SGFA 105th Annual Exhibition + scope for a VERY BIG exhibition about Drawing at the Mall Galleries

It's interesting to see how many of the national art societies who are not members of the Federation of British Artists are now holding their annual exhibitions at the Mall Galleries.

To date we have:

• SBA - Society of Botanical Artists - regular exhibitor in the whole gallery on a biennial basis (next exhibition in 2027)
• SGFA - Society of Graphic Fine Art - regular exhibitor West and North Gallery (exhibition on at present - until 14 March
• SWA - Society of Women Artists - long term regular exhibitor on annual basis - next exhibition 23-27 June 2026
• UKCPS - UK Colour Pencil Society (for their 25th anniversary show only - next week 17 -25 March 2026

One wonders whether - at some point - some might become additional members of the Federation of British Artists. 

The Society of Graphic Fine Art - currently exhibiting this week - are a case in point.

The Society of Graphic Fine Art

It's other colloquial name is "The Drawing Society"although I think its lost sight of its drawing purpose in the narrative at the beginning of the current exhibition page on the Mall Galleries website (i.e. the word drawing is absent)

The Society of Graphic Fine Art ...exists to promote and exhibit original works of high quality in colour or black or white. This includes both traditional and contemporary media, which includes pencil, pen, watercolour, oils, charcoal, pastel and any of the forms of original printmaking.

I suggest the second paragraph needs to come first

A national society based in the UK, the Society of Graphic Fine Art is the only society dedicated to excellence in drawing and draughtsmanship, demonstrated by hand.

This art society was founded over 100 years ago in 1919 and now has 160 elected members who are professional standard artists from all areas of the art world who work in all drawing and printmaking media.  (I used to be one of them until I decided to not belong to any society while writing reviews of exhibitions.)

The Society was formed by students and teachers in the etching class at the London Central School of Arts. They wanted to establish a society that would

‘uphold and maintain the interests of all those forms of art that do not use colour as a form of expression’

which was another way of saying that drawing counts and, in one form or another, always will.

Their first exhibition in 1921 was supported by the RA and their first President was Sir Frank Brangwyn RA RE, the renowned muralist, painter, architect, illustrator and designer,

Current focus

Drawing excellence and draughtsmanship is still the focus of the society and its exhibition

The main criterion of membership, regardless of media discipline, is drawing excellence.

Nowadays, in addition to black and white work and traditional drawing skills, the society encourages the use of colour and non-figurative art.

105th Annual Exhibition of the Society of Graphic Fine Art

The entrance to the exhibition at the Mall Galleries

I visited the annual exhibition on Monday.

SGFA Exhibition: West and North Galleries of the Mall Galleries

Dates: 9 Mar 2026 - 14 Mar 2026 
Hours: 

Admission: FREE

I've uploaded my photographs of the artwork I saw to Facebook Albums

About Mokuhanga - Japanese woodblock printing

Following on from Thursday's post, which highlighted two unusual media used in Heat 5 of Landscape Artist of the Year 2025, this post is about Mokuhanga - Japanese woodblock printing.

The other new media was alcohol inks which was covered in yesterday's post Alcohol Inks - information and WARNINGS about use!

Mokuhanga - Japanese woodblock printing

Image of tools used in the production of Japanese Woodblock printing
courtesy The Japanese Gallery article about woodblock printing

What's different about Mokuhanga

• best known for its use in the ukiyo-e artistic genre of single sheets
• widely used for text as well as images
• various woods can be used, but the preferred wood is cherry wood 
• uses water-based inks and Nori Starch paste, rather than oil based inks (which are typically used for woodblock printing in the West)
• inking is done with a brush rather than a roller.
• the baren used to press the ink into the paper is made from bamboo leaf and paper
• it produces more subtle prints rather than the bold coloured prints associated with oils

A team of people were usually involved in the production of japanese woodblock prints. These were:

• the publisher (who usually had overall control of the process), 
• the designer/artist, 
• the block cutter and 
• the printer.

The V&A has a section on Japanese ukiyo- prints

How does it work?

This is a very nice video of a Japanese Woodblock Printmaking Workshop - A Printer's Tools and Workspace - by a nice Japanese lady with very good English subtitles

I managed to translate one word - baren! ;)

 

Essentially, the process is....

How to apply to become an associate member of the Royal Society of Painter-Printmakers

For all those printmakers who think they might be ready to move up a stage - and want to add RE after their names.

This post covers

• a very brief history of the Society
• how to apply to become an associate member (ARE) of the Royal Society of Painter-Printmakers - which is the first step on the pathway to becoming a full member (RE).
• what happens if you are elected an Associate Member 

A brief history of The Royal Society of Painter-Printmakers

The Royal Society of Painter-Printmakers is a very old art society.

• formed in 1880 - as a reaction to the Royal Academy of Arts' reluctance to exhibit etchings and engravings (ironic considering the contemporary popularity of printmaking at the RA Summer Exhibition!)
• 1888: received its Royal Charter from Queen Victoria and became and became the Royal Society of Painter-Etchers
• 1911: full members began using RE after their names
• 1991 changed its name - having formerly been known as the Royal Society of Painter-Etchers and Engravers - hence the RE acronym.
• It is the foremost society for all printmakers
• Printmaking methods included within the scope of the society:
• 1897: Engraving
• 1920: wood engraving
• 1987: lithography
• 1990: all forms of creative and forward-thinking original printmaking
• eminent past members have included Graham Sutherland, Stanley William Hayter, Edward Bawden, Julian Trevelyan and Michael Rothenstein.

