• We've launched a new website!

    The artist Clive Hicks-Jenkins at his home in Wales


    I hope you are well, I wanted to get in touch to let you know of an exciting new website that we’re launching. From today you'll be able to find the complete series of Sir Gawain and the Green Knight screen prints by Clive Hicks-Jenkins over at its own dedicated website. 

    If you haven’t had a chance to view the prints yet, this is the perfect opportunity to take a look at a series that was inspired by Poet Laureate Simon Armitage’s translation of the medieval poem. 

    "What I particularly respond to in Clive’s works are the way that he has his own vision. These are not simply backcloths or illustrations or visual subtitles to the poem, he's made his own visions of what is in itself a visionary poem." - Simon Armitage

    As well as purchasing the prints themselves you’ll also find written material supporting the work including interviews with Clive and myself, reviews of the exhibitions and updates on future events. You can even sign up to our newsletter and get new articles straight to your inbox. Oh and don't worry, you'll still be able to find all of Clive's work here at the Penfold Press along with all the artists you've come to know and love. 

    To celebrate the sites launch I'm offering 10% off all purchases. Just click the link below and use the promo code GAWAINSWORLD at checkout.

  • Jonny Hannah x2


    To mark the release of Jonny Hannah's new double side screen print I got Monsieur McHulot, one of Jonny's biggest fans, to conduct an interview over a pint. 

    So Jonny, do you still do the drawing?

    My uncles and aunts used to always ask this, like it was some kind of negative affliction, but it was the only thing they knew about me. You could see them thinking ...he’s wasting his time, it’s just a phase...he’ll grow up and get proper job eventually...But no, I’m still doing the drawing. Everyday. Some evenings too. Drawing keeps me sane. It means I don’t go around the streets screaming at people about TOWIE or Love Island... I realise this may make me sound like a terrible snob, but that’s because I am. Cheap shoes are one of the curses of the nation. Alongside plastic burgers and the need to stuff them in, on moulded plastic chairs...enjoy trout once a week...

    Two prints for the price of one?

    Lp’s have two sides. And singles and ten-inchers. So me and the Penfold Press Diagheliv, Danny the Buggster, thought what the hell, let’s do the same for private press publishing The Stooges did for garage punk when they released Now I Wanna be your Dog & 1969 as a double A-side. Only in two colours, with the Penfold Pirate and the Darktown Diva. They go off on a jaunt together, and in the nick of time, return to the page, ready for you to buy....makes perfect sense to me.

    What are driving these days?

    A Raleigh pioneer. Elegant, 21 gears, smooth... It happily gets me down the Lee Lane and back home via the Sombre Ville docks in time for my morning cup of tea. We used to have the Turbo Taxi, as driven by the queen of Darktown, but the good folks at Solent University bought that in good faith and certainly weren’t disappointed. That went from A to B & back again in 26 Darktown seconds. Personally I don’t drive. Public transport is largely for me...apart from when it’s enjoyment is somewhat marred by… the public.

    How long did it take?

    How long is a piece of string? I have a piece of string in Darktown that’s 12.5 cms...but this print was even quicker to draw. Ink, brush, drafting film. Bish, bash, bosh. Mussels, wine, baguette. Don’t hang around is my motto. Just get on with it. Think once, draw once. And if it’s wrong, do it again, til it’s right. Better mugs than smug.

    How much money do you make?

    Enough...sometimes. Other times I’m a bit skint. That’s how we rock and sometimes roll in Darktown. If I’d wanted to be rich I would have become a champion darts player. Step up to the ochee & sing Jocky Wilson Said. But the drawing is so much fun. I have bread, & often butter…job’s a good ‘un.

    Do you take a drink yourself?

    Craft ale. Red Wine. Lager. Muscadet...never whisky these days, despite playing the Alabama Sing on a regular basis...but more cycling is needed and less booze as I approach the late August of my years... and some controlled breathing in between half pints of Big Wave and heavy porters...

  • Kevin and the Blackbird

    Clive Hicks-Jenkins talks about the Seamus Heaney poem Saint Kevin and the Blackbird and how it came to inspire his new screen print.  

