Tom Cartmill – New Print Edition for The London Original Print Fair

Tom Cartmill was winner of the SKETCH 2017, Rabley Print Edition Prize and we are delighted to present his new publication ‘A Fragment’ at the London Original Print fair. This work is the culmination of the project that has enabled him to translate his beautiful drawing into an intaglio print.

Tom Cartmill, A Fragment 2018, Intaglio, 46.5 x 57.5 cm, Edition of 25, £325

The ‘Fragment Series’, with clear connotations of remnants, remains, what has been left, references the fact that by its nature our memories, our understanding of people, places, concepts are far from complete. However much we toil in or understanding, or to master skills, we will not achieve completeness. The nature of working as an artist is necessarily a searching, a piecing together, a process of discovery from uncertain territory. Notions that I find encapsulated in a fragment. I often have in mind TS Eliot’s ‘Four Quartets’ where in East Coker he dwells on the nature of creativity as an endless working towards recovering ‘what has been lost’.

We are offering Tom’s print at a special pre-publication price of £325 before and during the London Original Print Fair. After this it will be £375.

The SKETCH 2017 Rabley Print Edition Prize

Through winning the Rabley Print Editioning Prize, Tom had the opportunity to work with master printmaker AJ Blackhall at the Rabley Print Studio to create a print edition of one of his intricate drawings. Armed with a selection of drawings Tom was guided through the process of creating prints and editioning them, something entirely new to him.

Tom Cartmill talks about his experience

“I was delighted to win the coveted Rabley Editioning Prize for the work in my sketchbooks selected for Sketch 2017 at Rabley Gallery. The main focus in my practice for many years has been drawing, so to gain such recognition from a highly regarded gallery, where drawing takes precedence, I see as an exciting affirmation of my practice.

I have found the process exciting and invigorating. It is exceedingly rare in my studio-based practice, that I collaborate with other people when developing work, so it has been a pleasure to be stretched in a new way: I have been in regular contact and consultation with Meryl Ainslie, the Director of Rabley Gallery and working with Amy-Jane Blackhall, whose reputation as one of the UK’s foremost printmakers is well-known. It has been a real pleasure to work with people who have such expertise.

Technically, I have also been challenged and stretched in new directions, which I have found to be both complimentary and enriching to my work. I have developed an intaglio print for editioning, using processes entirely new to me. It has been immensely satisfying exploring the possibilities provided by new methods of working and learning to use drawing materials that behave in a way unfamiliar to me. I can unhesitatingly say that my practice has been well and truly extended as a result of this project.

The winning of the Rabley Editioning Prize has certainly added so much to my practice and I am very much looking forward to seeing the work displayed at the London Original Print Fair on the Rabley Contemporary Gallery stand. It is also a unique opportunity for me career-wise to have the exposure that will come from the launch of my edition at such a renowned international art fair. I am extremely grateful to Meryl Ainsley for awarding me this prize.”

Tom Cartmill 2017

Tom Cartmill – Statement, Selected Exhibitions, Collections and Publications.

“Over many years, I have spent a great deal of time looking closely at the quality of surface of early renaissance and old master paintings, at the tell-tale marks, scratches, distortions, beyond the merely pictorial, that only come with the passing of time. My work has also been informed by my years spent living in Sicily and Southern Spain, where I developed an interest in the Moorish heritage and a passion for Islamic ceramics.”

Selected Exhibitions: 2018 – Patrons and Donors, Sir John Madejski Gallery, Reading Museum, Reading, UK; Drawn, No Format Gallery, London; 2017 – National Open Art Competition, Bargehouse Oxo Tower Wharf, London; Summer Exhibition, Royal Academy of Arts, London; ArtGemini Prize, Asia House, London; SKETCH 2017, Rabley Drawing Centre, Marlborough; Drawn, Royal West of England Academy, Bristol; 2016 – Summer Exhibition, Royal Academy of Arts, London; Derwent Art Prize, Mall Galleries, London; 164 RWA Open, Royal West of England Academy, Bristol. Selected Collections: Reading Museum, Reading; New College Chapel, Oxford. Selected Prizes/Awards: SKETCH 2017 – Rabley Print Editioning Prize; 1999 Art Bursary, Cherwell District Council, to study print making at Oxford Printmakers Cooperative. Selected publications: International Drawing Annual 12, Manifest Drawing Centre, USA (to be published mid 2018).

will be at STAND 24

LOPF, Royal Academy of Arts
Piccadilly, London W1J 0BD

Thursday 3 May 10am – 9pm
Friday 4 May 10am – 8pm
Saturday 5 May 10am – 6pm
Sunday 6 May 10am – 6pm

more info and booking


Enquire about work by Tom Cartmill and/or visiting the London Original Print Fair –  Email. or Tel. +44(0)1672 511999

View all artists and new publications with Rabley Gallery at the London Original Print Fair 3-6 May 2018 –  Click to View


Rabley Contemporary is a member of the International Fine Print Dealers Association (IFPDA)

Rebecca Salter RA – New Prints for The London Original Print Fair

We are launching a beautiful new Rebecca Salter Japanese woodblock print at the London Original Print Fair. ‘Leste’ is printed on Torinoko paper using 12 blocks and 38 printings, printed with the Sato workshop in Japan.

