dotted with an army of creatives painting, drawing and even sculpting from life. That evening there was a buzz in the air as first sketches and impressions were keenly shared back at the barn. As the week progressed it was clear that Olly was both delighted and impressed at what was emerging, not just in terms of art but the acute observation and ID skills that were being brought to bear on the estate. Species thought rare or absent were found in numbers, new ones added and recorded through a rapidly growing portfolio of work. At the outset we had envisaged one residency followed by a series of short visits by artists in ones and twos staying with local hosts, but Olly found a way to accommodate us throughout the summer, enabling multiple stays from new and revisiting artists who have used their own unique approaches to document the heath and capture some of the key moments of the year. The response from the artists has been phenomenal. There have now been three week-long residencies and many shorter visits of up to a half dozen artists present at any one time. The continuity of multiple visits to a relatively small project area brings into focus the importance of these spaces within the productive agricultural land and we hope will inspire other landowners to follow Olly’s lead.

When planning this project, we were keen to involve the local community and hold events to share the work and highlight the restored landscape. During the launch residency, more than 80 visitors came to see artists at work around two art trails on the heath and chatted with them about their work, an event so popular it ran almost two hours beyond the advertised end time. Carry Akroyd demonstrated printmaking for visitors at the barn whilst Simon Griffiths sculpted a tawny owl in clay. The week ended with a wonderful exhibition in the barn which was attended by some two hundred people over the course of a midweek afternoon and evening. In August we took over the Village Hall in Great Massingham for a weekend, staging an exhibition there which drew a constant stream of visitors. At the same time, the hall was our hub for drawing activities which made full use of the natural habitats around the village. Visitors could see a moth trap reveal on the village green, draw insects and aquatic life around the ponds and join a meadow drawing safari just a short distance away at the end of a residential road. Chris Wallbank returned for his third visit, this time to lead a subsidised drawing workshop, guiding participants through the process of creating a concertina sketchbook. This was entirely a plein air activity and held on one of the pondside greens in the village centre. We also ran another well attended art trail on the heath which helped to highlight the changing seasons as the meadows were now in full bloom, buzzing with invertebrates and wasp spiders were the order of the day!

An early companion on our planning visits to the heath and also joining us on the first day tour in May, was local naturalist Nick Acheson. Nick is a consummate naturalist and communicator, well known in Norfolk and beyond for his skill as a writer, broadcaster, tour guide, speaker and more. Nick has fallen in love with the heath and in one of those serendipitous connections on which this project seems to thrive, he was at school with Olly. They have both gained from reconnecting and when it came to bringing a writer on board for the book, Nick was an obvious choice. He has been working alongside the artists from the outset, talking with them about their work and gathering individual responses to the heath to weave them into his seasonal narratives. He has been generous with his time and knowledge, helping with talks and guiding walks during our events.

James Holden, SWLA Friend and supporter, has pledged a considerable donation in memory of his late father, Bryan who was a founding member of the ‘BB’ Society (dedicated to the memory of the artist and countryside writer Denys Watkins-Pitchford) and had a profound love for the English countryside. James and his wife Laura, came to the heath last year and immediately understood the potential for the project. The SWLA is extremely grateful for his generosity which ensures that there will be a project book. The help from local SWLA Friends and supporters, including local businesses, has been wonderful, with a dedicated team helping cater for the artists throughout the scattered visits and residencies. Many other donations and offers of practical help ensured that the project could launch, however we will need to raise further funds for the book and to cover basic costs for the artists (travel and meals) and extra funds for the workshops, community projects plus hire fees for gallery spaces. If you would like to make a donation visit www.swla.co.uk/support-us

What started as a vague idea has blossomed into a wonderful celebration of how a farming estate can make room for nature. A small selection of the work so far is displayed in the Out of the Frame room and we plan major exhibitions once the book is published late next year. Artists are already planning their autumn and winter visits to ensure that the full story of a year on the Heath can be told.

(this and previous page) Engaging the public with workshops, art trails and activities

SWLA Seabird Drawing Course Bursary

The SWLA was delighted to offer four bursary places on the John Busby Seabird drawing Course in East Lothian, with tutors Nik Pollard and Darren Woodhead.

Dan Bright

I’ve always loved wildlife and always made art but only started putting the two together a few years ago. Since then I’ve worked hard, going out drawing from life and putting in long hours in the print studio, but I’ve always felt a disconnect between the two aspects of my practice. I hadn’t found a way to make finished work in the field and had been unable to transfer the energy of my field sketches to my studio work, something was lost in translation. Clearly more work was required.

I arrived in Scotland feeling nervous and excited, knowing it would be a challenge but hoping an intensive week drawing in the company of other artists would help me make progress.

My biggest breakthrough came on Tuesday when we were concentrating on the Shag colony at Dunbar harbour. I was attempting some tentative wishy-washy-watercolours when Nik suggested I paint my whole paper a field of colour and then work back into it. It was a real turning point that allowed me to begin to see a way to make pieces in the field, freed from the fear of the blank paper I loosened up and began to enjoy making pictures.

Rebecca Cusworth

I knew attending the John Busby Seabird Drawing Course would be a positive and wholesome experience, but I wasn’t expecting how profoundly I’d be moved by both the practice, and practitioners, of field sketching. I didn’t expect it to feel so much like the missing puzzle piece I’d been holding space for in my practice.

I’d applied to the course to develop my ideas around generating kinship and connection, while re-centering my practice around drawing. I believed the seabirds would provide an ideal jumping off point for my studies. Venerating their life in rambunctious colonies, I saw them as a fitting companion as I tried to remedy the detachment myself, and many of us feel sequestered behind our screens.

The course allowed me to not only connect with others, but reconnect to a part of myself I’d neglected. I didn’t know I’d been starving my creativity of the joy of drawing. Since returning home I’ve made the commitment to add regular field sketching to my routine, keeping me nourished, awake, and hungry for more.