    "The relationships that are reported between people and wild animals are never less than interesting, though one might wish that generally mankind did better in terms of responsibility to what is held in trust.

    Saint Kevin and the Blackbird’ is Heaney’s haunting account of the hermit voluntarily rooted to the spot for the time it takes a hen blackbird to weave her nest in the palm of his outstretched hand, lay a clutch of eggs and thereafter incubate, hatch and rear her brood.

    I love Heaney’s poem so much that every time I read it I find new pathways emerge to my expression of it in visual terms. The poem describes an event that while steeped in love and sacrifice, viscerally describes the suffering entailed in the task. I made one painting that put the suffering aspects of Heaney’s poem centre stage, but thereafter my explorations reinvented the legend into something far more domestic, intimate and tender.

    In this new print the Saint looks like any curious young gardener transfixed by the beauty of nature and absorbed in a task he’s willingly undertaken. Flowers bloom behind the hen blackbird standing next to her nest cupped securely in his open palm. A gaze passes between man and bird, and as viewers we are invited to be the witness."

    Clive Hicks-Jenkins


  • In conversation with Emily Sutton part 2


    In the second part of my conversation with Emily Sutton we talk about her new Alphabet print - Q is for Quince and Quail, making screen prints and Emily's influences growing up.

    PP: We’ve just finished working on your latest Alphabet print Q is for Quince and Quail, I thought it might be interesting to talk a little about the process of making a screen print as I know to some it’s a real mystery. Let’s start with an easy one... how long would you say it takes to make a new print?  

    E: Hmm, I work on prints in several stages, but I suppose if I include the research and ideas-gathering, the preparatory studies and the making of the individual layers I must spend between two and four solid weeks on a print. Then you take over, how long would you say we spend printing?

    PP: It varies I guess, but I’d say we spend a week or so proofing the image, getting the colour right and making any changes to the composition, then I usually leave the print with you for a while. I think it’s important to live with the image a little before we finalise it. Once you’re happy I go on to print the full edition. That probably takes another week or so, so it's probably longer than most people would think.

    One thing I'm always asked is if you mapped out the series right at the very beginning? We began in 2010, do you have ideas dating from back then? 

    E: No, the ideas have developed over the years. I look for inspiration in books, exhibitions, films, travel, conversations with friends, being outside, walking around a new city, old shop signage, antiques shops… anywhere really. Just being present in the world. For Q is for Quince and Quail I took inspiration from some old French lithographs I picked up at a car boot sale, particularly with relation to the colour. 

    PP: We have a shared love of Folk and Popular Art, what other influences do you have?   

    E: I am very inspired by folk art of all sorts, in particular the collection of the American Folk Art Museum.  I also love the paintings of Ravilious and Paul Nash, John Piper and Christopher Wood, Ben Shahn and Vuillard. It’s funny but when I was a child, my parents seeing my interest in drawing were always trying to drag me to art galleries but to my shame I was very unenthusiastic.

    PP: Me too, I suppose galleries can be quite intimidating places for a child to visit. Maybe not so much now, I know my children enjoy visiting exhibitions with me. Maybe ‘enjoy’ isn’t quite the right word.

    E: As a child, living in a quiet village meant a lot of time outdoors and a lot of time on my own.  It didn’t feel particularly fun at the time, but in retrospect I feel so lucky to have had so much quiet, unscheduled time as it encouraged me to be creative and find ways of entertaining myself. I had a near-obsessive passion for classic Disney films and particularly remember being blown away by Fantasia.  I also used to do a lot of ‘making’, out of paper, modelling clay and fabric, and got really interested in toy making as a teenager.

    PP: When starting a new print, I know you rough out the composition in a sketchbook, making thumbnail drawings and playing with colour. Are sketchbooks important to your practice?

    E: Yes, I am a religious keeper of sketchbooks.  I use them to figure out stuff and develop initial scribbles of ideas into fully formed sketches.  I can’t think very well in an abstract way and need to write and draw to make sense of what’s in my head.