Since its inception, every member has had one piece of work selected, providing a snapshot of the artist's portfolio at the moment of his or her election.

If elected as a full member, your name and the title of your chosen ‘RE Diploma Print’ are entered in a Roll-Book whose entries arch back to 1880.

The Society shares its home at Bankside Gallery, in London, with the Royal Watercolour Society in an association that has lasted more than a hundred years.  Each year there are various opportunities to exhibit:

• RE Members are invited to submit two works for inclusion in the Society’s major annual exhibition at Bankside Gallery 
• there are a number of opportunities to show in joint exhibitions at Bankside Gallery and elsewhere.

Demonstrations and lectures are held as part of the education programme accompanying exhibitions, fulfilling the Society’s status as an educational charity. The RE is run by its Members, all of whom are expected to take an active role in furthering the interests of the Society.

Applications for the Election of Associate Members in 2024

The Royal Society of Painter-Printmakers (RE) was formed in 1880 to seek recognition for and to promote the value of printmaking as an art in its own right. Membership is open to artist-printmakers of the highest order. To this day it continues to promote original printmaking in all its forms, widen the knowledge and understanding of printmaking as a process, whilst also providing its members with artistic opportunities.

This is the Applications Page on the RE website

This is the ONLINE FORM you need to submit to apply for election as an Associate Member

You can Download the 2024 application guidelines (PDF). Links to online guidance pages are included below 

Timeline for applications and selection:

• Deadline for receipt of applications: Monday 27 November 2023 12 noon
• Notification of Shortlisted Artists: Friday 22 December 2023
• Deadline for submission of actual prints by shortlisted artists: Saturday 3 February 2024, 11am - 6pm (see Information for Shortlisted Candidates - which also outlines the provisions for all Overseas Artists)
• Collection of prints: (see details about collection)
• Sunday 4 February, 4 - 6pm & 
• Monday 5 February 11am – 1pm 
• Results are sent by email by end of Monday 5 February.

TIP Read the Terms of Election and Guidance very carefully and always aim to create a good first impression. THINK CAREFULLY about 

• whether you are ready to apply this year 
• or whether it might be better to spend the next year gathering together all you need for a good quality application which reflects your suitability for election in 2025.

Who is eligible to apply

Review: 162nd Annual Exhibition of Society of Women Artists (2023)

This week sees the 162nd Annual Exhibition of the The Society of Women Artists' at the Mall Galleries. I highly recommend you get along to the Mall Galleries if you can before it closes 5pm on Saturday 10th June.

This post covers:

• how to see the exhibition
• what I liked about this exhibition - and what niggles I had 
• the Prize and Award Winners
• an archive of my past reviews of previous SWA exhibitions

West Gallery - the end wall and what you can't see from the entrance!

It's an international exhibition with artwork being produced by women artists from the UK and abroad. 

• This year it comprises 488 artworks - paintings and drawings in all media, fine art prints and ceramics, sculpture & other 3D works 
• At: Mall Galleries
• Dates: 6 June 2023 to 10 June 2023 (10am - 5pm) - it's shorter this year
• Admission: £3
• You can also see the exhibition online
• You can also see my photos in albums on Facebook:
• West Gallery
• East Gallery
• North Gallery

I was a little apprehensive going see it yesterday. However my concerns about how well I was (recovering from bad laryngitis + experiencing bad hay fever!) went out the window as soon as I arrived and my eyes were assaulted by a visual feast. There's nothing like a good art exhibition to make you feel better!

This was once I'd got past the guard on the door. Lots of visitors to the exhibition and events meant the doorman had to count people in only after people left the previous evening. When I walked in I could see why - the place was buzzing with activity and people viewing the art

What I like about the SWA Exhibition

East Gallery at the end of the day - when you scan the gallery

These are some of the things that the SWA do really well in my opinion.

The SWA create a VERY diverse and eclectic exhibition with a wide variety of media, subject matter, individual styles and LOTS of innovative artwork. 

• It's a bit like the RBA Exhibition - but on steroids. 
• It generated a "wow" from me from the top of the stairs! It's an exhibition you will not forget visiting!
• those who are interested can review my photos on Facebook (see links above) and those on the SWA's Facebook Page

West Gallery from the stairs

This is a Society which is not afraid of colour and the exhibition is always bright, colourful and energising.  I suspect this probably means dull and worthy artwork gets excluded at the selection stage.

some of the colourful artwork in the West Gallery

Colourful artwork in the East Gallery mixed with perspective on being female

This is a Society which ALWAYS has a ratio of 50:50 for member artworks and those selected from the Open Entry. This to me is the mark of an art society which takes it role in starting artists' careers seriously.

The artwork by members and non-members is mixed right across all three galleries. There's none of the nonsense of members insisting they must be in the West Gallery and all the open can go in the North! Hence there's a more unified sense with themes being used in part and a better balance across the exhibition. It feels like a more emancipated exhibition!

