Bird Landscape Prints

Le Sacre is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cab...

Le Faucon Hagard is an etching realized in 1771 by Jacques Blanchon. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descrip...

Epervier is an etching realized in 1771 by C. Haussard. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabin...

Jack Hofflander, American (1920 - 2003) - Barnyard II, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 250, 30 AP, Image Size: 30 x 22 inches, Size: 35 ...

Seascape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 5/99, on the left margin. On the back is...

Letter of the Alphabet A, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

Ex Libris Istvan is an original Artwork realized in the half of the 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimen...

Nicopolis is an original lithography artwork on paper realized by W.H. Bartlett (1809-1854). Signed on the plate on the lower left.Titled on the lower center. Included a passeparto...

Genova - Boccadasse is an original offset on paper realized by A. Barnuvitor. The state of preservation of the artwork is good. Titled on the lower left margin. Hand-signed on the...

Spring Israel Rubinstein, Israeli (1944) Date: 1980 Screenprint, signed and numbered in pencil Edition of AP Image Size: 36 x 26.5 inches Size: 39 x 27.5 in. (99.06 x 69.85 cm)

The River Cam winds past St John’s College. Cambridge, a solitary paddle boarder is enjoying the view and a kingfisher is flying through the leaves of a willow tree. Printed in Prussian Blue. Discover more original artwork by Kate Heiss with Wychwood Art online and in our art gallery. Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge...

Sunset is an original print realized in the 1970s. Mixed colored lithograph This lithograph is hand-signed. Unreadable signature. Artist's proof. Good conditions.

Henry Winzenreid (American, 1892-1981) Untitled (Steamboats and Factories), 20th century Lithograph Sight size: 10 x 14 in. Framed: 17 1/8 x 21 1/4 in. Signed lower right: AP/60 Wi...

Seascape is a lithograph attributed to Nicholas Verrall in the Late 20th Century. Hand-signed on the lower right Numbered, Edition, 10/99. The artw...

Artist: (after) Sir Augustus Wall Callcott (English, 1779-1844) Title: "Benevolent Cottagers" Year: 1816 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown...

A Little Poor Woman is an Original Lithograph realized by Adolphe Léon Willette ( 1857-1926). Good condition included a cardboard passpartout (65x50 cm). Hand-signed by the artist ...

The Lion King Disney Animation Film The Lion King is a 1994 American animated musical drama film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. It is the 32nd Disney animated feature film, and the fifth animated film produced during a period known as the Disney Renaissance. The Lion King was directed by Roger Allers and Rob Minkoff, produced by Don Hahn, and has a screenplay credited to Irene Mecchi, Jonathan Roberts, and Linda Woolverton. Its original songs were written by composer Elton John and lyricist Tim Rice, with a score by Hans Zimmer. The film features an ensemble voice cast that includes Matthew Broderick, James Earl Jones, Jeremy Irons, Jonathan Taylor Thomas, Moira Kelly, Nathan Lane, Ernie Sabella, Rowan Atkinson, Robert Guillaume, Madge Sinclair (in her last film role), Whoopi Goldberg, Cheech Marin, and Jim Cummings. The story takes place in a kingdom of lions in Africa and was influenced by the Biblical stories of Joseph and Moses, and William Shakespeare's Hamlet. Artists: Ben Harman...

Medium: 8 color Screenprint Year: 2023 Image Size: 20.75 x 14.5 inches Edition of 12 Over-exploitation led to a collapse in the green turtle population in the area, but it is now us...

Signed and numbered from the edition of 15. Printed on Chine colle. Image of two happy birds finding a meal under a palm tree. Yuji Hiratsuka was born 1954 in Osaka, Japan. In 1985 he moved to the United States to pursue graduate degrees in printmaking at New Mexico State University (M.A.) and at Indiana University (M.F.A.). Since 1987 Hiratsuka has been teaching printmaking and drawing at several universities. He currently serves as a Professor of printmaking at Oregon State...

Ancient Roman Drawing, from the series "Antiquities of Herculaneum", is an original etching on paper realized from a design by De Angelis after Nicolò Vanni in the 18th century. Sig...

Paradise by Sophie Harden Limited edition print and hand signed by the artist Giclée Print on Paper Image Size: H:60cm x W:90cm Complete size of mounted work: H:75cm x W:105cm x D:0.1cm Please note that insitu images are purely an indication of how a piece may look Large Limited Edition print...

Perawa Malwa is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in Capital L...