    PP: It’s fascinating to see the ideas develop over the page as you solve visual puzzles. Those sketches then become the beginnings of the print; from them you structure your thoughts and produce a full composition. That, in turn, guides you when making the separations?  

    E: Yes. I make one separation for each of the colours I’d like to print. Depending on the subject matter I will either stay very true to the pencil drawing when making my stencils or sometimes go off-piste.  With more architectural or structured subject matter, such as P is for Pantomime, I do trace the lines from a full-scale drawing because there is so much detail to fit in that I’d find it near impossible to do more spontaneously.  With the Quince and Quail print however, I enjoyed having more freedom in the organic branches and foliage. I was much more expressive in my mark making. 

    PP: I know you as a very organised, methodical person. In that way, you’re ideally suited to printmaking. Does this follow through into your workday routine?

    E: Definitely. Being a very structured person, most days do have a set pattern.  I get up early and go straight to my desk as I find that having an hour or so’s work under my belt before the day has officially begun bolsters me up and gets me off to a running start. I’ll often have been thinking about it the previous evening, so I’ll already have a plan of what I’ll be doing. During the day I take breaks for breakfast and lunch and make time to get outside for a walk. I find this is particularly important when something isn’t coming easily, even though it’s often the last thing I feel like doing! I’m definitely a morning person, so I try to tackle the more challenging, mentally taxing work earlier in the day and then after lunch concentrate on the more methodical elements. I usually finish around 6/7pm. 

  • Bang the drum! It's the next Penfold Pin.

    Drumming Cat by Emily Sutton

    I'm delighted to share with you the next in our series of Penfold Pins. Drumming Cat continues to explore the toy collection of Emily Sutton and once again comes complete with its a hand-printed presentation card. To find out more click here

  • Working with Yorkshire Sculpture Park

    Bella Vista, screen print by Ed Kluz

    Bella Vista, screen print by Ed Kluz

    Since 2012 I’ve been lucky enough to have collaborated with the excellent team at the Yorkshire Sculpture Park to produce a range of limited edition screen prints. As Retail Programme and Development Manager at YSP Amanda Peach has built a fantastic reputation for innovative exhibitions that also give each of the artists the opportunity to explore design solutions while developing products for the YSP shop. Working with a number of artists who have established their printmaking at the Penfold Press, the exhibitions highlight our overlapping interests and I’m proud of the resulting prints we made together.

    The prints were produced for various exhibitions between 2012 and 2017 and they include work by familiar Penfold Press artists Mark Hearld, Emily Sutton, Angela HardingEd Kluz and Jonny Hannah. Alongside these prints are two well-established artists who were new to the Penfold Press, Angie Lewin and Alice Pattullo.


    Summer Shore, an original print by Angie Lewin.

    Summer Shore, screen print by Angie Lewin

    Angie and her husband Simon have been friends ever since the beginning of my time as a printmaker, firstly through their friendship to Mark Hearld and then as supporters of our work through their hugely successful St Jude’s gallery. Summer Shore, a screen print produced as part of the Editions and Objects exhibition of 2016, was our first print together.


    Of House and Home, original print by Alice Pattullo

    Of House and Home, screen print by Alice Pattullo

    Alice Pattullo is an artist whom I have admired for some time. Since her graduation from Brighton University in 2010, she has gone on to develop a distinctive visual language that incorporates elements of British Folk traditions and superstition. I’d wanted to work with Alice for some time and this project gave us the perfect opportunity to do so. Working with both Alice and Angie was a delight and the resulting prints have a sense of some of the fun we had while making them.

    I’m delighted that all these prints have now been added to the Penfold Press online gallery and I hope you find something you like. Find out more by clicking on any of the links within the artist's names above.

  • In conversation with Emily Sutton



     Toy Bird - The first Penfold Pin designed by Emily Sutton


    In the first of a two-part interview with Emily Sutton, we talk about our new project together - Penfold Pins - and discuss how her approach to printmaking has changed over the years. 

