Yesterday Brocket Gallery & Fair organisers were invited to Paint Library London, the London showroom and premier retailer of Paint & Paper Library paint, sponsors and paint suppliers for the Woolwich Contemporary Print Fair in November. 

We went for a 'Colour Consultation' by one of their resident consultants, interior designer Elisabetta, who is working closely with us and her team to create the 'Interiors Concept Room', an area within the fair dedicated to living with prints and curating work within the home. 

Working with some of Paint & Paper Library's rich velvety colours we had so much fun looking at complimentary textures, tones and materials and furniture to create a bold, elegant, luxury aesthetic, transferrable to any space. 

Visit our Interiors Concept Room through 17-20 November at Woolwich Contemporary Print Fair for inspiration on hanging your images, taking the next step to introduce bolder or braver works to your collection, or simply to make a free 1 hour colour consultation appointment for your new home or new transformation. 



Jerome Flinders is a French/British Artist and Architect living and working in London. He has been producing Construction Information for potential new civilisations in the suburbs since his childhood in Paris's 6th arrondissement. He recently worked for artist sculptor Charles Avery where he assisted in the perspectival representation of a fictional society called The Islanders, loosely based on the wet Scottish land of Mull. 

Jerome is paid to spend his time planning immaculate infrastructures for isolated communities living in expansive landscapes. His architecture is designed for people living far enough from the city to organise themselves by eccentric and arbitrary rules. It aims to be better suited to the human physiognomy than Fordian society, and allies itself more closely to the ecstasy of the discobolus and the writings of Homer than economist articles (although that is a good magazine). He currently works for a Central-London architecture practice, he advises an architectural charity (S-T-O-R-E) and was hired to teach architecture students at Central Saint Martin's about drawing systems and concepts of architectural representation. Jerome is a Champion of positive change through the built environment.

WCPF: The Cultural History of Woolwich

As I continue my journey with Woolwich Contemporary Print Fair, I delve into the history of this fascinating corner of London to discover how the its social and cultural past resonates with the regeneration of the area today. 

By Ed Oliver

Woolwich finds itself on the bank of the Thames in the historic royal borough of Greenwich. For centuries its landscape has been dominated by docks, warehouses and factories, providing an incredible platform for cultural development. 

The town has a number of public sculptures: one of Roman origin, several statues and reliefs from the 19th and early 20th century, and a number of modern sculptures. An entrance at Woolwich Arsenal station features a large tiled mural by renowned contemporary artist, Michael Craig Martin. 

Nick Richards, Thames Barrier. Etching (Thames-Side Print Studios)

Nick Richards, Thames Barrier. Etching (Thames-Side Print Studios)

The Royal Dockyard was established by King Henry VIII in the 16th century and meant Woolwich subsequently evolved into a military garrison town. Its gun-wharf was expanded in the seventeenth century into what became the Royal Arsenal, a substantial weapons manufactory. In the 18th century the Royal Regiment of Artillery and the Corps of Royal Engineers were established in Woolwich, with both headquarters in the Arsenal. A Military Academy was set up there to educate prospective officers of these 'scientific' corps. By the 19th century the Royal Artillery had moved from the Arsenal to new barracks on the Common, soon followed by the Royal Military Academy. 

The monumental site comprises of a group of 18th-century buildings: the entrance gate, the Guardhouse and the ‘Clock House’ which housed the Dockyard offices. A pair of nineteenth- century docks remain, on the site of their sixteenth-century predecessors, and the later development of the Dockyard in the early Victorian period is represented in a group of buildings alongside the dockyard chimney, a prominent landmark on Woolwich Church Street. 

Further along the river, by the striking Thames Barrier, further 18th century buildings of the retired Woolwich Dockyard prove this corner of Greenwich Borough is an architectural gem.
Owing to the proliferation and decline of the Woolwich Dockyard, the complex is now one of London's largest concentrations of artists' studios. An untapped creative bed, this site house the Thames-Side Print Studios and Phramed picture framers who will both be exhibiting in November at the Woolwich Contemporary Print Fair.