La Gardeuse D'Oies is an original print in etching technique on ivory paper, realized by by Ch. Bourgeat, engraver and sculptor, after Constant Troyon (French Painter; 1810-1865) . Very good conditions. This etching realized by Constant Troyon and Bourgeat shows the sculptor's signature on the bottom right and the painter's signature on the bottom left. The title of the work is shown on the lower center. Image Container: 35 x 32 cm On the bck of the artwork, news about different artists. Constant Troyon (French Painter; 1810-1865): He was a French painter, belonging to the Barbizon School. Son of the decorator Jean-Marie-Dominique (1780-1817) and of a worker, Jeanne Pracht, he made his first painting studies with Denis-Desiré Riocreux, curator of the Sèvres museum, and with Camille Roqueplan...

Paul Bartlett is a highly acclaimed artist who has won many awards for his original depictions of nature which inform and educate the viewer on conservation issues. Reflective Avoce...

Beautiful colored lithograph, representing a marine landscape. Numbered and hand-signed with pencil on the lower margin by the Italian artist, Ampelio Tettamanti. Edition of 90 print...

Natural Oasis is a very colorful artwork realized by Giuseppe Giannini in 1980. Colored lithograph on silver paper. The print is hand-signed and dated in pencil on the lower right....

On a bright sunlit day at the coast, I was inspired by a cloud reflection on the wet sand. It was dramatic and completed by seeing a dog walker in the distance. The linocut is all ab...

Beautiful proof on vergé crème, signed by the artist in pencil. Full margins. Ex-coll. H.H. Benedict (Lugt 1298). Ref. Cat. Harrington 221; Schneiderman 208.

Framed 19.38 x 16.50 in 8.88 x 12 inches (sheet), 8.88 x 11.88 inches (block) linoleum block print on green laid paper signed in plate

A bunch of cheery sunflowers arranged in a Cornish Ware jug sits pride of place on the window sill of this harbour cottage. A collection of beach finds fr...

The artwork is print on silk and it is limited edition. I clear the world layer by layer of verbal husk and silent contours of things appear like skeletons. "Library" by Natalia Ko...

To see our other original vintage travel posters, many of which have skiing subjects, scroll down to "More from this Seller" and below it click on "See all from this seller" - or sen...

Geese by the River [2022] limited_edition Linocut print Edition number 50 Image size: H:33 cm x W:45 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.2cm Sold Unframed Ple...

In the heart of musical history lies a treasure - a remarkable collaboration between the illustrious artist Tyler Stout and the iconic band Phish. Transport yourself back to 2009 wit...

Kate Heiss Over the Lighthouse Linocut Edition of 50 Image Size 30 x 30cm Mounted size 40x 40cm Oil based inks on 300GSM Soft white Somerset Velve...

Tim Southall Kings Limited Edition Print Etching and Aquataint made on a Copper Plate (Please note that in situ images are purely an indication of how a p...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Woodcocks return. 1970, Paper, linocut, print size 52x55 cm; total 70x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. ...

Evergreen Chris Forrest, American (1946) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300, AP 40 Image Size: 18 x 22 inches Size: 22 i...

Artist: Gordon Grant, American (1875 - 1962) Title: Arching Elms Year: circa 1940 Medium: Lithograph, signed in pencil Image Size: 9 x 11 inches Size: 11 in. x 16 in. (27.94 cm x 40....

Kit Boyd The Sacred Grove Unique hand-coloured etching and aquatint from the standard edition of 60. Imaginary coastal landscape with birds and a figure. hand printed on Hahnemuhle e...

A proud puffin sits on the cliff’s edge amongst the sea thrift and the ox-eye daisies. Linocut Limited Edition of 30 Printed with oil based relief inks on 300gsm soft white Somerset ...

James Basire & Robert Blemmell Schnebbelie The Chancel of Chatham Church, Kent Engraving 48 x 33 cm This engraving was originally published by the Society of Antiquaries of Londo...

Morris Cox (1903-1998) Crash! An Experiment in Blockmaking and Printing, AP 5 of 8 colour prints in varied techniques, Gogmagog Press 1963 Image: 16.5 x 23.0 cm Frame: 32.0 x 38.0 c...

Lithograph measures 38 x 26 inches. Good/Fair, slight creasing at bottom of lithograph.

Artist: Utagawa Hiroshige (Hiroshige Ando 1797-1858) Title: No.12 Ueno Yamashita Series: One Hundred Famous Views of Edo (名所江戸百景) Size: O-ban 大判 Age: 1858

Black Beauty Susan Hall, American (1943) Date: 1980 Lithograph, signed and numbered in pencil Edition of 175 Image Size: 24.5 x 18 inches Size: 30 in. x 2...

Sea Birds and Beach Life diptych Overall Image Size cm : H20 x W15 Tim Southall Sea Birds Limited Edition Print Edition of 75 Image Size: H 10cm x W 15cm Sea...