    PP: Hi Em, here it is Toy Bird…our first Penfold Pin. What do you think?

    E: Ahhhh, I love it!!! I wanted it to capture the spirit of a screen print The Toy Parade and it's definitely done that. The card looks great too.

    PP: I’m so pleased with the Pin, it looks fantastic and is a great way to start a new collection. I know that when we first talked about the project, the two of us wanted the card to be a beautiful object in itself, why was that important to you?

    E: I love printed ephemera and I wanted this to be something that people kept as well as the badge. I approached it with the same amount of care as any of my editioned screen prints.

    PP: The card is hand printed in four colours, actually it’s the same red as we used on P is for Pantomime, then the whole thing is finished off with a varnish. I like the fact that we spent more time making the card than we needed to.

    We’ve been working together for nearly ten years now. I remember the first time you visited the studio you brought with you a box of pistachio macarons you’d made specially. What’s happened lately? I see no macarons.

    E: Did I?!! I can’t remember that! I’ll sort something out for my next visit, I promise. I remember that at that point the Penfold Press was in a small outbuilding just outside York. It was great but pretty cold and damp! Maybe the macarons were to distract us from the cold.  I enjoyed the process of collaborating on the creation of a print though, which was quite unlike my usual solitary studio time.

    PP: Looking back, were you excited to get started with screen printing?

    E: Yes, definitely, although it was a little daunting to start working in a new medium. Once I got going, I realised that the process is so rooted in drawing - an area that I’ve always felt most confident in - that I soon got a sense of what was possible. Over time I’ve become more adventurous in both the composition of my prints and in experimenting with different materials and mark making tools.

    PP: Our first print together was The Silver Swan. What do you remember about making it?

    E: The Silver Swan originated as a painting of the swan in the Bowes Museum in Barnard Castle. I painted it as part of my first ever gallery show at Godfrey and Watt in Harrogate. I remember you asked me if I’d like to collaborate on a print and this seemed like the ideal subject matter. Working from an existing painting was a useful way to start as it took some of the planning stages away and enabled me to focus on learning the process of creating separations.

    Emily Sutton's desk and her view out across farmland towards the Yorkshire Wolds


    PP: I love that print; I’ve still got a copy framed on the studio wall. Has your approach to making the separations for your prints changed much over the years?

    E: I don’t think so…although I’m definitely more ambitious with my mark making now. A large proportion of my prints with the Penfold Press are in the Alphabet Series, so I begin by choosing a subject for the relevant letter. I then do a series of small scale roughs to figure out the composition and the key elements I want to include.

    Once I’ve decided on the small scale composition, I then scale it up to full size and make a detailed pencil drawing, as well as a colour study to help me figure out the colour separations. I use a mixture of pens, Chinagraph crayon, Indian Ink and Tusche to make the separations on film. I work with up to 12 colours, so I’ve recently begun using pegs to make sure that the registration stays on track. I like to use a wide variety of media to give a textural interest to the print. Screen printing can result in quite a flat image so by experimenting with a range of tools and materials you can create a much richer, more painterly surface. Because you’re working in layers it’s possible to juxtapose areas of very flat, graphic colour with line and more tonal marks - so I try and make the most of these possibilities.

    P: What advice would you give to someone starting as a printmaker?

    E: Enjoy it, work hard…even if inspiration is lacking, take risks, take opportunities and don’t expect to have it all figured out at the beginning or ever!  Coming from someone with control-freak tendencies the last one was the most valuable and the hardest to take on board.


    Click here to find out more about Emily's printmaking with the Penfold Press.

  • Clare Curtis Featured in The English Garden magazine

    To mark the release of a new Clare Curtis screen print here's look back at last October's issue of The English Garden magazine and a feature on Clare and her new screen print for the Penfold Press.

  • Win a unique print by Emily Sutton

    Here's your opportunity to win a one of a kind black and white version of Emily Sutton's latest print. The lucky winner will be able to hand finish the print themselves to create a truly unique P is for Pantomime. Read more...

  • Read all about it! Clive Hicks-Jenkins and the Penfold Press!

