Scottish (de)light

By hans dillesse

reduction woodcut

h: 50 w: 70 d: 1 (cms).

I was impressed by the magnificent light and its reflections between the stones on the beach. Some stones also look a bit like seals resting on the sand. Sometimes, for the dark spots a little further away, you have to look closely to see if they are actually stones. Yes, they are stones; the seals are not resting on the beach, but on the sandbanks a little further out…

£600

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25/2

By helen delany MA Fine Art

Etching, Aquatint and Drypoint (Tetra Pak)

h: 33 w: 38 d: 1 (cms).

This hybrid print is part of a series called The Number Series. I collaged tetra pak drawings with aquatint etchings which fits with my interest in street art and DIY methods. In content, the print depicts old and new private memories deliberately obscured by the overlay.

£285

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Blackness Castle

By Rebecca Chu

Etching and Aquatint

h: 29 w: 42 d: 1 (cms).

Intaglio print on Hahnemühle Natural, 300 gsm

£280

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'Ressurection'

By cróna gallagher

Copperplate Etching (Plate size 14 x 20 cms) on ivory Fabriano with watercolour wash, conté and gold leaf detail

h: 43 w: 35 d: 1 (cms).

Printed onto ivory Fabriano etching papers, with watercolour wash, conté and gold leaf detail

£570

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Her thoughts echoed

By hilda goold

Photoetching

h: 38 w: 27 d: 1 (cms).

Part of an ongoing series, a collage made of images and words.

£400

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Dornoch Beach

By hans dillesse

reduction woodcut

h: 53 w: 38 d: 1 (cms).

In my woodcuts, I use ‘short’ (= thick) oil-based ink. The various printing passes do not always align perfectly. I love the traces of the carving that have picked up just a little ink, thus showing a ‘stain’ in the print. This keeps the whole piece lively and spontaneous. Additionally, after all those layers of color are applied one over the other, a beautiful, almost ‘painted’ surface emerges, comparable to oil paint.

£550

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Epping Beeches

By roz howling

Lithography and reduction screen print

h: 16 w: 16 d: 1 (cms).

This print has been pivotal in my printmaking journey. I have developed a love of colour and combining print techniques to capture my emotional response to the landscape, especially trees and woodland. However beyond colour and detail, I have found some prints have lacked depth. In this print I increased the depth and colour by taking my use of mono screen print and created a reduction screenprint. Through the layers, I have been able to increase the depth and capture the dappled autumn colours whilst distilling the details and contrasting dark light of the dense and ancient woodland in Epping Forest with lithography. This print helped unblock something creatively which has changed my perspective on the use of layers, taking this further today with more experimental work that I am excited to share in the near future.

£150

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In the heart of the flock

By vicky crawford

Collagraph plates cranfield Caligo safewash inks on Fabriano paper

h: 30 w: 42 d: 1 (cms).

This image began with a small flock of Canada geese flying in V formation. I then decided to add a larger goose in the foreground I printed several this way and as I was clearing up one day I put the small plates onto the body of the larger goose to lift them off the press. It looked class and it described to me what it is like to be part of a flock. So the idea for this print was found by accident after an immersive few days with my flock exploring being part of a flock as I printed amongst friends.

£190

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'Petite Warrior'

By cróna gallagher

Copperplate Etching (Plate size 5 x 5 cms) on ivory Fabriano with watercolour wash, conté and gold leaf detail

h: 29 w: 27 d: 1 (cms).

£270

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Croquet Border Brass Belt, Wearable Art

By alison tidmarsh

Relief etching on brass, Silversmithing techniques

h: 10 w: 16 d: 1 (cms).

I moved to England over 20 years ago. As many do, I poured my creativity into making a home and raising our family. I knew I didn’t want to miss anything and I was lucky enough to be able to stay home with our boys. “I did not give up art, society just refuses to acknowledge that making a home and raising a family is in itself an art form.” The garden was a job that became a creative outlet, a new challenge. Encouraged by my mother and father in law I got my hands dirty. Plants like children are vigorous growers, and also quite forgiving of mistakes. Gardening to me became large scale painting that simply took longer. From Seed to Etching is my very first series of etchings. Inspired by the borders, plants and bulbs which I planned and planted in our garden over 18 years. The process has been long, but a joy, save the reliable sting of the nettle.

