not seen.

Salter developed this particular work after reading a letter from the Royal Academy archives. The letter that captured Salter’s imagination was written by Gainsborough in Bath around 1770 to his great friend William Jackson, a composer. Gainsborough wrote that he had heard Jackson was unwell and he offers to help. In concluding his letter, he laments that in his haste he has spoilt a fine piece of drawing paper.

"My work is incredibly detailed, obsessive really, and there’s a correlation between the time it takes for me to make works and time it takes people to look at them. There’s a term in Japanese: “your eyes sit”. It means that you stop actively looking – the muscles in your eyes relax, you start seeing things in a much more receptive way because you’re not as active in the way that you’re looking. So that’s what I want people to do."

The RA Editions programme generates valuable revenue for the RA and in particular the RA Schools.​​

Rebecca Salter often utilises traditional Japanese woodblock printmaking techniques to create the subtle, light-filled imagery of her distinctive prints. Although not seen is a laser-cut woodblock print, the artist’s visual language explores similar territory. Salter developed this particular work after reading a letter from Gainsborough which is archived at the Royal Academy. The letter that captured Salter’s imagination was written by Gainsborough in Bath around 1770 to his great friend, William Jackson, a composer. Gainsborough wrote that he had heard Jackson was unwell and he offers to help. In concluding his letter, Gainsborough laments that in his haste he has spoilt a fine piece of drawing paper. This work is signed, numbered and dated on the reverse.

All proceeds from sales of this work go directly to support the non-profit-making areas of the Royal Academy, particularly the RA Schools.