Maria Simonova

Joining the John Busby Seabird Drawing Course and following in the footsteps of the wildlife artists whose work inspired me during visits to the SWLA The Natural Eye exhibitions felt surreal and eye-opening. I was buzzing before and after the adventure, energised to create new work.

I was able to build upon my natural tendency to create detailed studies of birds, as well as embrace plenty of opportunities to experiment and loosen up my usual approach, including paper-cut model making! The tutors Darren Woodhead and Nik Pollard would always provide individual advice, such as Darren explaining to me how the bird wing folds, colour theory and the best approaches to using watercolour in the field. Following Nik’s advice on capturing the seabirds in context of their environment and conveying the whole atmosphere I developed more compositional studies in colour alongside my pencil line-work focusing on certain poses.

Seeing John Busby’s sketches, from early life-drawing to birds gave a special dimension to the course, connecting it to the legacy of the wildlife art tradition as a reminder to continuously learn through seeing other artists’ work.

This adventure shared with some amazing people and birds will stay with me forever and inform the future direction of my emerging art practice.

Eline Veening

We started off in Dunbar where you can see the Kittiwakes from up close without using binoculars or scopes. By the end of the week the sound of the Kittiwake will sing in your head. It’s really something when you are at St. Abbs. It’s all quiet as you move down and suddenly when you turn a corner you hear an orchestra of the Kittiwakes. At St. Abbs we saw a Razorbill’s nest and plenty of Guillemots.

Last year it was sunny all the way through, no umbrella needed. However this year we’ve had all sorts which changed by the hour. Raincoats, umbrellas, sunscreen, hats and waterproof art materials all proved essential. At the end of the day we all get our sketchbooks out and see how everyone has tackled the elements at the end of the day, which is a real privilege.

This year we were incredibly lucky to go to Bass Rock. The Gannets are so close to you there is no need for binoculars or scopes at all. Keeping your portfolio case between you and the Gannets is recommended when walking on the Bass. After the Bass I was just buzzing and Maria and I were even more lucky to go twice to the Bass. I am so grateful for the experience for all the birds I’ve seen and for all the amazing people I’ve met and the things I have learned. I would love to do this again each year, it is truly that special.

The Natural Eye Bursary, 2025 Georgia Crook

Georgia Crook was awarded The Natural Eye Bursary to explore ways of documenting and celebrating Seamat (Electra pilosa and Membranipora membranicea). Found on kelp and seaweed these mat-like growths are actually colonies of tiny individual animals.

‘‘...I already knew it was a difficult subject to interpret visually. I was daunted by it, and knew that I needed an external impetus (such as The Natural Eye Bursary) to truly approach the task. Over the course of this summer, I have not only guddled around in lots of salt water in the hunt for my muse but also on the edges of very many techniques and visual art mediums in search of the right one to help me capture the nature of ‘Seamat’.

At the beginning of the project, whilst the water was still cold, there was not much to see; Seamat colonies grow seasonally. I spent the waiting time reading and researching in other ways. Looking at scientific papers, lots of photographs, finding out about bryozoans more broadly and even visiting the National Museum of Scotland’s fossil collection. All of this did a great deal to inform my understanding of the place of my ‘Seamat’ in time and space; its heritage and role in our ecology and future. I also began attempting to draw my subject, and whilst I did that I inevitably mused on its nature. By the time the waters warmed up and the colonies began to show themselves I felt much more ready to experience the reality of the creature.

My original intention was to monitor a single colony throughout the growing season. I quickly realised though that the most useful way to get to know the nature of the colonies was to examine several patches growing in different places over the season. In this way I discovered that although each of the two main types of Seamat could be

found anywhere, sometimes together, they definitely proliferated in predictable favourite places. I was able to reasonably predict which type I was most likely to see in different terrains. e.g. Electra Pilosa in shallow rocky areas or, on serrated wrack; or membranipora membranicea (affectionately known as ‘pora’) off deep rocky shelves, growing on kelp.

I noticed over time that the heavily covered areas of seaweed were consistently at depth and I wondered what factors affected this more greatly. Could it be that the flow of phytoplankton on which Seamat feeds is slower at depth, or amongst heavily ‘forested’ areas? Was there less predation? Was it that more larvae initially latched on in more sheltered places? What role did light play? As expected , so many more questions at the end than at the beginning! I was also surprised by the rate of growth. It did not creep, it exploded. ‘Pora’ in particular seemed to be able to cover massive sheets of kelp within days. Growing in a great upward thrust from the depths with a clear ‘frontier’ zone in its pattern. No sooner had the colonies emerged though; they began to decline. I watched as they faded and weakened on dying kelp, ultimately floating down and adding to the calcified remains of its predecessors; upon which new colonies would inevitably grow.’’

(above) Sketchbook studies (previous page, right) Seaweed ink Wrack drawing (detail) (previous page, left) Artist book

Peter Partington 1941-2025

Peter Partington was a much-loved member of the SWLA, contributing to countless projects, exhibitions and books with his lively artwork. Moreover, Peter brought humour and good nature to every private view or artists meeting that he ever attended – he was always great company and is sorely missed.

Peter was elected to the SWLA in 1985 and served terms on the Society’s council. A printmaker, painter and occasional sculptor he was perhaps best known as a prolific watercolourist. One of his first freelance contracts was for an illustrated version of H.E. Bates’s Down the River (Gollancz). His beautiful watercolours shone from the page and garnered much acclaim establishing Peter’s reputation as a leading portrayer of natural history. It was quickly followed by the popular Learn to Paint Birds in Watercolour (Collins). More art guides included Learn to Draw Wildlife, Learn to Draw Birds, Learn to Draw Animals, Learn to Draw Farm Animals, and (jointly illustrated) Drawing For Beginners, Flights of Imagination and Birds by Character. He was a regular contributor to The Artist magazine, and more recently Peter illustrated Dominic Couzen’s Secret Lives series for Helm/RSPB publishing.

