London Art Fair

Eileen Cooper RA

In Eileen Cooper’s new series of works on paper, ‘Into the Forest’, figures inhabit a woodland world. Working with pastel and charcoal in a muted tonal range, Cooper fills the frame with smooth-limbed trees and the gentle light of the forest.

As often is the case in Cooper’s work there are suggestions of mythology, childhood stories half-remembered, and art historical references.  Particularly in these new drawings, Cooper interweaves mythical themes of the goddess Diana, protector of nature and the wilderness, with contemporary tales of Julia Butterfly Hill, an American environmental activist, in a style that echoes the sinuous, long-limbed female figures of Lucas Cranach and the condensed imagery of medieval artists.

The Wisdom Tree is a new work on paper and Butterfly, a woodcut. The imagery of a woman in a tree was inspired by Julia Butterfly Hill who lived in a 200-foot-tall, 1,000-year-old California Redwood tree for nearly two years from 1997–99. Not only was the magnificent tree saved, but Butterfly Hill’s actions raised awareness of the plight of ancient forests.

Eileen Cooper RA Catalogue

Image: Eileen Cooper RA, The Wisdom Tree, 2025
Pastel, charcoal and conté on paper, 76 x 56 cm

Lucy Farley

In Lucy Farley’s new print editions, Window to the Woods and September in Denmark, the focus is on a Farley’s memories of the traditional Jutland Farm she grew up on and the nature beyond it. Farley is of Danish heritage. These new works form part of a series focusing on views and surroundings, both real and remembered, from the Danish houses of her childhood. Doors and windows to these landscapes function as physical, conceptual and emotional points in time and memory. Rooms with vistas that have remained unchanged since infancy, create portals in time. The final images intertwine memory and nostalgia with present day observation.

Lucy Farley Catalogue

Image: Lucy Farley, September in Denmark, 2025
Hand-painted photopolymer etching and chine collé on Somerset Paper, Image Size: 41 x 59 cm, Paper Size: 57 x 75 cm, Edition 20

Sarah Gillespie

“The drawing Woodsmoke is unashamedly nostalgic really.  I came across a cottage in the woods and the way the chimney smoke curled through the morning sunshine filled me with a longing for childhood.” (Sarah Gillespie)

Gillespie’s drawing defies our familiar understanding of this medium. The finest web of intricate lines hollow the shadows and bring forth the muted light from the paper.

In I saw the Moon, wandering asleep among the reeds, 2025, the image in Sarah Gillespie’s new large-scale mezzotint is of a small waterfowl almost hidden in the reeds and tree reflections. It was inspired by a freshwater nature reserve near her home and studio in Devon and motivated by her concerns for the rising sea levels that threaten its existence. Gillespie writes “Against the optical grey of backlit Woods, Goat Willows fan out, each of their fine dark lines offering up a last few perfect ovals of bronze. Opposite me the bark of a young sycamore is smooth and umber, the opposing symmetry of her buds as yet un-wrecked by salt and time”.

Only mezzotint can hold such rich tonal beauty. It is a technically challenging 17^th-century printmaking technique where the tonal lights and darks are carved into the roughened copper plate before inking and printing. Here, Gillespie weaves together fine skills with her understanding and voice for the natural world.

Sarah Gillespie Catalogue

Images from top:

Sarah Gillespie, Woodsmoke, 2025
Charcoal on paper, 48 x 48cm

Sarah Gillespie, I saw the Moon, wandering asleep among the reeds, 2025
Mezzotint engraving, 72 x 102cm

Katherine Jones RA

New Painting and prints

We are proud to release for sale these new paintings and prints recently exhibited at Katherine Jones’ public museum exhibition – ‘Fine Ladies and Gentlemen’ at Gainsborough’s House in Suffolk (2025). These paintings and prints allude to flowers and the human conditions or characteristics associated with them (the face of a pansy or the throat of a lily, for example). It is also a nod towards the sitters in Gainsborough’s many society portraits, showing off – as plants do – with finery and accoutrements of status.

Katherine Jones RA Catalogue

Image: Katherine Jones RA
Everybody Saw the Sunshine, 2025
Oil on Canvas
122 x 82 cm

Natasha Michaels

In A Difficult Woman Michaels reinterprets an engraving depicting Heresy through the process of a monotype print. The work is informed by the artist’s interest in how women’s bodies have historically been used to personify ideas considered dangerous, immoral, or disruptive. None more so than the depictions of Heresy as a female form – contrary and difficult!

At the centre of the composition is a hybrid figure: a female body with hooves and a tail, with a dragon’s head and a cow’s head emerging from her shoulders. Entwined with her is another composite creature, combining a male head with the body of a tiger, positioned between her legs. Through the monotype process, the figures begin to press into one another, their boundaries becoming less distinct.

Michaels also reflects on printmaking as a medium through which such images were circulated and repeated, helping to fix a particular idea about women in the visual imagination. By reworking the original engraving through monotype, the image is loosened from its certainty, allowing it to remain open, unstable, and unresolved.

Emma Stibbon RA

This selection of prints and new monotypes record the beauty and precariousness of our planet. Emma Stibbon is an artist whose drawings and prints consider the complexities of extreme environments undergoing transition and change. Often working in collaboration with scientists, Stibbon researches and explores remote locations including the polar regions, volcanic terrains, glaciated sites and coastal environments, driven by her wish to understand how human activity and the forces of nature are shaping our surroundings.

Emily Myers

Vessels representing signature pieces by Emily Myers. Each can be appreciated alone for their individual form or as an installation of multiple pieces.  Made in glazed stoneware, these works are often carved and burnished with an interior glaze of gloss black complimenting their satin surface finish. These new leaning vessels could be seen to mimic the atmosphere of a forest with trees whispering in the spaces between them.

Emily Myers Catalogue

Image: Emily Myers, striped round ball and pair of carved leaning vessels in glazed stoneware