Yesterday Brocket Director, Lizzie, and Woolwich Print Fair Coordinator, Ed, visited Woolwich Contemporary Print Fair Exhibition Partner, Slaughterhaus Print Studio in Stockwell, London for the inaugural meeting and initial think-tank of PRINT SOUTH.

Brainchild of Slaughterhaus' Michelle Averson, PRINT SOUTH is a new platform connecting anyone to do with printmaking in (to begin with) South London.

Taking inspiration from the International Print Biennale that brings similarly minded people together through the north-east of England, PRINT SOUTH will be a members database of print-makers, studios, galleries, dealers and collectors, working together to host exhibitions and events, educate and inform as well as generate sales - after all this is the market we are all in!

Over multiple coffees and a generous selection of delicious breakfast delicacies, the founding members exchanged ideas and expertise, structuring the manifesto, remit and initial projects for this exciting new initiative.  

With the pending Woolwich Contemporary Print FairPRINT SOUTH is pertinently situated within current contemporary art discussion and will prove an invaluable resource for Printmaking and its associates.

A Day in the Steps of a WCPF Director...

By Lizzie Glendinning, Dir. Brocket Gallery & Woolwich Contemporary Print Fair

The nature of my work means no day is the same. I'm in the project space in central London 2-3 days a week sorting out the exhibition programme and admin or meeting artists,the rest of the time I spend in meetings, studios, writing proposals for the gallery or working on my own curatorial and written work. It's 7 days a week but alwaysworthwhile. 

More recently we have been getting things in place for the inaugural Woolwich Contemporary Print Fair which is set to be the largest solely contemporary print fair in the UK which takes place in an incredible old carriage factory in the Royal Arsenal Riverside, London. 

Soon to be linked by Crossrail to make the area minutes from central London, we are working with the cultural regeneration of the Arsenal to be at the fore of the emerging art scene establishing itself in the abandoned factories and dockyard buildings. While hosting an engaging art fair focussing on the craft, innovation and processes of contemporary original printmaking, we will be providing advice for potential collectors on the benefits of collecting these unique works of art and living with contemporary art. 

We are therefore working with a number of companies and individuals to make this happen. Here I meet a few of them.....


Early morning meeting with Peggy, Berkeley Home's new Events Coordinator for RARE! Haven't met Peggy before and things get off to a great start as she works with our curatorial ideas and fits them within the boundaries and health & safety aspects of this incredible space. We are very lucky that RARE have offered us this building to undertake what we expect to be an annual event! We held an installation over 4 days here in July so we're aware of many of the obstacles we face. Tape measures & a lot of pacing and pointing involved!


Next, a quick hello and catch up with the  Mikaël, the wonderful Frenchman heading up The Guard House, a gorgeous restaurant/bar within in the Arsenal. The Guard House generously provided drinks for the preview of Samuele Sinibaldi's Arc of Knowledge back in July and will be setting up a pop-up cocktail lounge within the fair to look after our guests and introduce their new cocktail menu!

FYI: Not only is Mikaël a great guy to want to work with us again...he's also the Absolute Vodka Espresso Martini International Champion!!! BEST news I heard all year!




Onwards to see our printing partner, Gary, at Diamond Digital in the Royal Arsenal Trading Estate. He's so ahead of the game and talks me through paper choices and layout for the catalogues, postcards, invitations, posters, the works. He produced such great printed literature for our last exhibition in the Arsenal and was so delightful to work with that we were thrilled he wanted to keep the relationship going! 




Throughout history the Thames has been central to much of London's industrial growth. This view from Woolwich outside Thames-Side Print Studio looking up towards the Thames Barrier is reflective of the many majestic and important architectural sites throughout London, and the ongoing development which we can see from the skyline of cranes & the financial powerhouse of Canary Wharf to the left.

Throughout history the Thames has been central to much of London's industrial growth. This view from Woolwich outside Thames-Side Print Studio looking up towards the Thames Barrier is reflective of the many majestic and important architectural sites throughout London, and the ongoing development which we can see from the skyline of cranes & the financial powerhouse of Canary Wharf to the left.


