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This catalogue marks the 135th annual exhibition of the Royal Society of Painter-Printmakers. We have many reasons to feel both proud and optimistic about our Society. We have outstanding work from countless long-standing and very gifted members. Those new to our walls include 5 artists elected this year and two associate members who are the winners of the Gwen May Student prizes. They are all of an extremely high calibre.
Whilst the Annual Exhibition remains the major showcase of our members’ work we have worked hard to increase the number of shows in our calendar, with the introduction of both the National Original Print Exhibition and The Masters. I am an ardent champion of the importance of print exhibitions and if asked for a personal reason why, I have a very easy answer – I am a printmaker today because of seeing one.
One day in 1990 I was on my way to a meeting on the South Bank and briefly nipped into the Royal Festival Hall to avoid a sudden rain shower. I didn’t have much time but thought I would take a quick look at an exhibition in the foyer gallery. It was a show of prints by Chris Orr and after viewing the second or third piece all thoughts of making it to my appointment on time vanished. I was captivated by these largely monochromatic works with their curious juxtaposition of care-fully articulated aquatints with loose, unpremeditated drawings. Also, the focus on the narrative in the pieces was reminiscent of one of my favourite artists, William Hogarth. I never really took to etching when I was at art school, as it seemed like an arcane, messy and largely uncontrollable technique. However, looking at Chris Orr’s etchings the random accidents and inherent unpredict-ability of the process suddenly seemed like virtues. I was hooked. I signed up for an etching course the following day – a decision that completely changed my life.
The shows that we hold down the river at the Bankside Gallery feature an abundance of artists making etchings but also engravings, woodcuts, lithographs, monoprints, screenprints, mezzo-tints, linocuts, drypoints, digital prints, and every other type of print imaginable. Print is an egal-itarian medium unique in the world of art as it is extremely highly regarded and collectible yet affordable enough to have often been an art collector’s first purchase. Our exhibitions have con-sistently been successful and well attended and I trust that this one will be too. Beyond that I only hope that the odd serendipitous rain shower forces a young artist inside and that he or she lingers long enough to be inspired to become one of the next generation of printmakers.
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Mychael Barratt PRE Hon RWS
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EXHIBITION PRIZES
ART ANGELS
ART ANGELS PUBLISHING PRIZE£500 purchase prize
ASHMOLEAN | VIVIEN LEIGH BEQUEST PRIZEA purchase prize up to £400 for a print
by a young or early career artist
CANNS DOWN PRESS CASH PRIZE£250 prize for a recently graduated
or early career artist
CLIFFORD CHANCE PURCHASE PRIZEJane Hindley will choose a
2015 prize winner
HAWTHORN PRINTMAKER SUPPLIES AWARDMaterials to the value of £75
HEATHERLEY’S OPEN STUDIO PRIZE£240 vouchers for 10 x 2.5 h
life drawing sessions
THE HECTOR PURCHASE PRIZE£500 purchase prize from Unwin family
for an outstanding print INTAGLIO PRINTMAKER PRIZEMaterials to the value of £150
JACKSON’S ART MATERIALS PRIZEMaterials to the value of £150
DEBORAH ROSLUND HON RE PURCHASE PRIZEPurchase prize to the value of the selected print
JOHN PURCHELL PAPER AWARD£150 worth of paper
LAWRENCE’S PRINTMAKERS PRIZE64mm x 200mm roller
PRINTMAKING TODAY PRIZEAn editorial feature in the magazine
WYNDHAM PURCHASE PRIZESelected for a private art collection
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HEATHERLEY’S OPEN STUDIO PRIZE£240 vouchers for 10 x 2.5 h
life drawing sessions
JACKSON’S ART MATERIALS PRIZEMaterials to the value of £150
Prints are accessible original works of art, and printmaking has appealed to artists because it offers an almost infinite palette of creative opportunities, yet perceptions of printmaking are often clouded by misapprehensions about process and purpose. Many print processes, notably methods such as etching and lithography are – right-ly – seen as crafts requiring specialist technical skills, but on the other hand we can all make prints, and most of us have done. Maybe we began in school with half a potato cut and inked, or perhaps a sheet of lino, or a rubber stamp. Now it is simpler still - with the click of the mouse we can direct an image from a computer screen to print out on paper. Perhaps it is this facility – whether the means are low-tech or high-tech – which has undermined a proper appreciation of the skills of the artist as printmaker, especially amongst audiences already prejudiced by the persistent confusion between those vexed categories ‘original’ and ‘reproduction’. As Julian Opie has said, there is ‘a strange snobbery which makes a hierarchy of editioned and unique works.’
