Print Collectors Club

2025 PCC COLLECTION
Click on the images to read about the artist and their work
- Kit Boyd ARE (elected 2024)
  Night in the City, 2025
  reduction linocut, edition of 25
  paper size 30 x 42cm
  image size 20 x 30cm
  £160 unframed
  
  View Detail Page
  Kit Boyd ARE (elected 2024)
  Night in the City, 2025
  reduction linocut, edition of 25
  paper size 30 x 42cm
  image size 20 x 30cm
  £160 unframed
  
  Kit Boyd's art explores how we live alongside nature in our increasingly detached modern world.
  This particular work follows in his series of romanticised London scenes that includes Greenwich Park, Battersea Park and the Thames Barrier. Night in the City is based on Postman's Park where he used to eat his lunch in the 1990s when he worked at a record shop near St Paul's Cathedral. Michael Ayrton's Minotaur sculpture was living there before its move up to the Barbican walkway, adding a certain unsettling mood to the park enclosed by city buildings.
  
  The reduction linocut has 6 colour layers, and is adapted from an ink drawing he made 30 years ago. Each successive colour layer is cut from one piece of linoleum, destroying all that has gone before each time it is printed. The layer order was deep cadmium yellow, pale blue (twice through the press to increase the colour strength), a mid-blue, olive green, cobalt blue and finally black. He uses Ternes Burton pins to keep the registration tight, especially important as he uses his Hunter Penrose etching press to print his linocuts.
  
  Kit Boyd lives in London and works from his studio overlooking the Thames Barrier. He graduated in Visual Art from Aberystwyth University in 1991. He moved into printmaking in 2011, learning various techniques at City Lit and Morley College. Recent commissions include six train station posters for the Darent Valley in Kent, home to his artistic hero Samuel Palmer, and a book jacket for Penguin Random House.
- Janet Brooke RE (elected ARE 1998, RE 2002)
  City Lights
  screenprint, edition of 15
  paper size 42 x 30cm
  image size 34 x 22cm
  £160 unframed
  
  View Detail Page
  Janet Brooke RE (elected ARE 1998, RE 2002)
  City Lights
  screenprint, edition of 15
  paper size 42 x 30cm
  image size 34 x 22cm
  £160 unframed
  
  Janet Brooke uses the urban environment as her inspiration. During her long career, this has taken many forms from the graffitied streets of East London and the towering presence of Canary Wharf to the ever-changing landscape of the City of London with old and new buildings rubbing up against each other. Whatever it is, she tries to portray something of the essence of her subject matter without resorting to cliché.
  
  City Lights, the screenprint she has produced for the Print Collectors Club is an evening view along a busy London street dominated by the Shard, the lighted windows and reflections of the various buildings and the bus contrasted sharply against a darkened sky. It follows in a series of prints she has made of this same iconic building. It started with a photograph which, after some manipulation, was then translated into two photographic stencils for the darker elements of the image which were printed last. To these she added several hand drawn stencils for the other colours with each of these stencils being used several times to produce the subtleties within each colour.
  
  Janet studied printmaking at Birmingham and Brighton Polytechnics and taught printmaking for many years at Newham College of Further Education. She is a member of the Royal Society of Painter-Printmakers and Printmakers Council and exhibits regularly with both of them.
  Her work is held in several collections including Clifford Chance Art Collection, Museum of London, Jiangsu Art Museum, Open University, Royal London Hospital, British Gas and BP Oil.
- Justin Diggle RE (elected ARE 2019, RE 2021)
  Multi-Angled Observation
  etching & aquatint, edition of 25
  paper size 42 x 30cm
  image size 32 x 22cm
  £160 unframed
  
  View Detail Page
  Justin Diggle RE (elected ARE 2019, RE 2021)
  Multi-Angled Observation
  etching & aquatint, edition of 25
  paper size 42 x 30cm
  image size 32 x 22cm
  £160 unframed
  
  Justin Diggle’s area focus is centered around surveillance and the sharing, willingly or not, of information. Lately his imagery has taken the form of imaginary drones, and these might be created as aerial, land based or aquatic machines. Each is related to an area of surveillance, such as facial recognition, gait technology or web tracking etc. and birds, or sometimes dinosaur imagery, is often used as a metaphor for those watching.
  