Affordable Art Fair Hampstead 2023: A Synopsis

The main point I'd make about the Affordable Art Fair Hampstead which is on Hampstead Heath (about five minutes walk from the Train station is as follows.....

The stars of the show are emphatically the printmakers.  

Walk past an awful lot of 'manufactured art' and head for the Printmaker Stands where you will find artwork which is both good quality and affordable - as in affordable to more ordinary mortals.

Art Affordable Art Fair (Hampstead): My Findings

Here's the criteria for who can get involved in an Affordable Art Fair - all of which are very sensible.

• All artists must be living.
• All works must be original, or have an edition of less than the following per media:
• Sculpture – 25;
• Prints – 200;
• Photography – 150.
• All works must be priced under our price ceiling (see Exhibitor FAQs for more info).
• Reproductions, even if editioned, are not allowed.

Here's what I found on my visit on Thursday.

What's Affordable?

The art fair lacks a definition for "Affordable". It needs one. In my opinion, it would get more visitors if it signalled more clearly what the price range of the artwork on show is

See more undr "What's Confusing?" below.

What's Good

The stands organised by groups of Printmakers - including:

• A7 East London Printmakers (busy all day) Facebook East London Printmakers is a not-for-profit, artist run studio based in Mile End. (My other half nearly bought one - we got to the unframed versus framed debate). This is an organisation which also encourages people to use their studios....
• D11 Printmakers in Residence (also very busy) - The studio in Bermondsey produces all the work by Mychael Barratt and Trevor Price, fellows and respectively the Past President and Vice President of the Royal Society of Painter-Printmakers. Work by other contemporary artists is produced and published by invitation.
• H8 North London Printmakers - a group of printmakers who believe in bringing high quality affordable prints to everyone. They're very much focused on the price range I would regarded as most people's definition of "affordable".
• H1 Rebecca Hossack is showing Professor Phil Shaw is a ground-breaking British digital-printmaker - who produces some unique (and funny) digital art prints. Awarded his Doctorate in ink technology, Shaw uses a specialized eight-colour printing process on fine-grade Hahnemuhle paper. He was the former Professor of Printmaking at the University of Middlesex, where he taught from 1980.
• D7 Arc Fine Arts stand is showing some lovely etchings by Tim Southall 

There's a Route Guide for Photography and Print

Mychael Barrett PPRE with "Made in London"
his new screenprint and woodcut about the creative artwork and products first made in London. Underneath is his Gormley's cat (the dog version sold extremely well at the RA Summer Exhibition)

 

'You can't judge a book' by Phil Shaw

My world is a place where humour is a serious matter, and its purpose is not simply to raise a laugh but to call attention to the puzzling absurdities and the dangerous myths, that permeate all our lives." Phil Shaw

Etchings by Tim Southall

• There are some very good stand displays by long established art galleries. Ones I'd highlight are with a good stable of artists are:
• Linda Blackstone Gallery - you can also see them at a variety of Affordable Art Fairs in the UK and overseas
• Marine House at Beer - run for over 25 years by art collectors who became art gallerists! I very much liked the quirky landscape paintings by Jo March.

Call for Entries: International Original Print Exhibition 2023

The International Original Print Exhibition, established by the Royal Society of Painter-Printmakers (RE), is an international open submission exhibition celebrating the best of contemporary printmaking. 

The exhibition is:

• organised by the Royal Society of Painter Printmakers (RE)
• sponsored by Jacksons Art
• held at the Bankside Gallery (next to Tate Modern) in the Autumn 2023.

The deadline for entry is 3rd July 2023

As an art organisation run by artists, the RE is constantly working to create long-term opportunities for artists and promote printmaking to a wider audience.

There are a number of prizes awarded to some of those whose work is selected for exhibition

Education / Studio Time Award

• Thames-Side Print Studio Prize - Annual membership of studio, 50 open access sessions & a place on a print course of choice worth circa £650
• Hole Editions Publishing Award, (Newcastle) - An invitation to collaborate on a lithographic project for three days. Accommodation included, but not travel
• Hot Bed Press Award - One year’s membership at Hot Bed Press, Induction and exclusive time with their technician, 100 hours workshop usage and £50 worth of materials to use at Hot Bed Press

Profile : Exhibition / Publishing Award

• Woolwich Contemporary Print Prize - work exhibited as part of Woolwich Contemporary Print Fair 2024
• GreatArt Award - Solo exhibition in Hoxton Store
• Printmaking Today Award - An editorial feature in the magazine

Art Supplies Award

• Jackson’s Art Supplies Award £250 Jackson’s voucher
• Hawthorn Printmaker Supplies Award - Materials to the value of £150
• Ironbridge Fine Arts Printmaker Prize - A spindle roller to the value of £180
• Intaglio Printmaker Prize - Materials prize of £100
• John Purcell Paper Award - Materials to the value of £150
• St Cuthberts Mill Award - 20 sheets of Somerset 250gsm paper 56 x 76cm