With his ability to conjure images from direct observation in the field Peter was a regular contributor to the Artist For Nature Foundation, joining projects in Biebzra Marshes (Poland), Extremadura (Spain), Wexford Coast (Ireland), Bandhavgarh (India), The Great Fen (UK), and, at the age of seventy eight, in Hedrehely (Hungary).

Peter was a regular exhibitor at the Birdfair, sometimes on his own stand, other times helping out on the SWLA stand. When the Birdfair rebranded as the Global Birdfair Peter provided images for the marquees’ new names. He also had a long association with the Pembrokeshire seabird island of Skokholm running the first bird painting course in 1990. The magic of place, coupled with Peter’s tutelage and sense of fun led to many repeat participants and the event became an annual fixture, everyone happy to be part of the ‘Peter Partington Puffin Posse’.

With his passing there has been a flood of messages and comments, from friends and family, and from those who painted and laughed alongside with him. Perhaps writer Mark Cocker summed up Peter best when he posted:

‘Peter was immensely talented, gentle and generous. Perhaps not really equipped (commercially) to capitalise on all that talent, except to express it in hundreds if not thousands of paintings and drawings. He lived simply, was deeply modest and wonderful company. I later got to teach with him in schools, when his near-instantaneous sketches of living creatures and plants were a revelation to the children. His notebooks were jam-packed with captured moments. All his images of birds especially, are thrilling because of their truth-to-the-world. He could capture it precisely. The work was full of colour. He leaves behind a vast body of work steeped in love for the living world.’

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 30 years since its inception our Bursary scheme has awarded over 100 bursaries to artists who have needed support with a project or help with new skills and techniques for their artistic development.

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

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

Become a Friend of the SWLA and not only will you be helping to nurture artists inspired by the natural world you will also enjoy the following privileges:

1. Attend the private view of the annual exhibition and enjoy the ‘Meet the Artists’ drinks reception

2. Free entry to the annual exhibition, free catalogue, also admits a guest

3. Receive a quarterly Friends E-Newsletter via email

4. Receive a copy of Art Book One (RRP £20)

5. Friends will be entered into a ballot where a proportion of the subscriptions will be devoted to the purchase of a work from the annual exhibition. The successful Friend will be told the amount available (currently £250) and invited to select his or her work from the show

6. Opportunity to take part in studio visits of member artists

7. Receive discounts on events, workshops and courses offered by the SWLA

To become a Friend of the Society or to make a donation please visit our website swla.co.uk or email swlafriends@gmail.com

The SWLA is very grateful to Tim Baldwin for running the Friends Scheme

(opposite page) Robert Greenhalf SWLA Curlew creek. Oil on board

screenprint

SWLA Overview

PRESIDENT VICE-PRESIDENT

PAST-PRESIDENTS

SECRETARY

TREASURER

COUNCIL

FBA TRUSTEE

NEWSLETTER EDITOR

ENQUIRIES TO

COVER IMAGE

Harriet Mead

Bruce Pearson

Bruce Pearson, Andrew Stock

John Foker

Chris Rose

Marco Brodde, Lisa Hooper, Nye Hughes, Kittie Jones, Darren Rees

Max Angus

John Foker

The Federation of British Artists: 17 Carlton House Terrace, London SW1Y 5BD

Telephone: 020 7930 6844, Registered Charity No. 328717 Carry Akroyd SWLA On Massingham Heath

For more information visit: swla.co.uk

SWLA Members

Akroyd, Carry Allen, Richard Angus, Max Atkinson, Kim Bennett, David

Bibby, Nick

Binder, Adam

Brodde, Marco

Clucas, Fiona

Cockwell-De Jong, Anine

Coe, James Cole, Daniel Dobbs, John

Dusen, Barry van Edwards, Brin

Edwards, Victoria Foker, John

Gemma, Federico

Greenhalf, Robert Griffiths, Simon

Haslen, Andrew Haste, Kendra Hatton, John

Henery, Paul

Hooper, Lisa

Hughes, Nye

Johnson, Richard

Jones, Kittie

Kokay, Szabolcs

Legg, Wynona

Lockwood, Rachel

Mackman, Nick Manning, Julia

Mead, Harriet

Moger, Jill

Myhill, Liz

Neill, William

Parry, David

Pearson, Bruce

Pollard, Nik

Prickett, Bill

Proud, Alastair

Rees, Darren

Rose, Chris

Scammell, Louise

Scott, Dafila

Sinden, Chris

Smith, Jane

Stock, Andrew Sykes, Thelma

Thorley-Fox, Rebecca

Threlfall, John Tratt, Richard Turvey, Simon

Tyson, Esther Underwood, Matt Wallbank, Christopher Warren, Michael Woodhams, Ben Woodhead, Darren Wootton, Tim

ASSOCIATE Members

Andrew, Laura De Raedt, Joris Haslen, Amie

Mascarenhas, Melanie Pound, Adele

Wang, Tianyin

List of works 2025

Vida Aasen

1 Fat-tailed Dwarf Lemur

Ceramic

£1,400

Carry Akroyd SWLA

2 Bittern reedbed

Serigraph (ed. of 10)

£325 (£210 u/f)

3 Cranes

Serigraph (ed. of 8)

£325 (£210 u/f)

4 Cuckoo river

Serigraph (ed. of 5)

£525 (£395 u/f)

5 Fields Kites cows

Ink, paint and crayon

£650

6 On Massingham Heath

Ink, paint and crayon

£850

7 Pochard

Serigraph (ed. of 6)

£325 (£210 u/f)

8 Red Fox

Acrylic

£1,800

9 Short-eared Owl

Serigraph (ed. of 6)