River Walk by Rob Barnes [2021] limited_edition Linocut Edition number 50 Image size: H:33 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.2cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look About half a mile from where I live is a river walk, punctuated by a windmill used...

Rob Barnes Woodland Pheasants Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free...

The Gift of Flight [2021] limited_edition and Hand signed by the artist Screen print Edition number 45 Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This handmade screen print depicts a geometric bird inset with a set of shapes in Seven colours including Metallic Gold ink. The flying Bird artwork...

Champagne City, Aqua Blue Thames Clare Halifax Signed by the artist Limited edition of 10 Image size: H:48 cm x W:48 cm Paper size: H:56 cm x W:56 cm x D:0.1 cm Please note that insitus are purely an indication of how a piece may look. Champagne City, Aqua Blue Thames is a limited edition cityscape print by Clare Halifax. Champagne City, Aqua Blue Thames features hand gilded champagne gold leaf 22.5ct with aqua blue thames. This 2 colour screen print with hand finished gilding is printed by the artist and shows the view of the thames from sky garden, edition of 10, printed onto somerset satin 300gms with deckle edge. Clare Halifax, artist, joins Wychwood Art selling art online and in their art gallery in Deddington. Clare Halifax is offering exclusive Cotswold screen prints with Wychwood Art as well as scenes of London and Oxford. Clare Halifax graduated from the University of Loughborough in 2000 with a BA Hons in Printed Textile design and went on to sell her work internationally to the fashion and interior markets...

Whitehead, Buell (American, 1919-1993) SHASTA DAISIES. Newsom pg 32. Lithograph in colors, 1946. Edition size not known. Signed and dated in pencil, lower right. In excellent conditi...

Beach Boats [2022] limited_edition Linocut print Edition number 50 Image size: H:33 cm x W:45 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.2cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Clinker-built boats have always been a fascination of mine. I love their lines and shapes at low tide. These I came across on a coastal walk in Suffolk. The sun was setting and I tried to capture the effect of light on water. Rob Barnes, artist, is available for sale online and in our art gallery at Wychwood Art. Rob Barnes studied painting and printmaking at Hull College of Art and London University in the early 1960s. He taught etching, screen-printing, lino and related surface printmaking at Keswick Hall College in Norfolk. He later moved to the University of East Anglia, Norwich where he continued teaching in the School of Education until 2006. Presently he divides his time between printmaking and his other passion, playing the violin in local orchestras and for choral performances. In 2017 he began making a small number of sterling silver jewellery pieces following a course at West Dean, Sussex. His artwork follows themes, such as light on water, or shadows in the landscape. Linocuts are hand-printed on an Albion press...

'Dept. des Pyrenees Orientales', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. This area is well-known wine producing reg...

Biagio Civale, Italian/American (1936 - ) - Woman and Landscape, Medium: Linocut, Signed in pen, numbered and titled in pencil, Edition: AP, Image Size: 16.5 x 22.5 inches, Size: ...

Kate Heiss Little Sparrow Limited Edition Linocut Print Edition of 100 Printed with oil based relief inks on 300gsm soft white Somerset velvet paper. Signed and dated on the front Im...

Sunlight across the fields [2023] limited_edition Linocut print Edition number 50 Image size: H:33 cm x W:45 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.2cm Sold Unfr...

Riverside Oystercatchers By Rob Barnes [2021] limited_edition and hand signed by the artist Linocut Edition number 50 Image size: H:33 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.2cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Rob Barnes Riverside Oystercatchers Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free Shipping Please note that in situ images are purely an indication of how a piece may look. Riverside Oystercatchers by Rob Barnes is a limited edition linocut print using a Key Block and a Reduction Block resulting in several layers of printing. This landscape was inspired by a riverside walking area in Suffolk where there are often numerous Oystercatchers. Rob was trying to achieve a strong sunset image with Oystercatcher movement highlighted across the river. He is inspired by the East Anglian coast and landscape, much of which appears in his linocut prints. Many of these show Rob’s keen interest in the use of colour blends, light on water, and graduations of tone. Rob Barnes studied painting and printmaking at Hull College of Art and London University in the early 1960s. He taught etching, screen-printing, linocut and related surface printmaking at Keswick Hall College in Norfolk. He later moved to the University of East Anglia where he continued teaching in the School of Education until 2006. He is based in South Norfolk. He has exhibited regularly in London and many of his etchings and linocuts are in private collections, here and abroad. More recently he has returned to linocuts, enjoying the strong physical nature of this medium. His linocuts are inspired mainly by the landscape of East Anglia. Effects of light and colour, weather and atmosphere contribute to the final linocut. Recent work has been inspired by observing the changing fields and wildlife through the seasons. Coastal prints...