Print is of course a marvellously protean medium: diverse and versatile, it can be simple or complex; us-ing print an artist can produce a unique piece, a numbered edition, or, with digital media, an unlimited num-ber of ‘impressions’. The term ‘print’ itself encompasses a multitude of techniques and materials, strategies and purposes. Since the invention of woodcut as a means of creating multiple exactly repeated images, print has been associated with reproduction. This has fostered a stubborn tendency to regard printmaking as no more than a process of translation by which a unique image in one medium becomes a multiple in another. But thanks to the inventive engagement of the many artists who have worked with print media, printmaking transcended its utilitarian role long ago, and is now increasingly recognised as one of the most dynamic and exciting of the creative arts. Despite the many changes in status and purpose, printmaking has survived and thrived as a medium for original expression because artists have valued the qualities and capacities it offers.Indeed artists have been making prints since the invention of woodcut in 14th-century Europe. From the virtu-oso detail of Durer’s woodcuts, and Rembrandt’s densely-worked painterly etchings, to the fluent line and rich tone of Matisse’s lithographs and Picasso’s inventive mastery of everything from lino-cut to sugar-lift aquatint, great artists have made great prints which are universally considered to be exceptional works of art. Today, it is rare to find an artist who has not explored print, and for many it has become a major part of their prac-tice. Lucian Freud, renowned as a painter, was working with etching too, almost to the last; he had no inter-est in the ‘mysterious paraphernalia of the etching craft’ but he appreciated the value of etching as a spon-taneous drawing medium, and revelled in the element of danger and mystery that the process involved: ‘One dip. Really quick and dangerous’, as the plate was plunged into the acid bath, with unpredictable results.
From my experience as a curator collecting prints for a public institution, I see artists from all backgrounds working with print processes old and new to ‘push the boundaries’ of what print is and what print can do, constantly challenging and extending the capacities of the various printmaking techniques. There is a thrill-ing alchemy to print, as Freud’s comments attest, and this encourages invention and experiment. This open-ness to the unexpected allows prints to surprise even their maker and perhaps to surpass or reshape the original intentions. For some it is this element of surprise that motivates their work with print. For others it is consistency in the achievement of the exactly repeated mark, which is the medium’s particular gift. Print-making today – manual and digital – is thriving, constantly reinvigorated by new media and new meth-ods, but most importantly by artists dedicated to exploring print’s formal qualities and expressive potential.