£325 (£210 u/f)

Richard Allen SWLA

10 Bittern

Linocut (ed. of 50)

£165 (£125 u/f)

11 Early morning Avocets Oil

£950

12 Lapwings at the creek

£950

13 Late evening Avocets Oil

£950

14 Skylark

Linocut (ed. of 50)

£165 (£125 u/f)

15 Snoozing Hare

Linocut (ed. of 50)

£195 (£145 u/f)

16 Sun-drenched Avocets Oil

£1,200

17 Two drake Wigeon Oil

£650

Laura Andrew ASWLA

18 Bullfinches amongst blossom

Oil on panel

£970

19 Crouching Kingfisher Oil on linen

£1,500

20 Goldfinches on Thistle Oil on panel

£970

21 Great Spotted Woodpecker in flight Oil on linen

£1,900

22 Long-tailed Tits in Willow

Oil on panel

£970

23 Wrens in Briar Rose

Oil on panel

£970

Max Angus SWLA

24 Always here

Boxwood wood engraving (ed. of 70)

£200 (£140 u/f)

25 Coastal Sea Buckthorn

4 block linocut (ed. of 29)

£340 (£260 u/f)

26 Hare and the sweet meadow

4 block linocut (ed. of 25)

£340 (£260 u/f)

27 I am a girl (reindeer)

Boxwood wood engraving (ed. of 70)

£200 (£140 u/f)

28 Marsh Harrier

4 block linocut (ed. of 3)

£340 (£260 u/f)

29 Rewilding White Storks

4 block linocut (ed. of 20)

£380 (£280 u/f)

Kim Atkinson SWLA

30 Headland, August afternoon

Gouache and pastel

£850

31 Raspberry thieves

Monotype oil on paper

£950

32 Wild Carrot, Pen y Cil

Gouache and blackberry on gesso primed paper

£850

Clinton Banbury

33 Carmine River

Acrylic on canvas

£4,800

Brian Baxter

34 Otters

Oil pastel on watercolour

£650

35 Red Squirrels

Oil pastel on watercolour

£650

David Bennett SWLA

36 Bar-tailed Godwits and Redshank

Watercolour

£800

37 Corn Bunting song flight

Watercolour

£400

38 Goosander and Otter

Watercolour

£800

39 Otter family hunting Perch

Watercolour

£950

40 Otter stretching studies

Watercolour

£950

41 Redwings and Hawthorn

Watercolour

£500

42 Ring Ouzel landing

Watercolour

£300

43 Roe Buck and Fieldfare

Watercolour

£800

Nick Bibby SWLA

44 Curlew

Bronze (ed. of 12)

£12,000

45 Exmoor Emperor

Bronze (ed. of 12)

£14,450

46 Pangolin

Bronze (ed. of 50)

£4,800

Dan Bright (SWLA bursary winner)

47 Spring Lapwings

Relief print (ed. of 12)

£275 (£180 u/f)

48 St Abbs Guillemots

Monoprint

£495

Marco Brodde SWLA

49 Avocets and Oystercatcher

Drypoint and caraborundum (ed. of 5)

£550

50 Homage to Blicher and Larsen IV

Drypoint (ed. of 2)

£930

51 Homage to Blicher and Larsen VI

Drypoint (ed. of 2)

£930

52 The Raven Drypoint (ed. of 10)

£550

53 The Robin and the old children suitcase

Drypoint (ed. of 5)

£550

54 The Woodcock Drypoint (ed. of 10)

£550

55 Wadden Sea World Heritage I

Drypoint and caraborundum (ed. of 2)

£930

56 Wadden Sea World Heritage II Drypoint and caraborundum (ed. of 2)

£930

Lorna Brown

57 The waiting game

Mixed media

£1,750

Fiona Clucas SWLA

58 Curlew over the sands, Morecambe

Bay

Mixed media

£875

59 Curlew, Cockerham Sands

Mixed media

£875

60 Wild Geese, Solway

Mixed media

£1,200

Camilla Clutterbuck

61 Alone and warming his five wits

Mezzotint (ed. of 30)

£1,500 (£1,365 u/f)

Anine Cockwell-De Jong SWLA

62 Carcinisation

Stone selenite

£2,800

63 Settle

Stone blue alabaster

£4,000

James Coe SWLA

64 Evening hush Oil on linen mounted on board

£2,000

65 Gathering on the edge Oil on linen mounted on board

£1,300

66 Lesson on the flats Oil on linen mounted on board

£1,500

67 Persistent songster Oil on linen mounted on board

£1,300

68 Pheasant in the grass Oil on linen mounted on board

£1,300

69 Shelter from the snow Oil on linen mounted on board

£1,000

Daniel Cole SWLA

70 Evening Magpies Oil

£1,250

71 Swallows, small tree and flints Oil

£1,600

Caroline Convey

72 Look! They’re back! Look!

Reduction linocut print (ed. of 9)

£400

Louisa Crispin

73 Field notes 003 ~ Hornet

Graphite / paper

£750

74 Field notes 004 ~ Cranefly

Graphite / paper

£750

Rebecca Cusworth (SWLA bursary winner)

75 Gale blown Gannet

Crayon, felt tip marker, highlighter and colour pencil

£445

Nick Day

76 Barn Owl roadkill 2 Pencil

£1,000

Joris De Raedt ASWLA

77 Asio otus

Watercolour on paper

£675

78 Athene noctua

Watercolour on paper

£895

79 Bearded Tit

Watercolour on paper

£545

80 Bush Stone-curlew

Watercolour on paper

£595

John Dobbs NEAC SWLA

81 Goldfinch Oil

£430

82 Young Fox Oil

£950

Leo du Feu

83 A Storm Petrel and a moth in the night

Water soluble graphite on paper

£675

84 Jellies in the harbour rain

Mixed media (watercolour, gouache, pencil and acrylic on paper)