£290

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Colony

By cróna gallagher

drypoint on acrylic

h: 34 w: 30 d: 1 (cms).

Seven 5 x 5cm hexagonal plates with watercolout wash, conté, graphite, chine-collé and gold leaf detail

£470

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265 pages

By alain desgagné

Etching and aquatint

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

£100

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Beard and scar 2

By chih-chieh chan

Stone lithograph, stitch

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

My work is focused on healing and repairing grief of the past and memory with drawing, stone lithograph and stitch. Old trauma is the main idea makes me start to explore intimacy between people, which came from my dad’s passing away few years ago. After the experience, I tend to draw and print objects from the missing and worry to lose. While drawing and printing the images to calm myself down from anxiety of losing or remember the intimacy I had experienced. There are two features that I use the most, one is beard and the other is my scar on the hand. The bread is not only for memory of my dad in mind, also if I am close enough to someone, I could feel it just like close physical distance. The scar came from a fainting accident and burn injury that I must be repaired at the moment. I use these two images in the works to go further and deeper for expressing healing and repairing. Through making process, I question power of intimate objects and surfaces.

£395

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Croquet Border Brass Cuff, Wearable Art

By alison tidmarsh

Relief etching on brass, Silversmithing techniques

h: 8 w: 7 d: 6 (cms).

The beauty of the etching plate is rarely seen by the patron, and they are missing out. Whether the plate is steel, copper, brass or used carborundum and collagraph, it has an incredible patina, and is a work of art in its own right. I first noticed this on a course with my son at Ironbridge Fine Arts, taught by Jenny Mason-Gunning. I was captivated. Relief etching on brass has a shimmer and color that works well for my wearable pieces, commissions can also be produced in silver or gold. My process begins as a work on paper, with a drypoint or engraved etching plate, hand inked or painted with Koh I Noor Anilinky Watercolors, À la poupée. The plate is individually printed on damp watercolour paper, often incorporating Chine-collé. The print is photographed, then acid relief etched; the honesty of the flipped image is an important part of understanding printing processes. The plate, shaped with silversmithing tools into a belt or a cuff, creates wearable art which travels with you.

£290

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Whale Shark

By jo burton

Wood Engraving

h: 4 w: 12 d: 1 (cms).

A small wood engraving of a silent whale shark, camouflaged in the curtains of light spilling and splintering down through the shallows.

£75.00

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Aeolian II

By emma jackson MA

Child’s building blocks, collagraph

h: 10 w: 10 d: 5 (cms).

From an on ongoing series exploring the shifting relationship between image and context through reduction and spatial interruption. Initiated in 2023 and continuing to evolve, the works examine how photographic references loosen from their origins while continuing to hold. Translated into discrete forms, each piece stands independently yet activates new relationships when encountered in groups, allowing meaning to shift from the singular image to the space between works.

£450

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Summer Meadow

By alison tidmarsh

Part 1: Intaglio, Drypoint Etching and Embossing, À la poupée Part 2: Relief Etching on Brass with Silversmithing Techniques

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

The beauty of the etching plate is rarely seen by the patron, and they are missing out. Whether the plate is steel, copper, brass or used carborundum and collagraph, it has an incredible patina, and is a work of art in its own right. I first noticed this on a course with my son at Ironbridge Fine Arts, taught by Jenny Mason-Gunning. I was captivated. Relief etching on brass has a shimmer and color that works well for my wearable pieces, commissions can also be produced in silver or gold. My process begins as a work on paper, with a drypoint or engraved etching plate, hand inked or painted with Koh I Noor Anilinky Watercolors, À la poupée. The plate is individually printed on damp watercolour paper, often incorporating Chine-collé. The print is photographed, then acid relief etched; the honesty of the flipped image is an important part of understanding printing processes. The plate, shaped with silversmithing tools into a belt or a cuff, creates wearable art which travels with you.

