Verbindungen 6.1

By annette paulsen

Paper: Arches 88, ink: oil-based printing ink

h: 56 w: 76 d: 1 (cms).

The interrelationships within a city are as complex as those between people. This is as fascinating as it is confusing. In Japan, numerous overhead power lines still exist. This makes the connections between buildings visible, even if they are perhaps only relics of past interactions. My intention was to highlight those relationships. Therefore, I took the opposite approach to that used in a classic linocut reduction technique. I "cut" my way back from a dark, colored background to lightness, resulting in a subtle transparency and layering. Multicolored linocut, using the reduction method (lost form), multiple colors. Image size: 30 x 40 cm, landscape format. Two different copies of each motif (edition varied). Printed on genuine handmade paper, Arches 88, with four natural deckle edges. The paper is of very high quality and meets the criteria for maximum archival quality. Paper size: 56 x 76 cm, weight: 300 g/m², paper color: white.

£700

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Childhood

By ellie randall BA(Hons)

Etching and Aquatint on Zinc plate

h: 45 w: 45 d: 1 (cms).

Produced as a form of illustrated manifesto, the etching is composed of the birds I grew up watching and plants that are also significant to me. Each of the birds illustrated symbolise a different quality. The birds’ individual characteristics were considered when choosing what principle they embodied. The Bullfinch represents humility, the Wren represents courage, the Greenfinch is empathy, the Blue Tit is integrity, the Jay is intellect and the Song Thrush is expression. It can be said that children have a clearer sense of the world and connection to the natural world. It seems as we age we lose this, divorcing ourselves from the rest of the earth and wrongly believing that humans are separate to everything we share our lives with. The illustration represents the importance of reconnecting with the planet.

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High and Dry

By fiona wallin

Screenprint

h: 38 w: 28 d: 1 (cms).

High and Dry is a screenprint made up of 31 layers of colour, each passed through a hand-drawn, hand-painted or paper stencil. It measures 28 x 38 cm unframed and is an edition of 10.

£380

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Meet Me at Borough Market

By fiona wallin

Collagraph with Screenprint

h: 38 w: 28 d: 1 (cms).

This print is made by overlaying a collagraph plate - made from mountboard, tapes and glue - onto 3 screenprinted layers using paper stencils. In an edition of just 5 prints it measures 28 x 38.

£380

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In Good Company

By karen fletcher M.Ed.

Linocut and blind embossing on BFK Rives 100% cotton rag

h: 35 w: 35 d: 1 (cms).

The Top End of Australia is a place of extraordinary ecological richness — layered, teeming, and largely hidden from those who move through it too quickly. My practice as a printmaker is rooted in this environment: its wetlands, its birds, its intricate web of interdependent life. To make a linocut print is to slow down, to notice, to honour what is actually there. In Good Company centres on two brolgas — lifelong partners — standing among the lotus and grasses of a Top End wetland. Brolgas mate for life, and there is something quietly profound in their steadfast companionship. The inked layer reveals what the eye immediately sees — the brolgas, the lotus, the grasses. The embossed layer reveals what is easily missed: dragonflies hovering, a butterfly in the reeds, a St Andrew’s Cross spider, a caterpillar along the base. An entire community, present but unseen. Two blocks, two opposing carving logics, two ways of marking paper. The seen and the unseen together.

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Bell House

By michelle hinshelwood

Photopolymer Gravure Etching

h: 28 w: 28 d: 1 (cms).

£285

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Oh Directionless Gods

By graeme reed BA (Hons), MA

photopolymer

h: 25 w: 35 d: 1 (cms).

“Oh Directionless Gods” is a darkly humorous reflection on authority, questioning why we continue to follow leaders who appear to have no clear sense of direction.

£200

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Last Days on Earth

By graeme reed BA (Hons), MA

photopolymer

h: 25 w: 35 d: 1 (cms).

“Last Days on Earth” critiques the reckless trajectory of contemporary society, where environmental damage and the rise of populist, unstable governance point towards an increasingly uncertain future.