£1,300

Barry van Dusen SWLA

85 Fox Sparrow, Princeton

Watercolour on paper

£325

86 Osprey

Watercolour on paper

£500

87 Prairie Warbler and Birch catkins

Watercolour on paper

£550

88 Spotted Sandpiper, Bartlet’s Pond

Watercolour on paper

£400

89 Whimbrel and Marsh Pickles

Watercolour on paper

£425

90 White-breasted Nuthatch, Princeton

Watercolour on paper

£350

91 Yellow-rumped Warbler and Poison

Ivy berries, Sterling

Watercolour on paper

£400

92 Young Herons at the nest, Sterling

Watercolour on paper

£550

Brin Edwards SWLA

93 Bullrush Kingfisher Oil on board

£450

94 Ringed Plover sunset

Acrylic on board

£595

95 Stonechat and Gorse

Acrylic on board

£495

96 Whitethroat, thistledown and Docks

Acrylic and acrylic inks

£1,750

Andrew Ellis

97 The expatriates

Graphite

£750

98 The little brown job shines

Acrylic on board

£800

Emma Faull

99 Evening Swallows

Watercolour with pen and ink over ink washes

£2,200

John Foker SWLA

100 Autumn travellers

Oil on board

£620

101 Green Woodpeckers

Oil on board

£490

102 Pond strutters

Oil on board

£1,200

103 Tawny Owl

Acrylic on board

£520

104 Yellow Browed at Whitburn

Acrylic on board

£490

Jane Gardiner

105 Flowing 2

Hard ground etching and aquatint (ed. of 30)

£390 (£350 u/f)

Jo Garlick

106 Barn Owl hunting

Soft pastel

£425

107 Early morning, Bempton Cliffs

Soft pastel

£250

108 Gannet colony, Bempton Cliffs

Soft pastel

£450

109 Puffin colony, Isle of May

Soft pastel

£695

Federico Gemma SWLA

110 Black-headed Gulls on a tree trunk

Watercolour on paper

£420

111 Swallows on a wire

Watercolour on paper

£420

112 Whinchat on a bramble branch

Watercolour on paper

£420

Sarah Gillard

113 David’s meadow

Gouache

£5,000

Robert Greenhalf SWLA

114 Common Terns

Oil on board

£540

115 Common Terns and Ringed Plovers

Oil on board

£1,200

116 Curlew creek

Oil on board

£1,200

117 Curlews, ebbing tide

Oil on board

£540

118 Heron and Egrets

Oil on board

£540

119 Sandwich Terns

Oil on board

£540

120 Sandwich Terns and Oystercatchers

Oil on board

£1,200

121 Shelduck family

Oil on board

£540

Simon Griffiths SWLA

122 Echo of the Curlew, “A cry preserved in clay”

Ceramic mounted on wood

£820

123 The charm of the Goldfinch

Ceramic mounted on wood

£480

124 The Wren, “A voice cast in bronze”

Bronze (ed. of 48)

£650

125 Whisper of the Hare

Ceramic

£900

Dougie Harley

126 Murmuration

Charcoal and ink

£575

Jack Haslam

127 Eagle

Etching / aquatint (ed. of 3)

£380 (£260 u/f)

Amie Haslen ASWLA

128 Carder Bee

Japanese woodblock (ed. of 30)

£160 (£110 u/f)

129 Knapweed muddle

Acrylic

£395

130 Meadow in July

Watercolour

£595

131 Peacocks and Thistles

Acrylic

£395

132 Red Admiral and Thistles

Acrylic

£395

John Hatton SWLA

133 Curlew sketches

Pencil and watercolour

£225

134 Eider parade

Linocut (ed. of 12)

£250 (£195 u/f)

135 Lapwing sketches

Pencil and waterclour

£225

136 Whoopers Oil on board

£425

Martin Hayward-Harris

137 Drake Pintail head displaying

Acrylic and oil

£750

138 Drake Pintail tail displaying

Acrylic and oil

£550

Paul Henery SWLA

139 A richness of Martens Oil on board

£1,200

140 Eagle Country

Acrylic on canvas

£1,500

141 Evening preen Oil on board

£650

142 Evening visitor Oil on board

£450

143 Red-throated Diver off Jura Oil on board

£1,200

144 Redpoll Oil on board

£450

145 Roosting Spoonbills Oil on board

£650

146 The climber Oil on board

£450

Gilly Hill

147 Pair of Variable Sunbirds on Giant Strelitzia Oil

£550

148 Variable Sunbird on Giant Strelitzia Oil

£650

Deborah Hollingworth

149 Taking flight

Florists binding wire, black florists wire, coloured copper wire, copper wire and silver wire

£550

Lisa Hooper SWLA

150 A grain of Sanderling

Reduction linocut (ed. of 12)

£450 (£380 u/f)

151 Barn Owls

Reduction linocut (ed. of 15)

£360 (£300 u/f)

152 Godwits and Wigeon

Reduction linocut (ed. of 18)

£470 (£400 u/f)

153 Oystercatchers

Reduction linocut (ed. of 16)

£270 (£220 u/f)

154 Shore birds, Mar Wick

Reduction linocut, water based printing inks (ed. of 14)

£450 (£380 u/f)

155 Tide’s turn

Reduction linocut (ed. of 6)

£270 (£220 u/f)

156 Tufties and Bistort

Reduction linocut, water based ink (ed. of 16)

£360 (£300 u/f)

Polly Hosp

157 ... And then there were two Collagraph (ed. of 5)

£545

158 High Summer - Slim pickings

Collagraph (ed. of 3)

£680

159 The club house

Drypoint and relief (ed. of 3)

£545

160 Trio of Coots

Collagraph (ed. of 5)

£545

Christine Howes

161 The flight of the Knot

Woodcut and linocut (ed. of 40)