£580

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At the foot of the ravine.

By claudia tello Master

Linocut.

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

Since 2006, Mexico has faced the most severe humanitarian crisis in its history. Today, one person disappeared every forty minutes. At the dawn of the FIFA WORLD CUP, Mexico has more than 130,000 disappeared people currently, mostly under organized crime forced recruitment for their activities, or to sell people for human trafficking for different purposes. Hundreds of collective mothers’ groups have been founded to look for their loved ones among illegal graves where they have found the remains of their sons, daughters, or husbands fragmented into pieces inside garbage black bags. This unique piece is among the other 10 still in progress to show the world this crisis.

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

Anticipation

By monique wales

Reductive Linocut Relief

h: 28 w: 33 d: 1 (cms).

Many never understand why these secretive birds are called Orange-crowned Warblers (Pacific). Their orange crowns hold just a hint of the color, at best. Hard to spot (at least for me!), with none of the usual bold or flashy markings of their other Warbler cousins, their yellow-green and gray coloring blends into oak woodlands, even in the Pacific, where they are brighter than in the East. But their cascading trills ring out from every direction during mating season. Only with luck and patience can you discover their cleverly hidden nests, tucked under rock ledges or logs, behind a curtain of ferns amongst the moss. These two are anticipating their five new chicks with a small gift!

£500.00

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Tranquility's Veil

By monique wales

Reductive Linocut Relief

h: 28 w: 54 d: 1 (cms).

After a heavy Winter rain, but with the air chilly and very still, one of my favorite weather conditions happens: Tule fog. This magical mist stays low to the ground, wrapping the landscape in an almost complete hush, turning all colors to shades of grey. Only the clear calls of Red-Tailed Hawks counter the scene's hushed tranquility, as the sun warms the air enough to lift the veil.

£700.0

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Skinny Dipper

By monique wales

Reductive Linocut Relief

h: 40 w: 27 d: 1 (cms).

This small waterfall is one of my favorites and I pass it almost daily on my dog walks. This year's extraordinary rainfall amounts have sent it into overdrive this Spring, for which I am very thankful! The little visitor is the reason for the title! Have you ever seen an Ouzel (AKA American Dipper) swimming in a turbulent stream? These 'plain brown birds' are actually amazing underwater flyers and the cutest birds ever.Yes, they earned that name with the dip, dip, dips they do on land awaiting their next swim!

£700.

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Where the sky meets the clouds

By alex yun

Linoleum Block and Cranfield Caligo Safewash Relief Ink

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

I’ve always been inspired by the Northern Lights, and seeing them in person has long been on my bucket list. Foxes have also been one of my favorite animals and a recurring subject in my artwork for years. I wanted to create a piece that combined both, though it was a challenge to make the Northern Lights and the fox stand out equally. In the end, the process of carving and printing this piece was incredibly fun and rewarding.

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Murmuration

By angela risinger

Linocut

h: 59 w: 71 d: 1 (cms).

£350

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Grow

By angela risinger

Linocut

h: 46 w: 33 d: 1 (cms).

£170

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Nuthatches

By angela risinger

Linocut

h: 36 w: 30 d: 1 (cms).

£150

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Resolute

By zaire miles-moultrie

Print Making Collage, Lithograph

h: 43 w: 42 d: 1 (cms).

Resolute centers on a girl holding a vase as she looks toward another world that feels just as uncertain as the one she inhabits. The work explores death not as an end, but as a threshold, a space between what is known and what cannot be understood. The vase suggests fragility, memory, and what we choose to carry with us. Through this quiet moment, the piece reflects on the unknown, asking what the other side may hold while acknowledging that its truth remains just out of reach.

£400

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Hug

By narisara jirojananukun

Photo-etching and etching on Somerset paper

h: 28 w: 26 d: 1 (cms).

This work began with an observational photograph taken in busy Waterloo Station, capturing a brief embrace and a moment of physical touch within a fast-moving public space. I translated the image into photo-etching, then added further etched marks by hand to build softness, shadow and atmosphere. The work reflects on how small gestures of care, warmth and intimacy can appear quietly within places often seen as impersonal or disconnected.