Membership Award

• Royal Society of Painter-Printmakers Prize - One year’s guest RE membership for an outstanding work
• Society of Wood Engravers Prize £100 plus a one-year subscription and free entry for selection process to SWE Annual Exhibition
• East London Printmakers Prize - One year's associate membership

Works from the International Original Print Exhibition 2022

Call for Entries

All the information that you need to know regarding preparing your works for the exhibition and sale of your work is available in 

• the application guidelines which are available as a PDF
• the detailed list of FAQs

Who can enter

• Artists must be 18 or over on 6 March 2023
• Artists from any country may enter - provided they are willing and able to get their work to and from the designated drop off and collection venues at their own cost 

What you can enter

• Any form of original printmaking is eligible. 
• Reproduction prints are not accepted. 
• All artwork must have been made in the past 3 years, dating from 6 March 2020 
• There are no limitations on style or subject matter 
• The work must have been made by the entrant 
• All work must be for sale 

Do you accept digital prints?
We do absolutely accept digital prints, as long as they are limited edition prints created using digital processes, not digital reproductions of another work. (FAQs)

Number of entries

• Artists may submit up to 6 recent prints - for a non-refundable fee of £16 per picture. 
• Students in full-time education (ID required) can submit up to 6 recent prints - for £10 per picture. 

(Note: Students will be required to show student ID when delivering the work to the drop-off location)

How to enter

• Take a good quality digital photograph or scan of each print. The judges will make their decision based on this photograph. 
• The print should be photographed unglazed and evenly lit, and cropped to the edge of the work. 
• View the photograph on a computer to make sure you are happy with the picture quality on a larger screen. 
• As a guide, the file size should be minimum 1MB and not exceed 3MB
• Go to https://www.re-printmakers.com/competitions/ and follow the onscreen instructions to make your entry. You will be asked to provide:
• An image of each artwork 
• Artist’s name (exactly as you wish to be known on the works list and labels)
• Contact email address for the artist (please be sure to spell this correctly!) 
• Title of the work 
• Framed dimensions in centimetres 
• Medium 
• Framed and unframed price for each print (latter only if applicable) 
• re. Pricing - Remember to take into account 
• framing and transport costs, 
• Bankside Gallery’s commission of 45% should the work sell. 
• If you are registered for VAT, please also include this in your price. 
• No changes to your price(s) will be possible after the competition deadline so please ensure they are correct. 
• Unframed price for each print (only if applicable ie. Do not fill in this field if further prints in the edition are not available or if it is a monoprint / monotype) 
• Availability of further unframed prints in the edition (if applicable)
• When submitting student work online, please also 
• scan your student ID and 
• email a copy to info@re-printmakers.com. 
• Any works found to be falsely submitted as student work will not be hung. 
• Pay the non-refundable entry fee using the secure online payment service. 
• Make sure you click the blue ‘Submit entries’ button. 
• Your entry is not complete until you complete this step. 
• Acknowledgement of your entry and payment will be sent to you

You won't be able to access your entry after the deadline has passed do be sure to make a record of the complete entry (I always print off the entry and then also save it as a pdf file in the folder for the competition on my computer)

Incomplete entries or those made without payment received by the competition deadline, will not be shown to the judges. If you encounter difficulties, you can get in touch at info@re-printmakers.com.

Works from the International Original Print Exhibition 2022

Important Dates

Call for Entries

• Monday 6 March, 12 midday | Competition opens for entries
• Monday 3 July, 11.59 PM | Entry deadline
• Thursday 27 July by 6pm | Results posted on www.re-printmakers.com/competitions and successful artists contacted via email

Delivery

• Friday 15 or Saturday 16 September, 11am-5pm | Delivery of successful entries to 23 Blue Anchor Lane, SE16 3UL

Exhibition

• Wednesday 20 September 6-8pm | Private View & Prizegiving
• Thursday 21 September – Sunday 1 October, 11am-6pm daily | Exhibition of successful entries at Bankside Gallery
• Sunday 1 October, 6 – 8pm, or Monday 2 October 11am – 6pm from Bankside Gallery | Collection of unsold work

Selection & Panel

These digital submissions are assessed by a panel of judges who can select up to a maximum of 3 artworks for any one artist. The judges’ decision is final.

The 2023 Selection Panel comprises:

• Rob Ryan (artist) 
• Dr Mark Golder (collector & academic)
• Sharon Lloyd (co-founder of FACE)
• David Ferry (RE President)
• Michelle Griffiths (RE Vice President)

A list of prints selected for the exhibition will be published on www.reprintmakers.com/competitions by 6pm on Thursday 27 July. 

Artists whose work has been selected will be sent an email confirming arrangements for the exhibition.

Preparing work for delivery and exhibition

There are detailed instructions for those who need to know in the guidelines about presentation, framing, mirror plates, labels and insurance.

Note that poorly presented prints or works that differ significantly from the photograph that was entered will not be accepted. 

Exhibition 

The exhibition of works selected will take place at the Bankside Gallery from 21st September to 1st October 2023.

Works from the International Original Print Exhibition 2022

2nd International Original Print Exhibition (2022)

I went to see the International Original Print Exhibition 2022 at the Bankside Gallery on the South Bank on Tuesday. It finishes on Sunday 2nd October.