£200

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Getting Heated

By julia midgley RE. RWS. MAFA

etching with aquatint

h: 15 w: 21 d: 1 (cms).

affluent holiday makers enjoy sandy beaches whilst in Afghanistan impoverished onlookers are left as the last US plane takes off. A dinghy mast segregates the two sandy places. This is from a series looking at similar but very different scenarios - west and east.

£450

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No Soft Edges

By sheryl ruth kolitsopoulos

Aluminum Plate Lithograph

h: 50 w: 31 d: 1 (cms).

My lithograph "No Soft Edges" is about the strength and resilience of women. This woman approaches you with the confidence of knowing who she is. I wanted to support the edginess of her expression through my choice of short sharp lines that build up the landscape that surrounds her figure. The lines of the land and sea are a play between negative and positive spaces and between abstraction and realism.

£772

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Beehive

By zak shirley

Mezzotint on Copper

h: 21 w: 21 d: 1 (cms).

Mezzotint on copper; Woven beehive with badgers and bees surrounding the hive on Somerset Satin 220gsm

£250

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Trust me, you're in good hands

By martine van der waal

Lino and oil based ink on Japanese paper

h: 30 w: 21 d: 1 (cms).

I made this image as part of a series that is still in development. In this serie I want to show satirical scenes where human and animals have switched "jobs". Mostly to make people smile but also a way to make people think about how we use nature and animals without consideration. This piece originated from serveral sketches done with procreate. Image was transfered to lino with carbon paper. I used different sizes of linocut tools. I printed with caligo safwash on Japanese papier using a hand press.

£500

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Drizzle

By martine van der waal

Lino and oil based ink on Japanese paper

h: 30 w: 21 d: 1 (cms).

On a slow afternoon I decided to go out for a walk with my son. Suddenly it started to drizzle, something my son absolutly hates. I made a photo of the scene just after he put on his hood. Really loving the photo and the softness on his face I decided to make a linoprint of the same scene. I used procreate to make a sketch of the photo. It took a lot of time to deside what is dark and what is light and what the shapes are. After that I used carbon paper to transfer the sketch, I used caligo safe wash for printing and I printed on Japanese paper.

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Lost Woods

By sian hulse BA(Hons)

Linocut

h: 28 w: 38 d: 1 (cms).

'Lost Woods' is a reduction linocut print which was printed over 11 layers and depicts a stag in a verdant clearing. An edition of 10 printed on Somerset Satin paper.

£275

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Anterior

By izzy henry

Lino

h: 40 w: 30 d: 1 (cms).

Part of a series of anatomical prints of the heart, inspired by my work as a nurse.

£110

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Staircase

By mackenzie hawk

Woodcut

h: 61 w: 46 d: 1 (cms).

The work, “Staircase” approaches viewing a natural space with an architectural perspective. What happens when trees become columns and roots become stairs? Through this work, viewers experience different ways of visual entry by finding interesting marks and by feeling called to enter the space.

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Kilkee Cliffs II

By shirley stone

Silkscreen and Lino

h: 26 w: 19 d: 1 (cms).

It’s a mono Screenprint with Lino print overlay on Snowdon paper using screen print ink and cranfield safe wash ink. It is displayed mounted in a simple black frame.

£180

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King Frogs Perfectly Green Water Clovers

By wesley kramer

Multi Block Reductive Woodcut

h: 61 w: 46 d: 1 (cms).

This piece is part of an on going series of work that I have been working with in tandem with event an event called It Came From the Bayou. In the work I develop imagery inspired by what greed and pollution can do to an environment. Turning into an invasive entity of its own.

£500

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Nothing but a memory

By Sunny Wong

Etching and Aquatint

h: 15 w: 21 d: 1 (cms).

Sampled from a late-2010s Japanese news segment analysing Western internet memes for a local audience, this piece reflects on how internet culture shifted from an era when netizens could collectively identify the "meme of the month" to now a constant stream of "content slop." It’s a look at how quickly information becomes nothing more than a memory in our current AI-saturated world.