£280

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Henry Moore’s Hands on a Watercolour

By caroline armstrong

Etching on aluminium, on 645gsm watercolour paper

h: 36 w: 24 d: 1 (cms).

£195

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Myomancy

By petra kallio MA

Mezzotint

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

Myomancy is the key image of my series of prints with the theme of rats. I had a rodent problem problem in my garden, that I could not solve by traditional means, so I started a mental attack towards them with visual resistance. The series consisted of six different images of the line tailed animals dead or moving from time to eternity.

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Canterbury

By sofie zelenina

Intaglio, aquatint

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

Inspired by memories of a visit to Canterbury, this intaglio print shows a figure seating on a wall above a river, surrounded by old brick houses and a quiet English landscape. Through delicate linework and textures, as well as subtle tonal contrasts, the work explores nostalgia, self-reflection, and the fragility of fleeting emotional experience.

£240

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Saver Series 1

By eleanor cowell

Monotype on Somerset

h: 40 w: 50 d: 1 (cms).

This image describes the groundless aspect of digital space, through creating limitless environments co-created with a machine, the printing press. Printmaking’s traditional rolling process alters the original image as the plate is printed, the intended work uncontrollably disrupted. The drag of the ink cannot be controlled, the control handed to the printmaking roller to co-create the final image. I seek to capture the human and the mechanical, an exploration of potential harmony. This piece is a conversation between the revealed luminous surface and the material, rendered to mimic the glow of screens.

£600

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Pound a Punnet

By sarah vines

Screenprint on Paper

h: 32 w: 26 d: 1 (cms).

When shoppers visit the market, they are hoping for value, volume, and a bit of the traditional shouting trader atmosphere which is no longer so commonplace on the British high street. But with value comes at a cost of a different kind: the freedom to select the best (as you can in a supermarket) is removed, with produce already pre-portioned out and speed becoming the name of the game. I went to the St Albans market and bought 1 punnet of citrus fruits for 1 pound. I recorded, and printed them just as they were sold to me, mould and all.

£335

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The Coastal Path at Holkham

By mary valentine-george BA(hons) PGCE

Lino

h: 31 w: 22 d: 1 (cms).

This linoprint represents the coastal path at Holkham in Norfolk. I enjoy exploring pattern and shape in print and using colour to capture the feeling of place and time. My aim with this piece was to convey the feeling of peace and seclusion in this section of coastal path leading to the sand dunes and sea.

£120

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‘Looking Out’

By rebecca danning BA (Hons)

Sugarlift on zinc, etching

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

‘Looking Out’ an etching made from a drawing and memory in the throws of early motherhood. Using hardground and sugarlift technique on Somerset paper.

£150

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‘Celestial Slugs’

By Andi Dakin BA(hons)

Aquatint Etching

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

Zinc Plate Aquatint Etching printed with Hawthorn Stay Open Inks onto Fabriano Unica Paper. The image is of ‘Celestial Slugs” an imaginary life form, from beyond our neighbouring Galaxies. A possible future discovery as we scour the Multiverse in search of extra terrestrial life forms.

£300

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Prayer

By petra kallio MA

Drypoint and chine collé on Hahnemylle and Awagami gozo paper

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

This image from my Myomancy series telling a story of moving from time to eternity. I feel bad for the death of every creature of creation, even understanding it is sometimes necessary and in the interests of safety. Still I just hoped the rodents would have moved away without using poisons. So I imagined the rat to be praying.

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THE CROSSING

By gordon mckinney BA (Hons) Fine Art

Lino Print on Paper

h: 31 w: 21 d: 2 (cms).

This print was created after a holiday in Japan last year and part of a series of works including tetrapak prints

£350

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Change

By eve milloini BA (Hons)

Multi block, jigsaw linocut

h: 15 w: 11 d: 1 (cms).