Rebecca Salter Leste 2018
Japanese woodblock on Torinoko paper.
24 x 24 cm 
Edition of 30

View Rebecca Salter LOPF catalogue

Rebecca Salter and Japanese Woodblock Printing

Rebecca Salter commissioned the famous Sato Woodblock Workshop in Kyoto to produce print editions, She is also an expert in Japanese woodblock printmaking making selected prints, paintings and works on paper in her London Studio

“I have a passion for Japanese art and especially for woodblock prints, a printing technique using, traditionally, Japanese paper, cherry wood and water-based inks.” RS


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Sara Lee – New Prints for The London Original Print Fair

We have a new series of stunning Japanese woodcut prints by Sara Lee to launch at this year’s London Original Print Fair, May 3-6 at the Royal Academy. Only a few days to go!

Sara Lee ‘Transition’ 2018
Japanese Woodcut 43 x 55cm
Edition of 25

Sara Lee ‘Looming’ 2018
Japanese Woodcut 43 x 55cm
Edition of 25

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Eileen Cooper RA – New Prints for The London Original Print Fair

We are delighted to be launching ‘Sweet Chestnut’ by Eileen Cooper, a 4 block, colour linocut in an edition of 35 at the London Original Print Fair 2018.

Sweet Chestnut 2018
Linocut on Japanese paper
Block 30.5 x 20.5cm,
Paper 38 x 26.5cm
Edition of 35
Printed by Blackbird Editions


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Rabley Newsletter Spring 2018

Dear  Friends,

Rabley has a very exciting Spring and summer planned. To keep you up to date in one email I have included exciting news and key dates below – from the Rabley Gallery’s exclusive launch at the London Original Print Fair of new prints by Emma Stibbon RA, Eileen Cooper RA, Rebecca Salter RA, Nana Shiomi, Sara Lee and more! To Special opportunities to meet the artists, courses and culminating with our Summer Picnic in July!

We look forward to seeing you.
With best wishes for a Happy Easter!

Meryl Ainslie
Rabley Gallery



Current Exhibition
to 28 April 2018

‘The Precious Hours’
New prints and works on paper made during the artists’ residency at Rabley Drawing Centre.

‘The Rabley Series’
An exhibition of ceramics made in response to the landscape and environment of Rabley farm.

Opening Times
Thursday, Friday and Saturday, 10am – 4pm
and weekdays by Appointment.


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Amy-Jane Blackhall – Everyone is a Moon

AJB exh card 150dpi

Everyone Is A Moon is an exhibition of new work by artist and printmaker Amy-Jane Blackhall that takes the form of an immersive sculptural installation.

Blackhall’s work emerges from her fascination with the concept of interconnectedness, through the physical and spiritual act of making, particularly the repetitive nature of print.

Underlying structures are central to her imagery; derived from sacred places, she frequently references archetypal symbols, Oriental art and Eastern ideologies. Recurring themes in her work reflect on how the universality has a strong aesthetic appeal transcending space and time, language and culture.

A large lunar abacus takes centre stage. A familiar childhood object used for counting now holds hand blown glass moons positioned to mark the lunar phases of 2017. Casting it’s own shadow and reflection in the mirror moon it exists beyond it’s framework; as the audience orbit the space they can’t help but interact and engage.

Accompanied by a series of prints made from solar plates there is an emphasis on the comfort in the cadence and repetition of ongoing cycles that both anchor and elude us.

Neil Bousfield & Nik Pollard – Coast

NB exh card 150dpi

Coast explores two artists response to the changing British Coastline and surrounding wetlands.

Neil Bousfield’s Home and Place and Walcott woodcut series reflect on notions of temporality, loss, and fragility. The prints begin to map and record the impact of the process of coastal erosion, storms, sea surges and rising sea levels on Walcott as a place. The delicate marks and pallet used act to unravel a narrative that explores a changing landscape and community.

Nik Pollards Wallasea drawings explore the relationship between landscape and nature. In 2015/16 Pollard was invited by the RSPB to help record the Wallasea Island Wild Coast Project though drawing and painting on site. The RSPB reserve in Essex is an ambitious project in which ancient wetland landscape is being recreated using, amongst other things, 4.5 million tonnes of spoil from the London Crossrail. It is part of a plan to combat flooding, the effects of climate change and to replace lost natural habitat. Saltmarsh, mudflats, lagoons and pasture are being established through major earthworks – the biggest conservation and engineering project of its type in Europe.

The energetic drawings are the result of two visits made to the site and reflect Pollards fascination for the contrast between the site under construction and its development as flora and fauna beginning to take hold.