I can certainly highly recommend it as a diverse collection of original fine art prints which demonstrate the diversity in different approaches to print-making

The prints also varied between the very colourful and monochrome.

All the works exhibited are the result of an open submission exhibition established by the Royal Society of Painter-Printmakers. The aim of the exhibition is to celebrate the best in all forms of contemporary printmaking.

These include

• aquatint etching
• chine collé
• copperplate engraving
• digital 
• drypoint
• etching
• giclee
• hand stencilled screenprint
• high relief carborundum
• intaglio gravure
• laser engraved woodcut
• linocut
• lithograph
• mezzotint
• mokuhanga (water-based woodblock)
• monotype
• photolithography
• photopolymer etching
• risograph
• screenprint
• silkscreen and woodcut
• soft ground
• solar etching
• stone lithography
• woodcut and stencil
• woodblock

and variations on the above.

It's also an exhibition with a wide variety of sponsors of both the exhibition and/or individual awards.

The overall bias of subject matter is either abstracted or landscape oriented with fewer images of people than you might expect. 

Bankside Gallery reopens - with a new exhibition

The Bankside Gallery - home of the Royal Watercolour Society (RWS) and Royal Society of Painter Printmakers (RE) - has reopened for a new Exhibition and viewings in person - in the gallery.

An exhibition "Summer at the Bankside Gallery" opens today until 27th September 2020.

It comprises artwork - paintings and fine art prints - by members of both the RWS and the RE - although I think the latter has the edge in terms of quantity and quality of content.

While it says on the RE website that the exhibition is full of new work, I'm afraid I recognise a few as works I've seen before and the word "includes" might be more appropriate.

The Bankside Gallery and Exhibition are open daily (during exhibitions) between 11am and 6pm.  There are no indications of visitor controls on the website relating to

• limits on visitor numbers
• the need to pre-book a visit

although I do expect they will need to ask for names and addresses on entry re contact tracing.

However their email says

The safety of our visitors and colleagues is our top priority. We have been working hard to ensure that we can welcome you back to the Gallery safely, so you will notice a few changes and new measures in place on your next visit.

For the record "retail art galleries" come under the Covid-19 government guidance for Working safely during coronavirus (COVID-19) for retail shops and premises and section 2 indicates the type of provisions expected for "Keeping your customers and visitors safe".

There are no announcements as yet around events - and I'm guessing they might be somewhat more problematical.


Given they're three stops on the Tube for me, I may well break my duck (no public transport since March!) and venture forth to view the exhibition at some point - when I feel a bit more confident about safety arrangements. 

PS Today the Mall Galleries has posted that deferred art society exhibitions will be restarting on 1st September. I'll post more about this tomorrow.

Trump increased the trade tariff for Prints by 25%

I had an interesting enquiry on my art business news blog - which struck me as potentially relevant to a lot of people. Or at least those producing prints.....

Here's the question

can I please ask whether you are currently aware of the latest situation regarding the recently imposed 25% US import tax on printed works from the EC, including on lithographs and photographs?

I work with the photographer [name] and we have contacted several sources regarding this, including our own government, and none have been able to confirm whether this tax still applies now that the UK has left the EC.

We would therefore very much appreciate your understanding of the situation.

Bottom line it appears that prints and postcards will now attract 25% import tax when imported into the USA.  Making them 25% more expensive.

I won't go into the whys and wherefores bit it appears that this is a retaliatory trade tariff strike by Trump who is annoyed that the EU subsidised the airbus and undermined the competition from whatever aircraft the US was producing. Which is ironic given that airlines have grounded so many planes recently and many people are completely rethinking the wisdom of air travel in relation to the planet.

Anyway....

I started to look into this and found various articles with some alarming headlines and content

• 'A giant wall': art world feels the pinch of Trump’s 25% import duty on printed works | The Art Newspaper
• New U.S. Tariffs Could Hit Some Prints, Photographs from Germany, United Kingdom | Art News

A decision in a 15-year trade dispute between the United States and the European Union about the manufacturing of airplanes could result in a price hike for American buyers of certain types of photographs and prints.

Starting October 18, the U.S. will impose a 25 percent import duty on all of the following coming in from the U.K. and Germany: printed books, brochures, leaflets, printed matter in single sheets, lithographs on paper or paperboard created in the last 20 years, and pictures, designs, and photographs printed in the last 20 years. Such import costs could potentially be passed along to buyers. (Art News)

Now the trade tariff applies to the EU (as I understand it) but the UK has left the EU - so does it apply to UK prints, photos?

Moreover should it apply to UK prints and photos made in the last 20 years?

I wasn't entirely certain about this - primarily because the website of the US Office of the United States Trade Representative is opaque beyond a joke and how anybody makes any sense of anything is beyond me. Any official publications seem to delight in saying what they mean in plain English as opposed to tortuous legalese (which has its place - but as the only explanation is a complete nonsense!)

However I'm an ex-government bod used to inspecting, auditing and digging around in official documents to work out what's going on and it would appear that there is indeed a very real issue of substance.....

....and maybe a way out!