£165

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Harmonic Study #6

By aaron artrip

Cyanotype

h: 11 w: 14 d: 1 (cms).

This image is generated using audio to drive a UV laser projector as a drawing device. Laser is controlled using audio waves (Sine, Triangle, Square and FM Oscillators). The resulting image is a time lapse of sorts, following the path of the focused point of UV light (laser) as it travels across the paper. Path is determined by the harmonic relationship between two or more audio tones.

£1084

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Shocked Bunnies - Hollow

By lera mishurov

Etching and aquatint on copper

h: 10 w: 10 d: 1 (cms).

Shocked Bunnies are two fragile characters who keep going anyway. The series began as a survival practice when the world stopped making sense - one prompt word, one small image. A word like a random bridge to stand on and look at reality. First word in copper: Hollow- a shelter that holds air and stays standing. Maybe domes, maybe ceramic tea bowls brought back from one warm east country. Intaglio on copper plate with hard ground. Five separate acid baths building layers of aquatint for depth and tone. Mezzotint burnishing for soft, luminous areas. Live acid for final adjustments. Printed in a single pass through the press. 10×10 cm.

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This land

By jane sasanow

Artist book. All original print. Screenprint, collagraph, lino & letterpress

h: 17 w: 17 d: 4 (cms).

A drumleaf bound book presented in a clamshell box. Nine double spread pages with nine pop up sections. The book explores the complex relationship of the ownership of land and the importance of land to people.

£380

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Relic: Dabberlocks 3

By Portia Knight

Cameraless Solar plate

h: 18 w: 12 d: 1 (cms).

I am a printmaker working with foraged materials to reconsider how seaweed is seen and understood. My practice is shaped by searching, selection, and direct contact, utilising found material to explore form, structure, and surface. I am currently developing several series of cameraless polymer photogravure etchings using Alaria esculenta (Dabberlocks). Gathered along the tideline the seaweed is already marked by movement and displacement. Through exposure to light and contact with the plate, its density and translucency are translated into tone. In Relic, Dabberlocks is approached as excavated material—collected as drift and preserved as surface rather than specimen. The prints adopt an archaeological mode of looking, attending to trace, residue, and the partial survival of form. Rooted in the North East coast of Scotland and informed by Victorian seaweed pressing, the work reflects on how material is discovered and re-seen, connecting present encounters with the echo of past practices

£225.00

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Grief

By sally weatherill

etching on somerset paper

h: 28 w: 27 d: 1 (cms).

Multi-plate aquatint etching

£265

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The Clearing

By emilia telese

electrolythic etching on zinc

h: 55 w: 75 d: 1 (cms).

The Clearing is part of a series of etchings and engravings in my ongoing study of Icelandic forests. The work imagines the reappearance of one of Iceland’s lost woodlands once covering large areas of the island before extensive deforestation by early settlers. It draws particularly on the vanished birch forests of the Icelandic Highlands surrounding Þjórsárver and the interior plateau, much of which has since become part of the Arctic desert. I am drawn to the idea of a clearing as a place where light enters and structure gives way, revealing traces of disappearance. The image evokes a forest that can no longer be directly seen yet continues to persist through fragments, remnants and ecological traces. I made The Clearing using electrolysis, a process I chose for its subtle tonal range and capacity for fine detail. Its delicate atmospheric qualities echo the fragility and muted light of the forest environment, reflecting on the loss and persistence of landscape through time.

£1500

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Back Home

By małgorzata servanska

Linocut print

h: 19 w: 21 d: 1 (cms).

£250

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My Home

By małgorzata servanska

Linocut Print

h: 15 w: 15 d: 1 (cms).

£280

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The Word

By roger stedman

Charbonnel Black 55981, Burnt Sienna on Fabriano Roasaspina

h: 25 w: 35 d: 1 (cms).

‘The Word’ Location: St John the Baptist Church, Inglesham Source Image Bronica ETRS, Ilford HP5 Film Image size: 140,, x 250mm Paper size: 250mm x 350mm Ink: Charbonnel Black 55981 + Burnt sIenna Paper: Fabriano Rosapine 285gsm Edition 10

£240

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Shadows

By christine watson PS

mezzotint on Hahnemuhle paper

h: 26 w: 18 d: 1 (cms).