Cirrus clouds can form from the tops of thunderstorms and tropical cyclones and sometimes predict the arrival of rain or storms. Thin cirrus clouds cause a heating of the Earth because they allow sunlight to pass almost unhindered, while at the same time absorbing and reradiating infrared radiation from the surface below, potentially contributing to climate change. A warming earth will likely produce more thunderstorms, potentially resulting in a self-reinforcing loop.

£120

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Standing in silence

By wendy rhodes PhD

Hand drawn etching, using open bite, hard ground, aquatint and monoprint

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

This print is part of a variable edition. The area that makes up the sky has been monoprinted so that a variety of everchanging weather conditions can be represented

£375

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Oktopous

By amber kyte

Original Lino Print

h: 42 w: 30 d: 1 (cms).

Oktopous pictures a graceful creature, printed using a traditional printmaking technique with customised deep-red relief ink. Inspired by the Ancient Greek word oktopous, meaning eight-foot, these animals symbolise intelligence and adaptability with their remarkable regenerative abilities. This composition reflects the beauty and uniqueness of the octopus.

£50

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Everything We Left Unsaid

By michelle randall

Drypoint etching on Tetra Pak

h: 260 w: 190 d: 1 (cms).

My work explores the tension between structure and instability. Through architectural forms, urban spaces, and landscapes, I’m drawn to places that feel held but unresolved, anticipatory, and inevitable. Influenced by my background in film, I construct space through framing and texture, but my response to place is as much emotional as it is visual, shaped by memory, history, and longing. "Everything We Left Unsaid" captures a time in Greece, at the end of a relationship. The horizon is removed, with no future to look to. The present moment closes in. The dark mass at the bottom holds our damaged history and everything we couldn’t say. The truth of our ending becomes an irresistible gravitational force, drawing everything toward it. I chose Tetra Pak intentionally as the plate eroded with each pull, and that erosion became part of the story.

£275

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Stories on tiptoe

By victoria plotnikova

Linocut

h: 65 w: 87 d: 1 (cms).

The concept of this work is a narrative of Ukraine’s ancient history, specifically the mighty Kingdom of Galicia-Volhynia. It is a contemplation of the subterranean heritage of my native land and the fate of eternal treasures, imbued with the warmth of generations of folk craftsmen. It reflects on my calling as an eternal seeker of hidden truths and history found among the fragments of ancient pottery, driven by a profound desire to preserve this legacy for future generations. The composition of the central part features a distinct silhouette of the Dormition Cathedral, which for many centuries towered in the very heart of the princely city of Halych. Its discovery by Yaroslav Pasternak in 1936 was a true triumph for Ukrainian science, as it culminated nearly a century of dedicated efforts by many generations of scholars.This central composition serves as a unifying element for the other six works, which depict the everyday lives and labors of master craftsmen.

£420

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Above Fields 1

By Su France Designs BA (Hons)

Etching and Relief ink, shine collé on Somerset Satin

h: 34 w: 14 d: 1 (cms).

Inspired by aerial views of fields and the marks on rural farmland.

£245

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Alternative Route

By hannah fray

Etching, aquatint and screenprint

h: 42 w: 29 d: 1 (cms).

'Alternative Route' is a multi-layered hybrid landscape created through zinc plate etching, aquatint, and overlay screenprint. Printed on Hosho paper and chine-colléd onto Fabriano Rosaspina, the work synthesises disparate locations from across the UK into a singular, imagined environment. By merging these distinct sites, the piece explores the cyclical nature of urban development and decay. It serves as a meditation on 'urban memory,' inviting the viewer to navigate the tension between the familiar and the foreign, and to question the stability of their own architectural recollections.

£495

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Tree Shadows on Radnor Lane

By peg morris RBA

Etching with aquatint

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

The shadows of trees fall across an ancient holloway lane in the North Downs.

£295

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The Veil Falls

By jemima aldridge

Drypoint on paper

h: 31 w: 26 d: 1 (cms).

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Pride

By olivia kirby

Drypoint on paper

h: 35 w: 24 d: 1 (cms).

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Human Nature

By grace stanley

Drypoint on paper

h: 26 w: 34 d: 1 (cms).