I'm reproducing below extracts from the documents I finally tracked down. (Thank goodness for press releases! 2019-10-02 U.S. Wins $7.5 Billion Award in Airbus Subsidies Case)

The penalty paragraph relating to lithographs and prints

This identifies very clearly that the UK is in the frame for penalties relating to certain products including various printed items.

extract of Federal Register / Vol. 84, No. 196 / Wednesday, October 9, 2019 / Notices 54249 
OFFICE OF THE UNITED STATES TRADE REPRESENTATIVE
[Docket No. USTR–2019–0003]
Notice of Determination and Action Pursuant to Section 301:
Enforcement of U.S. WTO Rights in Large Civil Aircraft Dispute

Harmonized Tariff Schedule of the United States (2020) Revision 15 re. trade tariff 4911

This is the document which explains the additional penalty being imposed by the US in relation to the enforcement of WTO right relating to the large Civil Aircraft Dispute.

Basically they are seeking a VERY long list of PENALTY trade tariffs to make-up for the damages they have been awarded amounting to $7.5 billion.

The Artist Support Pledge

Matthew Burrows started the Artist Support Pledge on on the 16th March 2020 in response to the COVID19 pandemic. 

In the last two months it has:

• become a global movement of support for artists and makers by other artists, makers and art collectors
• generated 174,804 posts on Instagram (it had generated 175,277 posts by the time I finished this post!)
• collected 41k followers on the Artist Support Pledge Instagram account

How the Artist Support Pledge works

The best ideas are always very simple - as this one is.

View this post on Instagram

This is the HOW TO guide to participate in ARTIST SUPPORT PLEDGE anyone anywhere in the world can take part. 1. post your image/s on your Instagram account 2. If possible use the ARTIST SUPPORT PLEDGE logo and text (swipe to see) by reposting or using a screenshot. You can also cut and paste from my website (see link in bio). 3. give details of the work and price (no more than 200USD, 200GDP, 200 EURO or 20000JPY) 4. ask for anyone interested to DM you 5. add #artistsupportpledge NB: singular - one ‘s’ not two 6. follow the # 7. when you have sold $1000 worth of work fulfil the pledge and spend $200 on another artist/s work. 8. If in doubt do it in a spirit of generosity, that's all that matters A creative generosity creates a generous creativity 9. Stay connected for more opportunities by following @artistsupportpledge NB/ we DO NOT select work to be seen. You may not see your own work as there are so many images but others are seeing them. Text for posting below: Due to the COVID-19 pandemic, many artists around the world have found themselves without work, teaching, technical support, gallery work, exhibitions and sales have disappeared. In an attempt to help alleviate some of this stress @matthewburrowsstudio has instigated the #artistsupportpledge The concept is a simple one. You post images of your work to sell for no more than $200 (£200, €200, ¥20000) each (not including shipping.) Anyone can then buy the work. Every time you reach $1000 of sales you pledge to buy another artist's work for $200. So make a pledge and post your work with the #artistsupportpledge and follow the #. keep updated on news and further opportunities @artistsupportpledge Repost and tell your friends, colleagues and collectors. Stay well and live generously. #supportartists #covid19 #coronavirus #livegenerously #artistsupportpledge

A post shared by Artist Support Pledge (@artistsupportpledge) on May 1, 2020 at 12:53am PDT

This is how the Artist Support Pledge works in terms of raising money for artists:

• First of all you need to post an ARTIST SUPPORT PLEDGE logo and text to 
• explain how the system works and 
• alert people to the fact you are participating 
• (The Instagram post above provides the detailed explanation) 

Due to the COVID-19 pandemic, many artists around the world have found themselves without work, teaching, technical support, gallery work, exhibitions and sales have disappeared. In an attempt to help alleviate some of this stress @matthewburrowsstudio has instigated the #artistsupportpledgeThe concept is a simple one. You post images of your work to sell for no more than $200 (£200, €200, ¥20000) each (not including shipping.) Anyone can then buy the work. Every time you reach $1000 of sales you pledge to buy another artist's work for $200.

• Artists post an image of their work, on their Instagram account which they are willing to sell for no more than £200 each (i.e. not including shipping). 
• Make sure you include 
• details of the work (eg media / size / original / print etc) and 
• price (no more than 200USD, 200GDP, 200 EURO or 20000JPY)
• you can price for less than £200
• Add #artistsupportpledge  (NB: singular - one ‘s’ not two i.e. artist+support+pledge)
• Follow #artistsupportpledge to see the work posted by other artists
• Anyone can buy the work. 
• Ask for anyone interested to DM you
• Fulfil your pledge and buy another artist's work for £200 + delivery when you have made £1,000 in sales  (and, I suggest, have been paid!) i.e. sell £1,000 and net £800 + a new artwork for your collection!)
• Keep updated on new opportunities and announcements @artistsupportpledge 

Other hashtags used by those participating are:

• #supportartists 
• #covid19 
• #coronavirus 
• #livegenerously

MY TIPS

• PLEASE DO NOT post art if you're NOT a career artist whose livelihood is currently in jeopardy due to Coronavirus. There's way too much amateur art being posted by people who cannot possibly be paying their household and business bills through the sale of their art. That, to my mind, is just plain selfish and attention-seeking given the intention of this project is to support those self-employed professional artists who have lost their ability to earn their normal income e.g. from sales of exhibited paintings in art galleries and art fairs, teaching art to students and the normal sort of work which many professional artists engage in.

