‘Everyone thinks it’s Scotland. But it’s not,” says Marion Hill of Fisherman’s Cove, one of her four prints on show at Oxford’s Cherwell Boathouse where the Oxford Printmakers are staging their second exhibition this summer. Nine members showed there in July; now nine more are there until September 11, again reflecting the quality and range of styles that marks out the group.

Marion’s Fisherman’s Cove is in the US, a little place she visits called Cape Anne, south of Boston. It’s on the brink of obsolescence, she tells me. People go down to the fishermen’s co-operative in the picture to buy lobsters, but it’s all slowly closing down. Just off to the right, out of view, is a derelict canning factory. As it happens, the picture, a piece of social history, captured and turned into a screenprint, is her most successful print ever. Perhaps, she says, because of the quality of the light, which is “uplifting”.

I imagine people can and will fit this picture into their own memories. It has a tranquillity about it, aided by the colour and the flatness of the screenprint (hers has more texture than the typical flat screenprint as Marion paints directly on to the screen). Her feeling for her subject is clear; she loves boats, she says, for their shapes, their architectural lines.

Lines are a strong component in Caroline Tyack’s work – as are colours. Her bold foursome, hung high above the restaurant tables but holding their own, represent perfectly the Ebb & Flow title of the exhibition. For Tidings, a monoprint of two halves, she used the chine collé technique to make wavy tidemarks darker on one side and lighter the other as the tide retreats.

Jane Peart’s Spoilt for Choice also divides into two. It’s an imaginary scene of heron, beak poised above the water, and what lies beneath. Made using two plates, Jane has the two parts of the image interacting, not simply joining at the waterline, so we see a frog jumping in to escape and fish swimming below. This print is part of the Ashmolean Museum’s contemporary print collection. Watery reflections also seem to absorb Christina Taylor Smith, appearing in two prints: Fall inspired by roof reflections in a pool in New York, and Neon Night inspired by the scene from her hotel window on a sleepless night in Shanghai. For the latter, a complex work illustrating the fragility of those neon images dancing on the water – and for Christina, of all that’s happening in China – she used watercolour to fill in the carved lines of the linocut, making each print unique.

All 35 works here deserve mention. Patricia Drew’s ever-enjoyable work includes two of an art student (her young self) crossing on the Portsmouth ferry on her way to college. Observant studies of everyday, I loved the way the student sits there clutching her portfolio, art gear tucked into bag, aware yet unfazed by others’ scrutiny.