This book delves into a substantial, largely unpublished, corpus of sketches of Malta by the artists Julian Trevelyan and Mary Fedden, particularly their interpretation of the Maltese landscape during the period from 1958, the year of their first visit to Malta and Gozo, to 1979. During this time, these two artists visited Malta no less than six times, in 1958, 1963, 1968, 1970, 1976 and 1979, whilst Mary Fedden would visit again in 2002. The study looks at the immediate impact that Malta had on these two artists, at what Maltese subject matter aroused their interest, and whether such an interest was towards specific buildings or locations or whether their interest was mainly in capturing the sense of time and place of the islands, without necessarily referring to specific locations. It was the aim of this study to establish how and why these two artists came to Malta, their connections in Malta, and the friendships that they developed over the years, both with British residents on the islands, and with local patrons and artists. Perhaps with some nostalgia and regret, the paintings, prints and sketches of Trevelyan and Fedden leave a historical account of Malta as it was then, the decades pre- and post-Independence; landscapes imbued with cultural overtones, which, in the name of progress, have now changed beyond recognition, or lost forever. One can find consolation, at least, in the fact that two sensitive British artists have left for posterity sincere depictions of Malta as seen through their mind’s eye.

Jose Manser tells the story of two remarkable and gifted artists with radically different backgrounds, visions and approaches."

Julian Trevelyan: Picture Language follows the trail of a painter's visual language and motivation. The working life of Julian Trevelyan (1910-88) spanned more than 65 years. In that time he exhibited alongside Picasso, Miró and Dali, was a member of the British Surrealist group, an active participant in the Mass Observation Movement, taught both at Chelsea School of Art and the Royal College of Art, and wrote a number of books. After the Second World War his work was mainly concerned with depicting scenes around his Hammersmith home and the River Thames, where he lived with his wife Mary Fedden, as well as his travels around the world. Philip Trevelyan, Julian's son, takes us on a pictorial journey through Julian's life and presents here his personal view, offering insights from his researches and first-hand knowledge of life in Trevelyan's studio at Durham Wharf in London.

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. 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.

He joined Tom Harrisson's Mass Observation Movement in 1937 and worked for a period in Bolton, recording numerous scenes around the Potteries, an experience which was to have a profound effect on his painting.

Previously published in hardback in 1997, a fact-based story about a cat who tries to find a permanent home with a family who, unfortunately for him, already have a cat. A picture book in the PICTURE PUFFINS series, illustrated in colour by Mary Fedden.

It is a rule that no Trevelyan ever sucks up either to the press, or the chiefs, or the “right people”.The world has given us money enough to enable us to do what we think is right. We thank it for that and ask no more of it, but to be allowed to serve it.' G. M. Trevelyan The Trevelyans are unique in British social and political history: a family that for several generations dedicated themselves to the service and chronicling of their country, from the radical, reforming civil servant Charles Edward Trevelyan to the historian G. M. Trevelyan. Often eccentric, priggish, high-minded and utterly self-regarding, they have nonetheless left their mark on our past. This engaging history dispassionately explores the lives and achievements of this unique family and the part they played in shaping the history of Great Britain.

Mary Fedden (born 1915) is one of Britain's most popular living artists. The focus of this new book 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 is far from being her only preoccupation, as this book shows. Fantasy and imagination have always played a strong part, and this 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-emphasizes 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, Christopher Andreae considers why Mary Fedden has such a popular following, looks at the English quality of her work, and talks about the commercialization 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.