Due to the COVID-19 pandemic, many artists have found themselves without work, teaching, technical support and gallery work. Exhibitions and sales have disappeared. In an attempt to help alleviate some of this stress I have instigated the ARTIST SUPPORT PLEDGE #artistsupportpledge (Matthew Burrows)

• DO NOT be one of the very silly artists who uses the hashtag but doesn't follow the rules
• DO NOT post "tat" and ask £200 - it devalues both the project and the pledge - and it also won't sell! I checked out all the artists I didn't know in the curated list below....
• DO NOT use the #artistsupportpledge UNLESS you are participating properly. It's sadly become one of those generic hashtags which people include willy nilly!
• DO calculate package and shipping costs before you post for different places e.g. UK only - you're likely to get more responses
• DO post work for less than £200. 
• Your artwork does not have to be valued at £200 
• You have the option to sell more artworks for less money. 
• This works particularly well for those selling prints

Who has contributed to the Artist Support Pledge?

Here are some of the artists and artworks which have been posted for the Art Support Pledge
I'm posting good quality artwork by those taking the pledge seriously.

Below I've identified five artists - and will do a curated collection of another five artists next week if you like the idea.

Gareth Reid - who won Portrait Artist of the Year in 2017 and was the portrait painter for Portrait Artist of the Week yesterday (on Facebook Live) was an early contributor. He is selling prints of his drawing.

He also provides an excellent example of how to detail your work on your post.

Wayne Thiebaud working on etchings (video)

Below is a rather good short video about Wayne Thiebaud working on etchings.  The video was made by the Crown Point Press, based in Hawthorne Street in San Francisco. (They have some impressive clients!)

Worth a watch.

This is the link to the exhibition referenced in the video



I've found more good stuff about Thiebaud online but if I stop to process and organise it nothing will get posted!

London Original Print Fair and A Buyer's Guide to Prints

Yesterday I went to the 34th London Original Print Fair at the Royal Academy of Arts. HIGHLY RECOMMENDED for all those who like fine art prints. I've been in previous years and enjoy:

• the fact I can see fine art prints by leading artists past and present
• view a lot of work by people I've never seen before - and I always come away with new 'names of artists to follow'

This is an annual event around about this time of year at the RA - who have got a massive space for the exhibition and a lot of printmakers among their members.

Tickets are £12 (on the website0 and concessions are available.

• Half-price tickets for National Art Pass.
• RA Friends receive free entry.

The fair is on 25-28th April 2019 i.e. started on Thursday and is also on today and tomorrow (10am – 6pm). 

I took "himself" (free entry on my Friends card!) who declared he was very pleasantly surprised - and interested - and would have stayed much longer if he didn't have to go and catch a train for a prior commitment.

I came away with A Buyer's Guide to Prints by Helen Rosslyn (a prints and drawings specialist and a Director and the Organiser of the London Original Print Fair) which was published by the Royal Academy of Arts last September. It's got good explanations of all the various types of prints and technical terms plus useful notes on what to expect from a printmaker, how to frame them and answers to a number of frequently asked questions by actual and potential collectors of fine art prints.

All for £9.99 which makes it affordable as well as useful and accessible!

What does it look like

I've uploaded a bunch of photos to my Facebook Page - see London Original Print Fair 2019 - if you want to see the scale and nature of this art fair for printmakers and fine art print lovers. Below are a few of the pics I took.

Which artists can you see 

The printmaking artists being exhibited by the various stands at the fair include Brueghel, Cranach, Hogarth, Monet, Whistler, Picasso, Matisse, Francis Bacon, Barbara Hepworth, Roy Lichtenstein, Lucien Freud, Louise Bourgeois, Victor Pasmore - and more from the past.

Contemporary artists include: David Hockney, Grayson Perry, Peter Blake, Norman Ackroyd (everywhere!), Chris Orr, Paula Rego, Mick Rooney, David Shrigley, Anita Klein, Adam Dant et al.

Which galleries are exhibiting

This page on their website provide links to the explanations of each stand at the 2019 Fair.

The galleries which impressed me include:

London Original Print Fair at the Royal Academy of Arts until 6th May

I'd completely forgotten that it's the London Original Print Fair at the Royal Academy of Arts this week.

London Print Fair at the Royal Academy of Arts 3-6 May 2018

The 33rd London Original Print Fair started yesterday. The Fair is held in the Main Galleries at the RA (the ones they use for the Summer Exhibition).

This is the Exhibition Guide
There are also several events during the course of the Fair.
So, for example, this is a Printing Demonstration: Hokusai's Great Wave

Printmaking Explained

It's worth noting that Helen Rosslyn a prints and drawings specialist and a Director and the Organiser of the London Original Print Fair is the author of new book called A Buyer's Guide to Prints published by the RA - new edition Sept. 2018
( I wonder why she didn't have it published in time for this Print Fair. )

Here for those who know rather less than they'd like to about original fine art prints (i.e. they're not made using the giclee process) is some information courtesy of their website - in a section called Printmaking explained. There's lots more on the website including some great examples of that particular type of print available at the Fair. plus videos about some of the processes.