  Multi-Angled Observation is made from a variety of etching techniques. After an initial design was created a texture of bird feathers was impressed into a surface layer of soft acrylic ink and then etched into a plate. Further line work was then added and etched to create both fine and deep areas of texture. The background utilises an aquatint and painted tusche technique that was etched lightly in to the plate.
  
  Justin Diggle is based in Salt Lake City and teaches Printmaking at the University of Utah (USA). He received his B.A.(Hons) Degree in Fine Art from Bristol Polytechnic, UK, in 1989 and his M.F.A. Degree from Southern Illinois University, USA in 1997.
  Exhibitions include: 5th Yerevan International Print Biennial. Juried. Yerevan, Armenia, The Contemporary Print. Austin TX, USA (2024).6th International Biennial of Cacak, Serbia (2024) and the International Original Print Exhibition, Bankside Gallery. London, UK.
- Fernando Feijoo RE (elected ARE 2005, RE 2012)
  Revolution
  reduction linocut, edition of 30
  paper size 30 x 42cm
  image size 28 x 40cm
  £160 unframed
  
  View Detail Page
  Fernando Feijoo RE (elected ARE 2005, RE 2012)
  Revolution
  reduction linocut, edition of 30
  paper size 30 x 42cm
  image size 28 x 40cm
  £160 unframed
  
  The robot symbolises the dawn of a new era: we move ever closer to a daily collaboration of man and machine. Whether it is machines fighting remote wars or assisting with AI to provide a more streamlined health care service, the machine is increasingly woven into our daily lives. It is important to remember our true identity: the human race and what we stand for. The robot acts as servant to the main hub of knowledge control. But the question is: who is behind the control screen?
  
  The bright vivid colour in this print is nostalgic, and a nod to childhood memories of playing with metal vintage windup toys and surreal war games between characters. This print has been constructed using a jigsaw method of reduction lino cut printing. This means pieces of the lino are cut out, then inked separately in different colours, and put back together again (like a jigsaw) before being printed.
  
  Fernando Feijoo’s work is in many public collections including the Victoria and Albert Museum, British Museum London, Bodleian Library Oxford, Ashmolean Museum Oxford, University of Wales Aberystwyth, Jiangsu Museum of Contemporary Art China, Winchester School Art Library, and many private collections in the UK and abroad. He studied BA Illustration at Kent Institute of Art & Design in the late 1990's and studied MA Printmaking at Winchester School of Art. Feijoo then went on the work at the Curwen Studio as a Master Printmaker working with many artists such as Paula Rego, and David Gentleman, before embarking into art education and running his own private print studio in Cambridge.
- Vanessa Lubach ARE (elected 2024)
  Broken Stems
  linocut, edition of 150
  paper size 42 x 30cm
  image size 26 x 20cm
  £160 unframed
  
  View Detail Page
  Vanessa Lubach ARE (elected 2024)
  Broken Stems
  linocut, edition of 150
  paper size 42 x 30cm
  image size 26 x 20cm
  £160 unframed
  
  Broken Stems is a quiet still life of Dahlia buds in small glass vessels illuminated by a diffuse low light. The work explores the themes of childhood and nurture, sibling friendship, vulnerability and resilience. The opening buds hint at lives yet to be lived, with the precarious potential to flourish, if nurtured. The refracted light and shadows cast across the background do not all emanate from the visible items portrayed in the composition and imply the influence of an additional presence.
  
  Vanessa creates linocuts by printing consecutively from a dozen or so separately carved lino blocks starting with a pale cream, which is only fractionally stronger in hue than the Saunders Waterford watercolour paper on which she prints. This creates a warm foundation on which to build up the subsequent colour layers. The detailed ‘key block’ is printed early in the sequence of layers and she often overprints light upon dark with inks of varying translucence and saturation to build up a richly textured surface. Her technique of overprinting light over dark allows for the creation of very fine lines and creates a finish not dissimilar to oil painting.
  She carves with a small ‘v’ shaped tool and uses linseed oil relief-printing inks. The linocuts are printed on her Harry F Rochat Albion Press.
  