Gill SaundersSenior Curator of Prints, Victoria & Albert Museum
PRINTa thrilling alchemy
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1. Mychael Barratt PRE Hon RWS, A London Map of Days, etching 2. Gerry Baptist RE, Anything You Can Do..., woodcut3. Morgan Doyle RE, Narrow Strip, lithograph
GALLERY
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4. Sandy Sykes RE, The Universe, unique woodcut with mixed media 5. Peter Ford RE, Stitch Work, calliagraph on handmade paper 6. Stephen Mumberson RE, Hackney Wick I, mixed media7. Karen Keogh RE, Something Old, Something New, etching
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GALLERY 8. Jeremy Blighton RE, Sissinghurst, aquatint9. David Carpanini PPRE Hon RWS, The Old Conifers, woodcut10. Sumi Perera RE, Think Outside The Glass Box, etching & aquatint 11. Emiko Aida RE, Fire, photo-transfer & aquatint12. Anita Klein PPRE Hon RWS, The Grandchild, lithograph
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13. Gail Brodholt RE, The Motorway, linocut14. Merlyn Chesterman RE, Atlantic Roller, woodcut 15. Richard Bawden RWS RE, Three Jugs, etching16. Margaret Ashman RE, Altered Histories, Turner’s Pompeii, photo etching
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GALLERY 17. Jason Hicklin RE, Orasaigh From South Uist, etching & aquatint 18. Ralph Kiggell ARE, Sacred Shape Radiolarian, water-based woodblock print19. Paul Hawdon RE, Warrior Moth, etching 20. Joe Winkelman PPRE Hon RWS, Bairnwick, etching
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21. Trevor Price VPRE, Contemporary Couple and Their Love of London, relief drypoint 22. Martin Langford RE, After Escher, etching 23. Brenda Hartill RE, Copper Structure I, collagraph with copper leaf
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17. Jason Hicklin RE, Orasaigh From South Uist, etching & aquatint 18. Ralph Kiggell ARE, Sacred Shape Radiolarian, water-based woodblock print19. Paul Hawdon RE, Warrior Moth, etching 20. Joe Winkelman PPRE Hon RWS, Bairnwick, etching
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GALLERY 24. Jude Cowan Montague ARE, Space Donks, collage & monoprint25. Agathe Sorel RWS RE, Titania at Night, digital print26. Ruth Uglow RE, Untitled, etching & aquatint27. Roger Harris RE, Snowbow, mezzotint
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28. Margaret Sellars ARE, Table-turning 2, etching & monoprint 29. Louise Davies RE, The River by Moonlight, etching 30. Meg Dutton RE, Garden Lake, etching 31. Corinna Button RE, Between You and Me V, collograph & monoprint
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GALLERY 32. John Bryce RE, Moonlight Kings Reach, wood engraving33. Lars Nyberg RE, Shadow of an Unimportant Plant V, drypoint 34. Konstantin Chmutin RE, Arrangement 2, mezzotint35. Jeff Clarke RE, Garden Table, etching & monoprint 36. John Grigsby RE, Robbery, etching
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37. Sarah Jarman ARE, Stairs to a Casino, multi-plate etching38. Nana Shiomi RE, The Sound of Waterfall - Thinker, woodcut39. Paul Catherall ARE, Red Cranes and City II, linocut 40. Janet Brooke RE, At The End of The Day, screenprint
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IAN CHAMBERLAIN ARE
Ian Chamberlain’s work aims to reinterpret manmade structures as monuments placed within the landscape. These structures in turn then become monuments of their time. The prints serve as a visual historical document and record of places that he has visited. Locations recorded in the past have included Goonhilly Earth Station, the Lovell Telescope, Cheshire, Maunsell Sea Forts in the Thames Estuary and the Acoustic Sound Mirrors on the South Kent coast.
Chamberlain has a longstanding fascination with technology and architectural forms, these have included struc-tures within industry, agriculture, science and the military. Initial charcoal and graphite studies are made to understand the form and surface of the structures. These are then edited to find the most appropriate pieces to be taken into the etching process, which can take between 1-2 months.
NEWLY ELECTED MEMBERS 2015
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Ian Chamberlain ARE, Fort I, etching
The nature of the origin of life remains one of the most in-triguing questions in biology. In 1953 Stanley L. Miller flipped a switch sending electric current through a chamber containing a combination of methane, am-monia, hydrogen and water. The experiment yielded organic com-pounds including amino acids, the building blocks of life and composed his theory of the or-igins of life.
Sharon Lee is interested in the notion that we have evolved into beings that can now question, experiment and mirror a chance moment that led to our evolu-tion.
‘Recombining and collaging found printed images and tex-tures with my own hand drawn stone lithographs form the basis for layered and reconstituted im-ages that resemble palimpsests’.