If you click the links below you'll see I'm a big fan of dry point and engravings but tend to buy linoprints - and this is mainly because I can't possibly afford the prints I do want to buy!

• Monotype Explained

The image is drawn or painted onto a smooth, non-absorbent surface. Paper is pressed against the image, usually with a printing press, to create a one-off image. Most of the ink is removed during the process, so it cannot be repeated. Therefore, a monotype is always unique.

• Etching Explained

The plate is covered in an acid-resistant layer of wax called an etching ground. The image is then drawn into this surface with an etching needle. The plate is immersed in an acid bath until the acid has bitten into the drawn lines. The ground is removed and the plate is inked and printed as with an engraving.

Here's hoping your view today is on a par with David Hockney RA's 'Rue de Seine' in Paris. It will be one of the many original works by old and modern masters available to buy at @Londonprintfair, 3 - 6 May at the Royal Academy: https://t.co/uqCrCpT7EY pic.twitter.com/yRrC1iWX8J

— Royal Academy (@royalacademy) April 25, 2018

• Drypoint Explained

As in an engraving, the drypoint needle draws the image directly onto the plate. The residue copper is left on the side of the etched lines, which then collects the ink, creating a furry effect called burr.

• Everything you've ever wanted to know about lithography

Lithography is a chemical process based on the fact that water and grease repel each other. Traditionally the design is drawn with a greasy crayon onto a lithographic stone, hence the name, from the Greek ‘lithos’ meaning stone. The stone is dampened with water, which is repelled by the crayon. It is then inked with a grease-based ink, which is repelled by the water and adheres only to the areas covered by the greasy crayon. A sheet of paper is placed on top of it and the two are passed through the press together, so that the design transfers directly onto the paper.

• Everything you've ever wanted to know about screenprint

Screenprint, also known as silkscreen or serigraphy, is a stencil-based printmaking technique in which fabric, originally silk, is stretched across a wooden frame to create a screen. Areas around the image are blocked out as in a stencil and a tool called a squeegee is then used to press ink through the unblocked areas of the screen onto paper. The process is repeated for each different element of the image. Excerpt from Helen Rosslyn's A Buyer's Guide to Prints

• Engraving

The image is engraved directly onto a metal plate, usually made of copper, with a sharp tool called a burin. The plate is inked and wiped clean, before being passed through a printing press.

• Woodcut

Woodcut is a relief printing process in which the areas around the image to be printed are cut away from a wooden block, leaving the image in relief.

All about woodcut from London Original Print Fair on Vimeo.
LOPF goes behind the scenes at Paupers Press to show you how a woodcut is made. Paupers are printing Grayson Perry RA's 'Reclining Artist' published by Paragon in 2017.

• Linocut

Linocut is a relief printmaking process in which the areas around the image to be printed are cut away from a sheet of linoleum, leaving the image on linoleum in relief. The raised areas are then inked and the image transferred onto a second surface, usually paper. Linoleum is a malleable surface that is easier to cut into than wood or metal, allowing artists to create more subtle variations and effects.

‘I find linocut to be rewardingly straightforward and I love
the fact that it is so low tech – especially if printed by hand.’ Eileen Cooper RA quoted in A Buyer's Guide to Prints. Hear Eileen's artist's talk at #LOPF at 12noon Thursday @royalacademy https://t.co/7Sb7bQRfZ7 pic.twitter.com/y1go8ze0BN

— London Print Fair (@Londonprintfair) May 1, 2018

Exhibitors

The Fair hosts 50 of the world's top international specialist dealers, galleries and print publishers.  A number of exhibitors are new this year. Exhibitors include

• Advanced Graphics London
• arts, -tis, f., Germany
• Artchina Ltd
• Aspinwall Editions, New York Emanuel von Baeyer – London Gallery Boisserée Colgone/Germany Brook Gallery Ltd 
• CCA Galleries and Worton Hall Studios Gordon Cooke
• Dreipunkt Edition, Germany
• Durham Press, USA 
• Eames Fine Art Andrew Edmunds Enitharmon Editions Flowers Gallery 
• GBS Fine Art
• Gerrish Fine Art
• Gilden’s Arts Gallery
• Glasgow Print Studio
• Hanga Ten – Contemporary Japanese Prints Peter Harrington Gallery
• Elizabeth Harvey-Lee
• Gwen Hughes Fine Art
• Lyndsey Ingram 
• Bernard Jacobson
• Jealous
• Jennings Fine Art
• Galerie Lelong Editions, Paris Long & Ryle 
• Marlborough Graphics Martinez D., Paris Moritaka, Japan Osborne Samuel Julian Page 
• Paragon
• Paupers Press
• Polígrafa Obra Gràfica, Spain
• Pratt Contemporary | Pratt Editions Rabley Contemporary Gallery
• The Redfern Gallery
• Royal Academy of Arts
• Royal Society of Painter-Printmakers Sarah Sauvin, France
• Karsten Schubert
• Stoney Road Press, Ireland
• TAG Fine Arts
• Greville Worthington
• Zuleika Gallery