£500 (£380 u/f)

Nye Hughes SWLA

162 Evening light on Guillemot colony, Isle of May

Watercolour

£920

163 Puffins, Isle of May

Watercolour with charcoal and pastel pencils

£960

164 Red Admirals on Ragwort, Isle of May

Watercolour

£540

165 Rock formations with Auks, Isle of May

Watercolour

£940

Tara Louise Hughes

166 Cellar Spider

Pyrography on limewood

£550

167 Garden Spider

Collage

£250

Ken Januski

168 Least and Solitary Sandpipers at WWP

Mokuhanga (Japanese woodblock) (ed. of 12)

£275 (£225 u/f)

169 The Peregrines of Manayunk

Mokuhanga (Japanese woodblock) (ed. of 30)

£300 (£225 u/f)

Renate Jephcott

170 Patience

Soft pastel and acrylic on paper

£450

Kittie Jones SWLA

171 Gathered Gannets

Screenprint (ed. of 18)

£395 (£275 u/f)

172 Gathering Guillemots

Pastel, charcoal and pencil

£1,050

173 Passing Craignure

Screenprint (ed. of 14)

£395 (£275 u/f)

174 Passing Lismore

Screenprint (ed. of 15)

£395 (£275 u/f)

175 Preening Kittiwake

Pastel, charcoal and pencil on paper

£1,050

176 Seabird stack

Screenprint (ed. of 18)

£395 (£275 u/f)

177 Spring coast

Screenprint (ed. of 20)

£395 (£275 u/f)

Helen Kennedy

178 Ragwort and Cinnabar Moth caterpillars

Pastel pencil and watercolour

£375

Brad Kenny

179 Morning drift

Oil on canvas

£1,880

Wynona Legg SWLA

180 Amongst the pigs and the Partridges

Graphite and wax pastels

£600

181 Burhinus ballroom

Graphite and wax pastels

£600

182 Crescendo

Graphite and wax pastels

£600

183 Golden hour

Graphite and wax pastels

£600

184 The nightshift

Graphite

£600

185 The rise from slumber

Graphite and wax pastels

£600

Rachel Lockwood SWLA

186 Tree arms, Short-eared Owl

Oil on linen

£1,195

187 Ugly beautiful, diptych

Oil

£4,500

188 Woodlike, Little Owls

Oil on linen

£1,895

Nick Mackman SWLA

189 Alert Hare

Raku-fired ceramic

£1,995

190 Crouching Hare

Raku-fired ceramic

£1,995

191 Day of the Jackal (I)

Raku-fired ceramic

£2,250

192 Day of the Jackal (II)

Raku-fired ceramic

£2,250

193 Day of the Jackal (III)

Raku-fired ceramic

£2,250

Julia Manning SWLA

194 Hinkley C, watercooled in a marine reserve

Oil on board

£5,000

195 Next door

Wood, lino, stencils, etc. (Variable edition) (ed. of 15)

£890 (£780 u/f)

Melanie Mascarenhas ASWLA

196 A blizzard of Razorbills, Barra Head

Watercolour, ink, gouache and pastel

£700

197 Gylfinir, Conwy Estuary (i)

Multi-process lithograph

£495

198 Recumbent

Watercolour, ink and pastel

£595

199 Safe haven

Watercolour, ink and pastel

£610

200 Sand Martins with passing Dunlin (i)

Multi-process lithograph

£495

201 Swooping Sand Martins and a ponderance of Plovers

Gouache, pastel and coloured pencil

£620

Sally Matthews

202 Wolf (I)

Flax tow, wood, horse hair, ash and lime with PVA glue on a steel frame

£4,800

203 Wolf (II)

Flax tow, wood, horse hair, ash and lime with PVA glue on a steel frame

£4,800

204 Wolf (III)

Flax tow, wood, horse hair, ash and lime with PVA glue on a steel frame

£4,800

Jo McChesney

205 A place to roost

Woodcut (ed. of 60)

£480 (£320 u/f)

Lucy McEachern

206 Dancing Brolga

Bronze (ed. of 25)

£9,000

207 Spotted Harrier

Bronze (ed. of 25)

£4,500

Harriet Mead PSWLA

208 Chain Corncrake

Welded found objects

£2,500

209 Drill tailed Pine Marten

Welded found objects

£3,950

210 Fast Hare

Welded found objects

£3,750

211 Potato masher Song Thrush

Welded found objects

£2,000

212 Scissor billed Bittern

Welded found objects

£2,750

Philippa Mitchell

213 Pied Stilts

Water mixable oils on canvas

£635

Jill Moger SWLA

214 Fiji Crested Iguana

Stoneware ceramic

£1,500

215 Forest Dragon

Stoneware ceramic

£850

Liz Myhill SWLA

216 Beyond the nest ledge

Mixed media

£1,680

217 Lone Blue among Comb Jellies

Monotype

£750

218 Plumose Anemones and Brittle Star

Monotype and monoprint

£380

219 Prowling Brittle Stars

Monotype and monoprint

£480

220 Through the gap

Mixed media

£1,680

221 Vanishing into the Haar

Mixed media

£980

William Neill SWLA

222 Beltane Curlews

Acrylic

£675

223 Redwing

Acrylic

£675

David Parry SWLA

224 Barn Owl at Avebury Oil on gesso

£3,500

225 Oystercatcher Oil on gesso

£450

226 Snowy Owl

Oil on gesso

£800

Phoebe Parsons

227 Pangolin

Bronze (ed. of 25)

£1,550

Dean Patman

228 Bedstraw Hawk Moth

Found object sculpture

£1,750

229 Red Underwing Moth

Found object sculpture

£1,750

Bruce Pearson VPSWLA

230 Shoreline

Drypoint and carborundum

£450

Chris Pendleton

231 Lapwing flock

Linocut (ed. of 25)

£200 (£150 u/f)