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Nayella

By keira tabudji-simo

Drypoint on paper

h: 24 w: 29 d: 1 (cms).

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Water Starwort I

By nikki grange

Polymer photogravure print on Somerset 300g

h: 38 w: 29 d: 1 (cms).

Water Starwort is part of the Watercourse Series. Etchings, photopolymer etchings and cyanotypes inspired by the lines and forms of nature as the landscape cycles through the seasons. The artist follows and studies the age-old paths of the natural and manmade watercourse around her home. She uses stream water to process photopolymer plates and cyanotypes, and botanicals to tone the cyanotypes; enlisting natural resources as both subject matter and agents of process.

£190

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Trousseau

By cristina gardiner ARBSA, BA (Hons), MSc

Silkscreen on Fabriano Unica paper

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

Maria Cristina is a multidisciplinary artist based in Worcestershire, originally from Florence, where she studied art to undergraduate level. After moving to the UK, she graduated in Birmingham as an architect and worked as a conservation architect for several years in the Midlands. ‘Trousseau’ is part of a large current project based on place and aspects of the Italian diaspora, which explores the role of women’s culture and tradition in transmigration.

£130

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Psychopomp

By anna pickard

Print

h: 35 w: 42 d: 1 (cms).

£250

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Still as the night

By efstratia machairidi

woodcut

h: 100 w: 70 d: 2 (cms).

The particular woodcut is part of a series of 29 woodcuts created during the covid 2021-22 period, as an aftermath of my practise as a painter of stage design at the Greek National Opera house. The subject is a contemplation both literally and allegorically on the idea of internal space, substructure, work in progress and backbone of an ephimeral structure either as part of the urban landscape or as an element of stage design.

£550

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'Looking over to Skokholm'

By MarieTherese King BA(Hons)

box print on Fabriano

h: 27 w: 23 d: 1 (cms).

£195.00

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Nocturn III

By sean mcguill

Aquatint etching

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

This work is part of an ongoing series of paintings and prints, using found images taken from wildlife camera traps as a reference. The series is intended as a response to our connection/disconnection to our local ecosystems, and the effectiveness of tools such as technology and photography as a way to quantify and protect them.

£350

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Slippers (Variation No. 7)

By Liza Kelly

Two-plate intaglio collagraph and drypoint print using Tetra Pak plates

h: 21 w: 24 d: 1 (cms).

Colour is applied to one plate using a jigsaw method and to the second plate a la poupee

£380

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Coastal Walk

By jane bell BA(Hons)

Monotype with gold foil

h: 30 w: 19 d: 1 (cms).

The monotype print with gold foil was inspired by our dog walks on various local beaches.

£270

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The Gathering

By polly hosp ASWLA

Drypoint & Relief

h: 25 w: 30 d: 1 (cms).

£545

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The boats...I

By nichola goff

Woodblock & Monotype

h: 29 w: 42 d: 1 (cms).

Printed with natural ochre pigment inks on Japanese paper. The boats… come from a response to the graffiti recently appearing around the Forest of Dean: “stop the boats”. Thinking about our natural human needs to travel and explore, the fragility of ‘home’ and the misplaced fear of unknown migrating humans. Here woodblock printed imagined waterscapes are inhabited by monoprinted paper boats; human-made vessels, vulnerable to the elements carrying hopes, imagined futures, curiosity and a desire for freedom and safety.

£220

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Cane Chair (Grey Variation)

By Liza Kelly

Single colour intaglio collagraph and drypoint print made using Tetra Pak plates

h: 83 w: 61 d: 1 (cms).

This is a large scale print (approx A1) printed on two sheets of paper

£850

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Ceramic House Elevation

By sally hughes BSc(Hons)

Silkscreen and drypoint print using water-based inks on handmade paper

h: 42 w: 18 d: 1 (cms).

This building was developed and designed for my Architectural Master's Degree. It examined how Glasgow's vacant buildings could be used to create a cooperative housing network that blended craft and housing.

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After the sandstorm storm

By george jolliffe

Aquatint etching on copper

h: 14 w: 19 d: 1 (cms).

£400

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