American Connection

Conservation and the Natural World

The Article below in Small Farmer’s Journal, Oregon, October 2020 issue, speaks for itself in regard to the conservancy ideals of the Soper family and the ethos also held by the writers and readers of this American Journal.

Scroll down below the Article to read how Americans were captivated in the 1920’s by the engravings of George and Eileen exhibited and sold in the USA through the auspices of the Fine Art Publisher and Exporter H C Dickins (London).

Conservation and the Natural World
Conservation and the Natural World

In 1921, the same year that Eileen, to great acclaim, had two of her etchings selected and hung at The Royal Academy, Eileen had three of her engravings exhibited by The International Society of Printmakers, California. These were sold and more sales followed. In 1922 Eileen was pictured in The New York Times with comment on ‘the rare distinction’ of an artist of her age having etchings selected for hanging at the last two Royal Academy Exhibitions. USA sales for Eileen’s engravings listed by H C Dickins for the month of February 1923 alone record 613 engravings sold.

Conservation and the Natural World

In School I

Conservation and the Natural World


Conservation and the Natural World


The following is an extract from: “Some Thoughts on The Art of Eileen Soper”

 by Haldane Macfall published in the 1920’s by H C Dickins

“Eileen Soper has had the good fortune to escape the mimicry of the dead in art schools, and the even better fortune to possess as father an artist, and that artist an etcher…… she is wholly devoid of the mechanical stuff of art schools; she addresses herself to utter the impression desired quite simply and with a purity of artistic intention thoroughly attuned to the years of innocence – as pure and passionless as, and akin to, the boy’s voice that rises above the harmonies of the choir in the anthem solo of some great cathedral ……”

Throughout her life Eileen kept in touch with America by correspondence and illustration. The Charity, The Soper Collection, has been contacted by Americans who have inherited Eileen’s engravings, wanting to know more about them. Now this contact from Small Farmer’s Journal leads us to bring to public knowledge a hitherto largely unknown facet of the Soper family whose conservation ideals are described so lucidly in Eileen’s wildlife books referenced in the Article above.


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Further donations will be used to expand and enhance the facilities at the Pannett Art Gallery.


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