  Vanessa grew up in rural Oxfordshire and studied Art Foundation at Oxford Polytechnic, before studying Illustration at Brighton Polytechnic, graduating in 1990. She moved to Norfolk in 1993 and creates her linocuts in her garden studio in Norwich.
- Rod Nelson ARE (elected 2022)
  Highland Falls
  woodblock, edition of 50
  paper size 42 x 29cm
  image size 34 x 23cm
  £160 unframed
  
  View Detail Page
  Rod Nelson ARE (elected 2022)
  Highland Falls
  woodblock, edition of 50
  paper size 42 x 29cm
  image size 34 x 23cm
  £160 unframed
  
  Rod Nelson specialises in work depicting waterfalls, landscapes and seascapes, and he strives to encapsulate the energy of moving water through the use of parallel flowing lines, a reoccurring element in his work.
  
  Rod works in the medium of woodblock printing. This is an ancient medium but one still with potential for innovation and experiment. Rod is particularly interested in the sense of looseness and freedom which is latent within the medium, which can result from the mark-making of the artist. The essence of the technique is the application of ink to a wooden surface and the subsequent transfer of that ink to a sheet of paper. Marks or lines cut into (and therefore below) the wooden surface will not receive ink.
  
  For many years Rod was a carpenter by trade, and then was inspired to teach himself woodblock printing after by chance seeing an exhibition by the printmaker Shiko Munakata.
  Rod is a short course tutor at West Dean College, near Chichester and at the Royal West of England Academy Drawing School in Bristol, and also teaches in Holland, Germany, and Norway. He co-authored (with Merlyn Chesterman RE) the book ‘Making Woodblock Prints’ published by Crowood Press.
LOOK - LEARN - COLLECT

The Print Collectors Club (PCC) works are an annual selection of prints made specially by six members of the Royal Society of Painter-Printmakers (RE), allowing the public the opportunity to buy a limited edition print at a greatly reduced price.

These prints can be purchased for £160 each. Many of the artists sell their work for considerably more than this and have volunteered to produce a print for the PCC at this price. The works will be on display for one year only at this special price and after this will return to a higher purchase price available from the individual artists.

Original prints are a wonderful way of being able to buy and collect artists’ works. They are made in small limited editions, making them more affordable than unique works. The PCC prints are made at a small scale allowing for detail and intensity in the works.

The works showcase diverse printmaking mediums from linocut to etching. Each artist has written a short statement on their technique or subject matter allowing the viewer to learn and deepen their knowledge of printmaking as a medium.

When you purchase one of the Print Collectors Club prints, you will receive a presentation pack to accompany your print, with information about the work and artist, plus the fascinating history of the PCC.

You also automatically become a Print Collectors Club member for 12 months from your date of purchase. Add to your art collection throughout the year with a 10% discount off all works by RE Members* and purchases in the bookshop at Bankside Gallery.

Founded in the 1920’s by the Royal Society of Painter-Printmakers (RE), the Print Collectors Club aims to promote printmaking and the work of our artists and make printmaking accessible and affordable to all.

READ MORE ABOUT THE HISTORY OF THE PRINT COLLECTORS CLUB HERE

*applies to works from the gallery browsers or works in Society exhibitions. For 12 months from PCC print purchase. No further offers apply

PCC prints can be purchased from Bankside Gallery, open daily 11am-6pm, call us on 020 7928 7521 or email us at sales@banksidegallery.com

Back

Item added to cart

Print Collectors Club

2025 PCC COLLECTION

LOOK - LEARN - COLLECT

Cookie preferences

Item added to cart

Print Collectors Club

2025 PCC COLLECTION

LOOK - LEARN - COLLECT

Cookies on this website