£300

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Uo and Down Steps

By christine watson PS

mezzotint on Hahnemuhle paper

h: 26 w: 18 d: 1 (cms).

£300

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Timeworn Sanctuary

By Clare Sherwen BA(Hons)

Collagraph

h: 14 w: 11 d: 1 (cms).

I wanted to express the depth of tone and shadows alongside the memories and experience of an ancient cloister. I have combined a collagraph printing plate with an overprint of a collagraph crackle plate in a blue colour to echo the texture and age of the building.

£200

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Spell Weaver

By carrie osborne

Lino cut

h: 45 w: 35 d: 1 (cms).

'Spell Weaver' is an original linocut print of a wonderful twisting Beech Tree near my home in Somerset. As well as its beautiful spiralling form that makes it seem to dance or fling out it's branches in wild gestures, I was interested by the folklore of the Beech Tree, sometimes called the Wishing Tree or Mother of the Woods. I love how every tree has it's own unique character and tried to capture that in this print. I used Pfeil tools to cut the lino and printed it using an antique book press with Caligo safewash inks.

£275

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The Sea

By ouyu yao

etching, chine-collé

h: 46 w: 30 d: 1 (cms).

Growing up in a seaside city, I developed a deep connection with the sea—its contradictions fascinate me. It is inclusive, embracing every conduit of water, yet exclusive, consuming anything that ventures too close. In this print, I am trying to capture the contradiction and passion in it.

£400

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I smell a rat...

By mandie curran BA (hons)

Ironbridge oil-based open ink printed on Fabrianio 250 gsm printing paper

h: 25 w: 19 d: 1 (cms).

This drypoint print captures the intelligent, endearing, and humorous character of a rat through his upright, inquisitive stance. The composition makes deliberate use of negative space to draw focus to the expressive posture and fine textural detail. Executed with subtle tonal variation, detailed line work and a touch of muted watercolour, the piece reflects my improving technique as a printmaker whilst still combining my love of perspective and fun.

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Fluctuation

By louise ockenden

Emboss Print

h: 42 w: 42 d: 1 (cms).

£180

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Caisson I

By fran farrar

Copper Etching on Somerset

h: 27 w: 18 d: 1 (cms).

Sat holding time and memories, the looming caisson structures left on Arromanches Beach, Normandy, remind us of the magnitude of events past. I can but make scratched marks in remembrance and give a small space to think. This etching is part of a larger body of work responding to the D Day landings of 1944 and the enduring legacy of extraordinary events. Links to the past through ancestry and place, recordings of so many.

£195

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Little kisses

By jeannelise edelsten

Photoetching with two plates made from a drypoint etching

h: 30 w: 30 d: 1 (cms).

This is a photoetching print made from a drypoint etching of my first granddaughter and her mummy, my daughter - the final image is made from a single and a double exposure photoetching, the second print being registered with metal blocs

£190

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Globes (walnut ink, walnut frame)

By Angus Stewart Stewart

Polymer photogravure print on Fabriano Rosaspina Bianco paper

h: 21 w: 15 d: 1 (cms).

This image of a cabinet of globes is printed with home made walnut ink, and framed in walnut. Walnuts were introduced to Britain by the Romans and the name is Anglo Saxon meaning 'foreign nut'.

£400

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Orione

By giulia pianigiani

Etching on Copper plate

h: 30 w: 20 d: 1 (cms).

£120

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Large Blue

By annie guest

Cyanotype on wood panels with gold paint print

h: 44 w: 31 d: 5 (cms).

Float mounted so unframed and framed dimensions are the same My art explores the uncompromising cycle of life, the fragility of existence and the passing of time. I use the cyanotype printing process as I love the fact that cyanotypes are created in partnership with nature allowing chance and the weather to collaborate in the process. This cyanotype, Large Blue, celebrates the Large Blue butterfly which is one of the rarest butterflies in the UK due to loss of habitat. Gold paint was applied to plants in order to print directly onto the cyanotype to emphasise the importance of specific environments for endangered species.