    We were delighted that Clive Hicks-Jenkins featured on the cover of Printmaking Today. You can read James Russell's article about his collaboration with the Penfold Press and discover a little about the beginnings of this exciting project.

  • Sir Gawain and the Green Knight - Part 2

    Gawain Arrives at Fair Castle, a screen print by Clive Hicks-Jenkins



    For the past two years, Clive Hicks-Jenkins has been making a series of fourteen screen prints based on the medieval poem Sir Gawain and the Green Knight. January will see the second and concluding Gawain themed exhibition at Martin Tinney Gallery, with all 14 prints on show, accompanied by art historian James Russell’s insightful observations on the images. 

    Clive writes: "Each screen print is constructed from many layers of transparent ink, all carefully aligned and overprinted to make the complete image. Initially, I make each layer of the artwork on a transparent sheet of lithographic film. There are up to twelve layers per print, and they're rendered only in black and red as the intended colours don't enter the equation until the printing stage. Once the layers of film for a print have been completed, each is transferred to a micromesh screen by Dan. Inks are mixed according to the sample colours I produce, and the printing begins. No-one really has a clear idea of how anything will look until the image begins to emerge, layer by layer from the printing press. It can feel like magic."

    For more information about the exhibition visit the Martin Tinney Gallery website at or contact the gallery on 029 2064 1411. 

    Clive Hicks-Jenkins and the Penfold Press: Sir Gawain and the Green Knight - Part 2

  • A glimpse inside the studio with Alice Pattullo


    Alice Pattullo visited the studio a month or so ago, to begin work on a new screen print for the Yorkshire Sculpture Park. The edition will be available exclusively from YSP and will be launched at the opening of her show Of House and Home. Having caught a glimpse of Alice’s new work while delivering the finished prints, I can say without a doubt that the show will be worth a visit. Alice’s playful images explore the grounds of the sculpture park while taking the viewer on a journey into the heart of the home.

    Working with Alice was a real pleasure. As part of the promotion for the show, YSP has produced a short trailer that captures Alice and me working in the studio. Through the magic of film, we create the finished print in under a minute, not bad for a slow worker like me.

    I’ve been lucky enough to work with YSP on a number of occasions, going back to Mark Hearld’s successful 2012 show. Since then I’ve gone on to make five exclusive prints for YSP and helped contribute work towards shows including Emily Sutton's, Jonny Hannah's and Angela Harding's. Opportunities like these allow me to work with new artists and add a different dynamic to my studio days. Working on this print was great fun so get yourself along to YSP and check it out.



  • Studio Life on Instagram



    It's always a busy time in the Penfold Press studio but now and then I get the opportunity to take a quick snap. Here are a few photos from my Instagram feed, if you'd like to see more click here. 

    On the wall can be seen the last copy of Emily Sutton's Silver Swan screen print, the first print she made at the Penfold Press, while the drying rack is full of Angela Harding's YSP print Newby Hare. The final photo shows the top of my cluttered studio desk during the proofing of a new Alice Pattullo screen print. 

  • Emily Sutton's latest print is... 'O is for Owl'



    It's not always easy to capture in one small photo some of the subtle layers of colour and variations in mark making that help bring a print to life. So with that in mind here are a few detail's of Emily Sutton's latest screen print O is for Owl. You can find the finished print in our online gallery. 

  • Gawain and the Green Knight at Martin Tinney Gallery

    It's opening night at the Martin Tinney Gallery and your first chance to see the opening six prints in Clive Hicks-Jenkins new series of prints based upon Sir Gawain and the Green Knight.

  • Exciting exhibition of new screen prints by Clive Hicks-Jenkins

    I'm delighted to announce an exhibition of screen prints on the theme of Sir Gawain and the Green Knight at the Martin Tinney Gallery, Cardiff. Find out more...

  • The Green Knight Arrives

    The Green Knight Arrives, a screen print by Clive Hicks-Jenkins


    I recently returned from a quick visit to Wales to meet up with the artist Clive Hicks-Jenkins. The trip marked a year since I was first introduced to Clive by Sarah Parvin and it's a testimony to Clive's good nature and spirit of adventure that we have managed to achieve so much in such a short space of time.