Nik Pollard SWLA

232 Gannets 1. field-drawing, Bass Rock

Wax pastel

£600

233 Gannets 2. field-drawing, Bass Rock

Wax pastel

£600

234 Gannets 3. field-drawing, Bass Rock

Wax pastel

£600

235 Gannets 4. field-drawing, Bass Rock

Wax pastel

£600

236 Shags 1. field-drawing, Dunbar

Wax pastel

£450

237 Shags 2. field-drawing, Dunbar

Wax pastel

£450

238 Shags 3. field-drawing, Dunbar

Wax pastel and ink

£450

239 Shags 4. field-drawing, Dunbar

Wax pastel and ink

£450

Jonathan Pomroy

240 Black-throated Divers, North West

Highlands

Watercolour

£950

241 Curlew on Anglesey

Watercolour

£650

242 Hawfinch searching for Hornbeam seeds

Watercolour

£750

243 Swifts and Honeysuckle

Watercolour

£950

244 Swifts and skies, Midsummer’s eve

2025

Watercolour

£750

Adele Pound ASWLA

245 22 Spot Ladybird Nymphs

Carbon pencil and watercolour

£295

246 Crane Fly

Carbon pencil and watercolour

£295

247 Giant Willow Aphids

Carbon pencil and watercolour

£275

248 Green Shieldbug Instars

Carbon pencil, wax crayon and watercolour

£295

249 Green Shieldbugs in the brambles

Mixed media

£295

250 Instars

Carbon pencil and watercolour

£275

Bill Prickett SWLA

251 Eagle Ray

Oak burr on acrylic base

£2,600

252 Giant Manta Ray

Birch plywood on acrylic base

£3,400

253 Within a fragile skin

Oak burr, Portland stone and glass

£7,800

Justin Prigmore

254 Distracting the egg collector Oil on Belgian linen

£1,750

Lee Putman

255 Enrichment Oil on canvas

£8,650

Darren Rees SWLA

256 Guillemot ledge, St Abbs

Watercolour

£950

257 Midnight Kiwi

Watercolour

£450

258 Seabirds, St Abbs

Watercolour

£750

259 Sharp-tailed Sandpiper and Wrybills

Watercolour

£650

260 Snow-capped Albatross, Kaikoura

Watercolour

£550

261 Stewart Island Kiwi

Watercolour

£550

262 Taynish and Grey Heron

Watercolour

£750

263 Towards Jura and Hen Harrier

Watercolour

£750

Gail Reid

264 Climbing to the Mint Oil on canvas

£250

Min Reid

265 Petra Bronze resin

£1,530

Sarah Rhiannon

266 Spirits of the forest Oil

£1,250

AJ Roberts

267 Low tide

Acrylic on canvas

£750

Derek Robertson

268 As the wind blows the snow

Watercolour

£890

269 The last places

Watercolour, gouache and acrylic

£4,950

270 Where three roads meet

Watercolour

£2,500

Chris Rose SWLA

271 Dunlin bathing Oil on linen

£6,500

272 Findhorn river evening Oil on linen

£6,500

Will Rose

273 Green Longhorn among Bilberry

Digital print created from animation (ed. of 5)

£250 (£125 u/f)

274 Pied Flycatcher, Longshaw Estate, Derbyshire

Digital print created from animation (ed. of 5)

£250 (£125 u/f)

275 Swallows over Burbage Moor, Derbyshire

Digital print created from animation (ed. of 5)

£250 (£125 u/f)

276 Whitethroat and Stonechat, Burbage Moor, Derbyshire

Digital print created from animation (ed. of 5)

£250 (£125 u/f)

Tamsin Saunders

277 Hey bears! Oil on canvas

£950

278 Oystercatchers on the jetty Oil on board

£2,000

Tom Saxton

279 Sonoran Desert Toad Bronze

£8,250

Louise Scammell SWLA

280 Drifting, Kelp III Monotype

£395

281 Gliding, Kelp I

Drypoint and embossing (ed. of 8)

£345 (£225 u/f)

282 Holding, Kelp II

Drypoint and embossing (ed. of 8)

£285 (£185 u/f)

Roy Scholten

283 Bluethroat

LEGO letterpress (ed. of 30)

£310 (£240 u/f)

284 Common Kestrel

LEGO letterpress (ed. of 30)

£445 (£375 u/f)

Dafila Scott SWLA

285 Curlews resting, blue sky Pastel

£1,150

286 Elephant family group

Pastel

£1,600

287 Elephants sparring

Pastel

£1,600

288 Little Egrets and Cormorants high tide

Pastel

£1,600

289 Little Egrets and Curlews at high tide

Pastel

£1,600

Maria Simonova (SWLA bursary winner)

290 Gannets of the Bass Rock Watercolour on gesso-primed paper

£350

Chris Sinden SWLA

291 Disappearing Curlew

Linocut (ed. of 30)

£145 (£115 u/f)

292 Nesting Coot

Linocut (ed. of 22)

£385 (£335 u/f)

293 Short-eared Owl

Linocut (ed. of 25)

£385 (£335 u/f)

Gregory Smith

294 Long-tailed Ducks Oil on board

£295

Jane Smith SWLA

295 Backlit Puffins

Handmade screenprint (ed. of 3)

£595

296 Hawthorn Yellowhammer - flowering May

Handmade screenprint (ed. of 5)

£595

297 Kittiwake cliff

Handmade screenprint (ed. of 5)

£595

298 Minke Whale with Porpoise, Gannets and Razorbills

Handmade screenprint (ed. of 4)

£595

299 Peat pool reflections

Handmade screenprint (ed. of 1)

£385

300 Rowan Tree Fieldfares

Handmade screenprint (ed. of 1)