SHARON LEE ARE
Sharon Lee ARE, Starling I, lithograph & chine-collé
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FREDERIC MORRIS ARE
Frederic Morris’ work is a grotesque social commentary born out of con-tinuous observation and visual documentation of the outside world. Im-ages are dictated not only by this observation but also by the artist’s own personal dialogue. Morris ironically glamorises the darker aspects of soci-ety using images as a catalyst for feelings of collective anxiety, depicting a world in a state of mental and physical disrepair as a consequence of over indulgence and consumerism. His work advocates a love of image making and is principally drawing-based using a selection of various mediums.
NEWLY ELECTED MEMBERS 2015
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Frederic Morris ARE, Fireman, etching
Rodolfo Acevedo Rodriguez is moti-vated by the idea of craft as an artistic agent and his work seeks to establish a relationship between the author and the medium. The artist’s copper etching process combines traditional techniques with contemporary digi-tal technologies, such as 3D scanning and CNC milling. This practice enables each of the tools used to introduce a level of authorship on an aesthet-ic level, which ultimately contributes towards the expression of the im-age. In addition, the themes entailed in Rodriguez’s work make reference to literary sources, such as Greek mythology and his architectural de-pictions attempt to offer reinterpre-tations of these ancient ideologies.
RODOLFO ACEVEDO RODRIGUEZ ARE
Rodolfo Acevedo Rodrigues ARE, House of Eros, intaglio
Frederic Morris ARE, Fireman, etching
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GALLERY 41. Julia Manning RE, The Gothercatcher’s Nest, etching42. Jackie Newell RE, Derricks at Battersea, etching43. Robin Macfarlan RE, Everything Worked Like Clockworth Once, etching 44. Michael Middleton RE, Sand Dunes, etching
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45. John Duffin RE, Thames Bridges East, etching 46. Frans Wesselman RE, Man, Dove, Olive Branch, etching 47. Anne Desmet RA RE, St Pauls Stars, wood engraving48. Dolores de Sade ARE, Third Labour, etching
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GALLERY 49. Jim Anderson RE, Man of Letters, linocut 50. Terence Greaves RE, Australia Dreaming, woodcut51. Robert Baggaley RE, Vertigo, monotype52. Linda Landers RE, Girl with Bouquet of Flowers, monotype53. Ursula Leach RE, Isolated Barn, carborundum
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54. David Ferry RE, Image 53, digital print 55. Neil Bousfi eld ARE, Longshore Drifting, wood engraving56. Glynn Thomas RE, Tour de Cambridge, etching57. Ros Ford ARE, Garden, Martock, etching & aquatint58. Kate Dicker RE, Cranes, monoprint
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GALLERY 59. Julia Midgley RE, Seen on Merseyside, etching & aquatint60. Edwina Ellis RE, Squares BY II, wood engraving & vinyl cut61. Ann Le Bas RE, Exmoor Beeches, line engraving62. Neil Pittaway RE, Staging Shakespeare, etching
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63. Veta Gorner ARE, Nature of Light II, photo etching64. Jane Stobart RE, Work in Progress V, etching & aquatint 65. Sasa Marinkov RE, Black Birds Waiting, woodcut
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59. Julia Midgley RE, Seen on Merseyside, etching & aquatint60. Edwina Ellis RE, Squares BY II, wood engraving & vinyl cut61. Ann Le Bas RE, Exmoor Beeches, line engraving62. Neil Pittaway RE, Staging Shakespeare, etching