One of our exhibition partners for WCPF, presenting some of their talented studio artists. I was given a very enjoyable tour by Director, Carolyn, taking in the fantastic range of printing facilities they make available to their artists. From etching and lithograph, to screen-printing and woodblock prints, Thames-Side have the most impressive industrial presses, and who could not be inspired by the ongoing activity of that ever-changing river view!!!

We happily sampled the on-site café for lunch - recommended!


A short walk around the corner...

The excitement when next and final Woolwich call of the day took me to meet Phil at Phramed, who brought along Phoebe, his beautiful French Bulldog companion. We spoke a little about the framing, his stand and providing guests of the fair with great prices and a great service...but then mostly stroked the dog & took pictures of her! 

Now... To Covent Garden!!



Private members club and quiet retreat on the boundaries of Soho and Covent Garden. Brocket Gallery will be providing work for their walls next year! Here I was meeting James Elwes, Art Producer and Director of the Whithurst Park Art Fair that we were part of last week. So much fun! Jack, my business partner and coincidentally, my husband, meets us there for the meeting (and to scope the current work on display).

We are meeting to discuss Jamie's involvement as Fundraising Director for the Woolwich Contemporary Print Fair. We are so lucky to have him on board with this, our fourth collaboration in the past 18 months. Whithurst, Woolwich...the World!!

It's 6.30 now and I'm tired. My best pal meets me here for catch-up apéritifs after the guys make an exit. Then I'm off for supper, copious red wine and wholesome board games as my brother-in-law is in town and we're so looking forward to catching up with him! 



WCPF: A Brief History of European Printmaking

My time at the Courtauld established an interest in prints and its ability to transcend social barriers broadening the accessibility of original art for early modern Europeans and beyond. This is the first of a monthly series tracing the history of print through the modern and into the contemporary as we approach the Woolwich Contemporary Print Fair in November.  

by Ed Oliver

William Hogarth's 'Gin Lane' [1751].

William Hogarth's 'Gin Lane' [1751].

You will see more images in a day than the average medieval European would see in their life. This visual saturation has its genesis in the birth of printmaking technology. Prior to the fifteenth century images were sparse and limited to the walls of the wealthy. The turn of the fifteenth century saw the advent of print; these new technologies made the reproduction of a single image thousands of times feasible. From a single matrix of carved wood or metal an image could be infinitely reproduced and dispersed across Europe. When this invention was followed in the mid-fifteenth century by the introduction of movable type, so that the first printed books could be produced, the possibilities for the spread of knowledge and ideas expanded in an unprecedented manner. Woodcuts, engravings, and etchings also publicised the inventions of painters, spread knowledge of new styles, and facilitated stylistic comparisons. While many of the techniques necessary to produce prints were known before the fifteenth century, it was the widespread availability of paper that made printmaking feasible. The first paper mills in Germany and Italy had opened by the 1390s, around the same time that the first woodcuts were produced. Prints provided a means of mass-production, planting the seed of social mobility within European society and shaping the modern world we inhabit.

This experimentation had a decisive impact on the history of art. The Renaissance revival of classical antiquity was fuelled by prints that spread knowledge of ancient Roman buildings and sculpture throughout Europe. Prints not only provided a new outlet for artists to explore their own interests, whether in classical antiquity, tales of magic and witchcraft, landscape, everyday life, or fantastic visions; they allowed the newly evolved middle classes to own works of art themselves. This granted cultural gravity outside of the elite sphere and began the development of art markets throughout the Enlightenment. From Holbein’s biting satire to Rembrandt’s harrowing portraits of Europe’s destitute, prints enabled the masses of Europe to engage critically not only with art but with their own cultures.

The synthesis of art and cultural dichotomies brought about by the print continued to develop and evolve as European global wealth expanded up until the modern day. Brocket Gallery would like to invite you to witness the culmination of the historic genre at Britain’s biggest solely contemporary print fair. The Woolwich Contemporary Print Fair is our exciting new venture where we, with you, look forward to further exploring this fascinating medium and its legacy. 


Woolwich Contemporary Print Fair

Building 10, Major Draper Street, Royal Arsenal Riverside, Woolwich, SE18 6GD

17 - 20 November 2016