£220

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Old Friends

By nina yankovic

Intaglio etching

h: 30 w: 60 d: 1 (cms).

To enquire about this artwork, please go to the artist page.

Like A River Or A Dream

By katya jackson

Monotype & Linocut

h: 610 w: 460 d: 1 (cms).

Oil ink monotype with embossed linocut overlay in a variable edition of 5 on Legion Stonehenge 250gsm paper.

To enquire about this artwork, please go to the artist page.

Femme Piquée (I Don’t Need No Anti-Venom)’

By katya jackson

Monotype

h: 462 w: 610 d: 1 (cms).

29-layer oil-ink monotype on Legion Stonehenge 250gsm paper. After Auguste Clésinger’s marble sculpture, "Femme piquée par un serpent."

To enquire about this artwork, please go to the artist page.

Urania, Revisited (We Contain Cosmos)

By katya jackson

Monotype

h: 370 w: 550 d: 1 (cms).

Oil ink monotype in 15 layers with silver leaf on Legion Stonehenge 250gsm paper. After Giovanni Dupré’s 1867 marble sculpture, "Urania."

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Desolation of the Saints

By levi stables

Woodcut

h: 56 w: 76 d: 1 (cms).

£100

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Tulips

By richard stephens

Screenprint

h: 23 w: 23 d: 1 (cms).

This is a variable edition, red tulips are also available, and both the yellow and red tulips came with blue, green, or grey backgrounds.

£100

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Stand-off

By chris gilbert

Line etch on copper with aquatint

h: 14 w: 29 d: 1 (cms).

This represents a real event of a Mexican bull run I attended years ago. Having only some rather blurry photos I recreated this imaginary stand-off trying to capture the tense, scary atmosphere.

£250

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MARK'S ROOM

By lindy norton BA hons, MA

DRYPOINT ETCHING

h: 31 w: 27 d: 1 (cms).

'Mark's Room' is my friends bedroom and a room I have stayed in many times. It has a beautiful lace curtain that subdues the light and gives a calm but slightly eerie atmosphere to the room. I have done several drypoints of this same image trying to capture the play of light.

£285

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Wild Goats on Windy Gyle

By kate miller

Linocut print

h: 30 w: 21 d: 1 (cms).

£130

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Cold Feet, Felix, Dunjee and the Big Wild World!

By cara david

Copper line etching and aquatint with layers of screen-printed color

h: 31 w: 46 d: 1 (cms).

This print was made using copper line etching with a rosin aquatint. The color was incorporated using screen-printed layers of transparent ink. This image is part of the story of Felix and Dunjee, two cats who go on an adventure and make many new animal friends. At this point in the story, Dunjee's feet are cold, and he suggests that it might be time to go home.

To enquire about this artwork, please go to the artist page.

Fuoco [Dark Edition]

By carlo petrosino

Linocut

h: 37 w: 27 d: 1 (cms).

£250

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New York ( St., Manchester), winter commute

By nicola bowers BSc(Hons) MSc

Acrylic gel plate monotype

h: 30 w: 22 d: 1 (cms).

My commute through Manchester, my composition of the photo to capture the cold wet morning with a beautiful winter light breaking. I have edited my photo to suit the print technique & resist printed it to the gel plate with acrylic paint and reverse and overpainted with acrylic paint and acrylic marker pens. I have used dynamic marks to convey movement and a cool colour palette for a winter dawn

£350

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Black Shoes

By anselmo swan BFA

woodcut on gampi paper

h: 25 w: 20 d: 1 (cms).

My woodcut, titled "Black Shoes," was created using long-grain pearwood blocks and traditional carving tools. I also used a sharp point to engrave fine lines into the wood. The print was hand-printed with letterpress ink using a Japanese baren on heavyweight Gampi tissue paper mounted on Stonehenge paper. I employed two colours—black and grey—to achieve a broader range of light and dark tones. The shoes were a gift for my first solo show and have accompanied me to various exhibition openings and gallery events over the past 25 years.