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GALLERY 66. Toni Martina RE, London Towers, etching67. Peter S Smith RE, Someone Like You, wood engraving68. Ian Stephens RE, Danae, wood engraving69. Louise Hayward RE, On the Samuda Estate, engraving on plastic
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70. Katherine Jones ARE, Brockwell, etching & block-print on paper 71. Fouzia Zafar ARE, Screen Saver II, etching 72. Meg Buick ARE, Dog II, lithograph73. Catherine Ade, Looking Out, lithograph74. Anthony Dyson RE, Vincent’s Nightmare, etching & collage 75. H J Jackson RE, Ropes and Baskets, linocut
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66. Toni Martina RE, London Towers, etching67. Peter S Smith RE, Someone Like You, wood engraving68. Ian Stephens RE, Danae, wood engraving69. Louise Hayward RE, On the Samuda Estate, engraving on plastic
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Norman Ackroyd RA REHilary Adair REEmiko Aida REVictor Ambrus REJim Anderson REMargaret Ashman RETed Atkinson RE
Robert Baggaley REGerald W Baptist REDale Devereux Barker REMychael Barratt PRE Hon RWS PresidentJo Barry REAdrian Bartlett RERichard Bawden RWS REJames Beale RERichard Black REJeremy Blighton RESimon Brett REPenny Brewill REHarry John Brockway REGail Brodholt REJanet Brooke REJohn Dunbar Bryce RECorinna Button RE
David Carpanini PPRE Hon RWSDaphne Casdagli REMichael Chaplin RWS REMerlyn Chesterman REKonstantin Chmutin REJeff Clarke REPaul Croft RE
Claire Dalby RWS REHilary Daltry RELouise Davies REAnthony Dawson REDiarmuid Delargy REAnne Desmet RA REKate Dicker REHolly Downing REMorgan Patrick Doyle REJohn Duffin REMeg Dutton REDr Anthony Dyson RE
Edwina Ellis RE
Fernando Feijoo REMarianne Ferm REProf David Ferry REVladimir J Filipenko RE
Megan Fishpool RE Peter Ford REPeter Freeth RA RE
Colin Gale RECarmen Gracia RETerence Greaves REPeter Green OBE REPhil Greenwood REMichael Griffiths REJohn Grigsby RE
Brian Hanscomb RERoger Harris REBrenda Hartill REPaul Hawdon RELouise Hayward REJason Hicklin REStephen Hoskins REJohn Howard RE
H J Jackson REJudith Jaidinger REHoward Jeffs REBarry Owen Jones RWS REOlwen Jones RWS RERosamund Jones REAnne Jope RE
Karen Keogh REPaul Kershaw REFrank Kiely RERobert Kipniss REAnita Klein PPRE Hon RWS
Linda Anne Landers REMartin Langford REKarolina Larusdottir RWS REJohn Lawrence REPeter Lawrence REAnn Le Bas REUrsula Leach REAngie Lewin REJean Lodge RE
Julia Manning RESasa Marinkov REToni Martina RERobin MacFarlan REFlora McLachlan RESally McLaren REJohn McPake REMichael Middleton ARWS RE
Julia Midgley REDavid Mortimer-Jones RE Steven Mumberson RE Pilar Muñoz del Castillo RE
Jackie Newell RELars Nyberg RE
Chris Orr RA RE
Hilary Paynter PPRE Hon RWSDr Sumi Perera REBrian Perrin REMelvyn Petterson RENeil Pittaway RWS RETrevor Price VPRE Vice President
Simon Redington REPhilip Reeves PPRSW RE RSAMartin Ridgwell REJenny Robinson RE
Chris Salmon RENana Shiomi REPeter S Smith REAgathe Sorel RWS REJane Stobart REAndrew Stock RESandy Sykes RE
Dr Paul Thirkell REGlynn Thomas RETobias Till REJames G Todd REGeorge Tute RE
Ruth Uglow REDr Bren Unwin PPRE
Sarah Van Niekerk RE
Carol Walklin REThomas Walsh REFrans Wesselman REJim Westergard REAnnie Williams RWS RERoy Willingham REJudy Willoughby REJoseph Winkelman PPRE Hon RWSPeter Wray RE
Giulia Zaniol RE
ROYAL SOCIETY OF PAINTER-PRINTMAKERSFELLOWS