    Having undertaken this journey on more than one occasion since we first met, I feel that I could complete the four hour trip with my eyes closed. However, this would leave me oblivious to the glorious landscape that my journey cuts through. After the hustle and bustle of the studio, I look forward to this drive. As the road meanders its way through the glorious hills and valleys, the landscape does wonders for the spirit.

    On this occasion we met at MoMA Machynlleth in order to see the exhibition 'Romanticism in the Welsh Landscape' curated by Peter Wakelin. The show takes in work from Turner, through Piper and Sutherland to contemporary artist like Ed Kluz and Clive himself. It's a wonderful collection of work with some real gems. My favourites were the delicate yet obsessively worked pen and ink drawing by David Jones and the Samuel Palmer influenced 'Reaper with Mushroom' by John Craxton.  

    While we met Clive also complete the signing of his new print The Green Knight Arrives. The second in a series of fourteen prints based on the poem Sir Gawain and the Green Knight the print marks the Knight's arrival into the halls of Camelot. James Russell, who has written a specially commissioned piece to accompany the release, describes Clive's depiction of the Green Knight as "a modern primitive, whose identity is etched into his skin. Clive looks beyond the poetry to explore the character and cultural implications of Gawain’s nemesis, in an intense portrait of mingled power and vulnerability."

    Having completed the signing of the edition, I collected the prints and headed back to Yorkshire. Unlike the glorious sunshine that graced the morning's journey, the trip back was undertaken in a torrential downpour of biblical proportions. Oh well, you can't have it all.

    The Green Knight Arrives is available now. Click on Clive's name from the main menu and read more of James Russell's specially commissioned text.

    'Romanticism in the Welsh Landscape' can be seen at MoMA Machynlleth until 18th June.

  • Look what's drying on the racks...


    It's a busy time in the studio at the moment. I'm currently proofing the second in a series of fourteen prints by Clive Hicks-Jenkins based upon the poem Sir Gawain and the Green Knight. Depicting the arrival of the Green Knight himself, the print is currently with Clive as he makes amendments to the final proof. In the meantime, Emily Sutton has completed a companion piece to last months Feast screen print. The new image titled Autumn Table is available from today and you can purchase Emily's prints here.



  • Here's what's coming up in 2016


    Feast becomes the first print of 2016 from the Penfold Press in what is set to be an exciting year. Over the next few months, the Penfold Press will be once again collaborating with Emily Sutton to produce two new screen prints, including the continuation of Emily’s Alphabet Series with M is for Magic.

    With Mark Hearld and Angela Harding also visiting the press to discuss new work and Clive Hicks-Jenkins continuing his series based upon Sir Gawain and the Green Knight 2016 looks set to be a busy year. For updates on all our projects and more information on all the prints published by the Penfold Press follow us on Instagram or Twitter.


  • Sir Gawain and the Green Knight



    Christmas is on its way and here at the Penfold Press, I’ve been busy making the first ‘Sir Gawain and the Green Knight’ print with Clive Hicks-Jenkins. ‘Christmas at Camelot’ the first in a fourteen print series based on the epic poem, goes on sale from Friday 12th December. I'm delighted to announce that the print will be released along with a specially commissioned text by James Russell. We are delighted that James will be joining us on our journey and as an introduction, you can read James’s beautiful biography of Clive below.

    'Over the past twenty-five years, Clive Hicks-Jenkins has achieved renown in his native Wales and beyond as a painter of rare and powerful vision. It helps that he came to painting by an unusual route, having enjoyed a successful theatrical career - as actor, director, choreographer and stage designer – before the urge to paint became irresistible. Today his paintings of figures and animals are so striking, at least in part, because of the continual dialogue between design and dance, structure and movement.