£595

Andrew Stock PPSWLA

301 A chattering of Choughs Oil

£8,250

302 A wash of Wigeon Oil

£5,250

303 Pied and pebbles

Watercolour

£2,750

Rachel Taylor

304 Black-tailed Godwit on slate Stained glass on stone base (ed. of 10)

£2,500

Becky Thorley-Fox SWLA

305 Black-headed Gull fishing Oil on linen

£595

306 Egret on the Teifi estuary Oil on linen

£1,950

307 Fulmar family Oil on board

£465

308 Gathered on the shore Oil on linen

£465

309 Golden Plovers in light and shadow Oil on board

£475

310 Oystercatcher at dawn Oil on linen

£345

311 Oystercatchers flying over the Menai Oil on board

£1,050

312 Ready to jump Oil on linen

£485

John Threlfall SWLA

313 Fieldfare Pastel

£480

314 Fulmars

Pastel

£680

315 Lapwing Pastel

£580

316 Male Eiders Pastel

£680

Richard Tratt SWLA

317 Brimstone and Meadow Brown Oil

£545

318 Butterflies on the South Downs Oil

£750

319 Clouded Yellow and Chalkhill Blues Oil

£545

320 Glanville Fritillary, Compton Bay Oil

£450

321 High Summer with Painted Ladies Oil

£1,600

322 Marbled Whites and Gatekeeper Oil

£750

323 The Golden Summer, Martin Down Oil

£1,200

Simon Turvey SWLA

324 Elephant herd - Masai Mara Oil on board

£5,475

325 Godwits on the Alde, Suffolk Oil on board

£785

326 Great Spotted Woodpecker Oil on board

£1,245

327 Wood Mouse Watercolour on paper

£975

Esther Tyson SWLA

328 A quiet moment Oil

£920

329 First out Oil

£850

330 Gold and Summer seed Oil

£600

331 Painted Lady Oil

£550

332 Red and changing colour Oil

£550

333 Red and Knapweed Oil

£550

334 Red and Summer colour Oil

£550

335 Sleepy head Oil

£850

Matt Underwood SWLA

336 Autumn Woodcock

Woodblock print (ed. of 100)

£400

337 Grey Partridge

Woodblock print (ed. of 100)

£400

338 Tits on nuts

Woodblock print (ed. of 100)

£350

André Valério

339 The last call

Anthotype on Arches watercolour paper, turmeric and alcohol emulsion, aqueous baking soda reagent

£290

Eline Veening (SWLA bursary winner)

340 Gannets on Bass Rock

Chinagraph and neo colour two

£200

Tally Walker Warne

341 In motion still

Ceramic stoneware

£950

342 In motion still I

Ceramic stoneware

£950

343 In motion still II

Ceramic stoneware

£950

Tianyin Wang ASWLA

344 Divided 1

Charcoal on paper

£1,850

345 Divided 2

Charcoal on paper

£1,850

Michael Warren SWLA

346 Bullfinches

Watercolour and graphite

£750

347 Curlews and Swallows

Watercolour and graphite

£2,250

348 Hobby

Watercolour and graphite

£650

349 Linnets and Goldfinches

Watercolour and graphite

£1,250

350 Long-tailed Tits

Watercolour and graphite

£650

351 Snipe

Watercolour and graphite

£1,500

352 Tree Sparrows and Greenfinches

Watercolour and graphite

£850

353 Water Rails

Watercolour and graphite

£750

Darren Woodhead SWLA

354 Bumblebees, Swallows and Hibis-

cum

Watercolour

£1,450

355 Geese and Curlew arriving to roost

Watercolour

£6,450

356 Preening Eider Drake and reflections

Watercolour

£1,850

357 Tawny Owl pair roosting among Sycamore

Watercolour

£9,450

358 Young Cuckoo and coastal colours

Watercolour

£1,550

Tim Wootton SWLA

359 Evening patrol; Drake Shoveler

Oil on canvas panel

£1,850

360 Razorbill ledge

Oil on canvas panel

£950

361 The un-cut meadow; Short-eared

Owl

Oil on canvas panel

£2,650

Catherine Yeatman

362 Waiting for the tide

Charcoal on paper

£250

Fiona Zondervan

363 Armadillo

Bronze (ed. of 8)

£900

The Natural Eye is an open exhibition and welcomes submissions from non-member artists.

For more information on how to exhibit and how to become a member of the Society, please visit swla.co.uk

The SWLA would like to thank all our sponsors and partners for their generous support.

The Society of Wildlife Artists is a registered charity run entirely by volunteers, the vast majority of whom are member artists. As president, I would like to extend my heartfelt thanks to all the artists who give their time to run the Society and are generous in their support of our fundraising initiatives such as the A5 Original Artwork Draw at the Global Bird Fair each summer. Funds raised enable us to continue to offer bursaries to emerging artists and allow us to run projects and collaborations such as the SWLA Massingham Heath Project. If you would like to support the Society please visit our website swla.co.uk/support-us to find out ways that you can help such as joining our Friends Scheme or making a donation. Any donation, however small, will be gratefully received.

I would also like to thank Tim Baldwin who has worked tirelessly to ensure that the Massingham Heath Project has run smoothly. You are a joy to work with!

Harriet Mead PSWLA

Awards and prizes 2025

Birdwatch and Swarovski Optik

Artist of the Year Award

BIRDscapes Gallery ‘Conservation through Art’ Award

The Head and Heart Award

British Trust for Ornithology Award

RSPB Award

The Swarovski Optik New Artist Award

Trymwood Studios Art Prize

The Michael Harding Oil Painting Prize

The Michael Harding Watercolour Painting Prize

Art Safari Works on Paper Award

Mall Galleries / FBA Award

Dry Red Press Award

(facing page) a selection of artwork from the Massingham Heath Project, clockwise from top left: Adele Pound, Federico Gemma, Liz Myhill, Dafila Scott, Richard Allen, with Brin Edwards working in the centre