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HONORARYMario Avati Hon RE Mark Balakjian Hon RE David Barker Hon RE Elizabeth Blackadder RA Hon RWS Hon REPeter Blake RWS Hon REFrancis Bowyer PPRWS Hon RE RWSDavid Case Hon RE Eileen Cooper RA Hon RE Alistair Crawford Hon RE RAHarvey Daniels Hon REJennifer Dickson RA Hon RE RAPhilip Dowson PPRA Hon RWS Hon REJohn Doyle PPRWS Hon RE RWSBrad Fayne Hon REMichael Fell Hon RE Robin Garton Hon RE Antony Griffiths Hon RE Craig Hartley Hon RE Elizabeth Harvey-Lee Hon REMartin Hopkinson Hon RE Bill Jacklin RA Hon RE Stanley Jones Hon RE Michael Kauffmann Hon RWS Hon REPhilip King PPRA Hon RWS Hon REPeter Kosowicz Hon RE Bill Laing Hon RE David Landau Hon REAlun Leach-Jones Hon REIan Lowe Hon RE Leonard McComb RA Hon RWS Hon RERobert Meyrick Hon RE Ian Mortimer OBE Hon RE Brendan Neiland Hon RE Ana Maria Pacheco Hon RE David Paskett PPRWS Hon REJohn Phillips Hon RE Tom Phillips RA Hon RE Thomas Plunkett PRWS Hon REJohn Purcell Hon REBarbara Rae Hon RE Paula Rego Hon RE Deborah Roslund Hon RE Bob Saich Hon RE Colin See-Paynton Hon REJ R Shirreff Hon RE Rosemary Simmons Hon RE Alan Smith Hon RERichard Sorrell PPRWS Hon REClaire Tilbury Hon RE Silvie Turner Hon RE Timothy Wilson Hon RE
ROYAL SOCIETY OF PAINTER-PRINTMAKERSASSOCIATESNeil Bousfield AREJames Boyd-Brent AREDavid Brent Smith AREJane Brigstock AREPaul Catherall AREIan Chamberlain AREAlan Cox AREDolores de Sade ARERos Ford AREVeta Gorner AREWeimin He AREKevin Holdaway AREBrian Johnson AREKatherine Jones ARERalph Kiggell AREPeter Kirkilo ARESharon Lee AREDavid Lintine AREMiriam MacGregor AREFrederic Morris AREDawson Murray ARERodolfo Acevedo Rodriguez AREMargaret Sellars AREDavid Brent Smith AREAnn Tout ARE
Meg Buick Student AREJude Cowan Montague Student ARESarah Jarman Student AREFouzia Zafar Student ARE
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For more information about our holidays in 2015
Contact: Loli Alvaro email; [email protected] Telephone: 0034 96 2217226
www.dalvaro.co.uk
Is this the painting holiday you are looking?
Enjoy a wonderful combination of relaxation, delicious food, great hospitality, informative and practical art tuition plus entertaining demonstrations from an ever growing number of some the best known, internationaly recognised guest artists and tutors. All our holidays are suitable for every artistic level, from beginners, improvers and advanced.
For profesional instruction in pastels, acrylics, oils and watercolours.
The best way to learn is to learn from the best Especially when in a relaxing environment with like minded people, with excellent food and hospitality. With a combination of plein aire painting and studio work, the oportunity for landscape and townscape painting, you will have the opportunity to practise your art under the guidance of our truly professional tutors.
Las Orquideas our home which we share with you during your painting holiday. With swimming pool, tennis court and petanque terrain for your use, all meals and airport transfers included, what more do you want from a painting holiday.
*Eight day inclusive holidays from April to November * 14 different tutors. *Saturday or Sunday arrival.
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Great location on the Thames Professionally equipped studioSuper-skilled staff 24/7 keyholder access Introductory courses
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and all in a spacious and buzzy environment
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RE ORIGINAL PRINTS 2015 | 8 May - 6 June 2015
Bankside Gallery | 48 Hopton Street | London SE1 9JHwww.re-printmakers.com | [email protected] | 020 7928 7521
Royal Society of Painter-Printmakers