    Clive’s complex creative process enhances this effect. If, for example, he is due to paint a horse, he will first draw the animal, then create a cardboard maquette from the drawing, articulating this model in such a way that its head, torso and limbs can be placed in positions impossible for even the most agile horse. Painting from such a maquette gives Clive control over the composition (and the vital balance between positive and negative space), while at the same time adding emotional expression and that feeling of suppressed movement. The resulting tension is less that of a coiled spring as of a spring caught in the moment of uncoiling.

    This dynamism suits Clive’s penchant for narrative painting. In series after series he has explored the interactions of characters famous and obscure, from St George and the dragon to Hervé (a blind Breton monk) and his wolf companion. He takes inspiration from religious stories, Welsh legends, modern drama and medieval verse. The characters of Sir Gawain, his horse Gringolet, the Green Knight and the rest have haunted his imagination for years, but something about the multi-layered intricacy and artifice of the poem suggested printmaking rather than painting. And then, as if on cue, Dan came along with his experience and expertise, and a new creative adventure began.'

    James Russell


  • 10th Anniversary of the Penfold Press



    'Starlings on the Shore' Linocut, Printers Proof, Signed by the artist.

    Image Size: 304 x 205mm


    October brings the 10th anniversary of the opening of Penfold Press and looking back I remember my first studio with a mixture of bemusement and fondness. Situated on the outskirts of York, the small converted pig shed marked the beginning of my career as a publisher and printer. The farm on which it was based was home to a motley crew of artists and craftspeople, all desperately trying hard to keep warm and the chickens out. Cramped and cold it might have been, but it was a great release to establish a base from which to work and finally be able to make work independently. Those working in the nearby studios were supportive and welcoming, offering advice and a friendly ear when needed. We consisted of a sculptor, two painters, a mechanic, an upholsterer, a joiner, a furniture maker and eventually, a dog groomer. 

    The location itself helped give rise to the name of the Press, as I'd heard that a place where lost farm animals were kept was (mistakenly as it happens) called a Penfold. My aim with the studio was to attract "lost" artists or, if not lost, certainly those who couldn't easily find their way into printmaking. The Penfold Press seemed perfect. By the time I realised that a Pinfold was the correct term for the holding pen, the name had already stuck. Ten years and three different studios later, I am still asked why I named my Press after a Danger Mouse character.

    From the very beginning, Mark Hearld has been a constant visitor to the studio. Having graduated from the Royal College of Art in the year previous to me, we had the good fortune of meeting each other while taking up our first teaching roles. The timing of our meeting was perfect. It gave me the opportunity to test out my belief that there was a need for this kind of studio, while Mark was able to explore his love printmaking through a range of different processes. The studio slowly became a place where artists and illustrators, in particular, could develop their ideas in a less pressured environment. Throughout the years since then, we have collaborated to create a series of linocuts, screen prints and patterned papers that celebrate Mark's love of nature, the surrounding countryside and his visual dexterity.

    Alongside this, the Penfold Press has continued to support a group of artists, many with connections to Mark and York, through the publication of new work. Emily Sutton continues to develop her successful ‘Alphabet Series’ with her latest screen print L is for Lemon, while other artists including Ed Kluz, Michael Kirkman, Angela Harding, Kane Cunningham and Jonny Hannah have all produced editions of prints. Lately, I have had the pleasure of working with Clive Hicks-Jenkins and later this month I will once again work with Mark to create a new screen print. I feel lucky to have had the opportunity to work alongside and support an exciting group of artists and it has been a real pleasure watching their careers develop.

    To mark the occasion of the 10th anniversary, I have released from the archive a rare printer's proof of a linocut made with Mark. 'Starlings on the Shore' was originally exhibited in Mark's first solo show at Godfrey and Watt and was later featured within his Work Book published by Merrell in 2012. 

  • Man Slain by a Tiger


    While working with an artist in the studio conversation often flows freely, from discussions based around composition and print techniques, towards more wide-ranging subjects. It’s one of the joys of collaborating with an artist with whom you share a particularly close working relationship. As artist and printmaker work together shaping the print, talk is often a rich mix of ideas and insights into working practice and broader influences.