£220.00

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Emerald Lake Winter

By anselmo swan BFA

woodcut on gampi paper

h: 10 w: 15 d: 1 (cms).

"Emerald Lake Winter" was created following a visit to Yoho National Park, British Columbia, Canada. The work utilizes long-grain cherry woodblocks and traditional carving tools. The print was produced by hand using Cranfield Traditional Relief ink, a Japanese baren, and a wooden spoon. It was printed on gampi paper, which was subsequently mounted on Stonehenge paper. The artwork incorporates two opaque colours, enabling a broad spectrum of light and dark tones. "Emerald Lake Winter" is inspired by the Japanese tradition of Ukiyo-e woodblock printmaking.

£110.00

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And one flew away...

By Maria Bowers SWAc BA (Hons), MA, SWAc

Print on Somerset Satin paper

h: 29 w: 29 d: 1 (cms).

Inspired by the the idea that two is always a temporary state, I liked the play of the black and white geometric patterned chair as the platform for the brief meeting.

£160

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Blossom No.37

By grace beswick BA(Hons)

Screen print on Canaletto Velino paper

h: 35 w: 48 d: 2 (cms).

Four colour screen print.

£330

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Last Light of Autumn

By anna lansley

Linocut

h: 15 w: 15 d: 1 (cms).

Last Light of Autumn captures the late afternoon light of early winter, when long shadows begin to fall early in the day. I challenged myself to express this shift using a limited palette of green and black. It sits within a newer body of work exploring themes of space, place and quiet presence.

£140

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After the Moral Apocalypse - A Response to Rockwell

By jared barbick

woodcut

h: 55 w: 35 d: 1 (cms).

My work attacks the falsehood presented in Norman Rockwell's 1943 work titled "Freedom from Want" of the "Four Freedoms" series inspired by FDR’s speech. Initially pitched to the War Department & rejected by the Office of War Information, his work was done for the Saturday Evening Post. Norman’s work was used by the media & the Federal Government to push the false narrative that all will have food abundance & unfettered wealth. 80 years later, my work offers a view of where we might be in 2043 under current government immigration & policing policies coupled with the continuance of today’s deepening racial and political divide. When side-by-side to Norman’s, this work highlights an absence of kids, of food & abundance, and presents a world of scarcity, one where even the wealthy are not insulated.

£2500.00

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One Possible Future for America

By jared barbick

woodcut

h: 48 w: 59 d: 1 (cms).

This RESIST print addresses current issues regarding women's reproductive rights as well as my prediction of the future if we do not resist now. The woman is being forced to carry her pregnancy. Her every step is policed by drones. Her body criminalized. If we do not resist with like strength and fortitude, I predict a world where Hospitals will support H.A.R.R.T. & F.P.A. (Hospitals Against Reproductive Rights & Treatment and the Fertilization Protection Agency) where they refuse treatment and enforce Ca, Texas, and Louisiana bills such as SB 8, Act 548, HB 813, Trap Laws and more that force women to keep children against their will. We MUST RESIST now!!

£2500.00

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La Palude definitiva

By luca de maria

Drypoint on Plexiglas, printed on Fabriano Rosaspina paper

h: 35 w: 50 d: 1 (cms).

Paper size: 35 x 50 cm Plate size: 218 x 298 mm

£190

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Afternoon, Hong Kong

By daria arta

Linocut print

h: 26 w: 39 d: 1 (cms).

Hand cut and hand pressed limited edition linocut print. Lino plate (image size) is slightly less than A4. The print is inspired by a visit to Hong Kong. I was fascinated by HK and tried to capture the atmosphere: a sea of umbrellas crossing the road in central HK; it’s a day time but the only light is coming from the bright street signs and huge advertising screens.

£250

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Boats In The Bay

By Kirstie Dedman BA(Hons)

Lino Print

h: 30 w: 40 d: 1 (cms).

Inspired by a great, damp winter Dorset day. A hint of yellow sunshine brings a hint of warmth to come.

£285

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