Mary Fedden (1915-2012) is one of Britain's most popular artists. The focus of this acclaimed book, newly available in paperback in celebration of her life's achievement, is the artist's creative process in various different media - oil, gouache, pencil and collage.While Fedden is often considered almost exclusively a still-life painter, still life was far from being her only preoccupation, as this book shows. Fantasy and imagination always also played a strong part, as is particularly evident in her small gouaches. A quietly surreal, enigmatic streak runs through much of her work.Fedden's collages are a witty and affectionate homage to the work of her husband, Julian Trevelyan. They lived, worked and travelled together from 1949 to 1988. The book re-emphasises her debt to him, but also her independence, even during their early life together when he stimulated her move into Modernism. In an engaging text, which draws on numerous conversations with the artist during her final years, Christopher Andreae considers why Fedden has always had such a popular following, looks at the English quality of her work, and talks about the commercialisation of her art and her attitudes to the art market. Fedden is shown to be an original, serious and prolific artist, a draftsman of unusual sensitivity and prowess, and a colourist of power and subtlety.Profusely illustrated with works from private and public collections, this is a book for Mary Fedden's existing devotees as well as newcomers to her work.

Artist Philip Reeves (b.1931, Cheltenham) has lived and worked in Glasgow since the mid-1950s. Landscape and cityscape underpin his artistic vision, which has explored varying degrees of representation and realism, as well as an ever-evolving abstraction. This long overdue book is the first to survey his entire career, covering his printmaking, watercolour painting, drawing, collage and reliefs. Reeves has brought his own fresh subtlety and distinctiveness to the developing history and expressive potential of abstraction. His printmaking experiments have encompassed both innovative uses of the etching plate and the deployment of found objects. Such work has led to his recognition as an artist of note, particularly in Scotland where he has had many exhibitions. Author Christopher Andreae charts this exhibition history alongside Reeves' impact as a teacher at Glasgow School of Art and as a founding member of print studios in Edinburgh and Glasgow. The breadth of Reeves's work, illustrated extensively here for the first time, may surprise even those who know and like his art. Those who are yet to encounter the oeuvre will find in Philip Reeves a fascinating introduction to a highly inventive artist.