    It was during one of these studio moments that I was first introduced to the work of Clive Hicks-Jenkins by the artist Ed Kluz. Ed is a great admirer of Clive’s work, and while we were working on one of Ed’s prints, the discussion turned to Clive and the wealth of beautiful paintings he has created. When looking at Clive’s work, the overlaps between the two artists were evident from the start, particularly regarding their influences and shared love for Pollock’s Toy Theatres. I was captivated from that moment and developed my interest, first through his wonderful Artlog, and then later through his Lund Humphries monograph.

    Some years later, and quite unexpectedly, the chance to contact Clive arose through a meeting with Sarah Parvin in her guise as The Curious One. The Curious One has developed a substantial following through Pinterest, where her meticulously curated boards offer a wonderful insight into British Art and beyond. Sarah, who is in the process of developing her Curious One Pinterest site into something exciting, thought that it would be interesting to put Clive and myself in touch. The serendipity of this reflects the way in which some of my best projects have begun, with a chance encounter or mutual friendship leading to a new adventure.

    So it was with a sense of excitement that I set off to Wales to meet Clive at the opening of his ‘Dark Movements’ exhibition.

    I’ll let Clive take up the story:

    “I've long had a wish to make screen-prints, but exhibition schedules keep me pretty much tied down to the studio and my work as a painter, and I've never been able to quarry the time to give the matter the concentration it needed. However, when Dan Bugg and I met up earlier this year to discuss the possibility of working together, there was an immediate rapport between us. In preparation for what will be a long-term project, Dan and I produced a print based on a rather jaunty Staffordshire pottery group titled The Death of Munrow, which itself borrowed from the automaton in the V & A known as Tipu's Tiger. The gruesome event portrayed in the automaton and in the pottery group is based on fact, though rather fancifully reinvented.

    Equipped with drafting-films and an assortment of specialised drawing and painting materials supplied by Dan, I made an image. For a week I drew and painted on the various layers of film held on registration pins to correctly align them, regularly photographing and sending images to Dan for his comments and suggestions. When things became complicated, we spoke on the phone. By these means, the artwork was completed in Wales and dispatched to Yorkshire for transferring to screens ready for printing. The first proofs were returned to me, and a bit of tweaking went on at Penfold before Dan began editioning.”

    And now, a few short weeks later, here it is. Man Slain by a Tiger is the first print by Clive Hicks-Jenkins to be made in collaboration with the Penfold Press. This five colour screen print marks the beginning of an ongoing partnership that will continue later this year with the first print in a series based upon the medieval poem 'Sir Gawain and the Green Knight.'

    Click on Clive's name under the 'Artists' tab to purchase the print.

  • L is for Lemon

    Five weeks in the making, 'L is for Lemon' is Emily's most ambitious print yet. The image demonstrates Emily’s inventive approach to mark making and her mesmerising sense of design through the use of ten hand-drawn stencils. The result is a print that is joyous in its celebration of the lemon and the glorious summer sun. 

    Printed in ten colours and inspired by a lemon tree she was given as a gift by her partner Mark Hearld, Emily's new print dazzles and is a memorable addition to the alphabet series. 

    Follow the link below to purchase the print.

  • Clive Hicks-Jenkins




    I’m delighted to announce the beginning of a new collaboration with the artist Clive Hicks-Jenkins. Over the coming years, Clive and I are to embark on a journey to produce a series of prints based upon one of our favourite poems ‘Sir Gawain and the Green Knight.’ Clive is an artist that I have admired for some time, and so thanks must be paid to Sarah Parvin - aka The Curious One - who managed to put us in touch.

    You can find out more about the project by following the link to Clive’s wonderful Artlog.…/gawain-at-penfold/



  • Roll up, roll up...It's Emily Sutton's Toy Parade


    I'm pleased to present Emily Sutton's new print The Toy Parade. This latest screen print depicts some of the toys from Emily's collection and is printed in four colours on 225gsm Simili Japon. Last month the print made a successful debut in our 'This Way For Fun' exhibition and is now available from the Penfold Press online gallery. For more details click on Emily's name in the Artists menu.

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