Philip REEVES RSA PPRSW RGI RE (1931-2017)


  • 1931 - Born Cheltenham
  • 1947-49 - Cheltenham School of Art
  • 1951-54 - Royal College of Art, London
  • 1951 - Associate of Royal Society of Painter-Etchers and Engravers, Lecturer, Glasgow School of Art
  • 1959 - Member, Royal Scottish Society of Painters in Watercolour
  • 1963 - Fellow, Royal Society of Painter-Etchers and Engravers
  • 1965 - Member, Society of Scottish Artists
  • 1967 - Founder member, Edinburgh Printmakers
  • 1970 - Head of Printmaking, Glasgow School of Art
  • 1971 - Associate, Royal Scottish Academy
  • 1972 - Founder member, Glasgow Print Studio
  • 1976 - Member, Royal Scottish Academy
  • 1981 - Member, Royal Glasgow Institute of the Fine Arts
  • 1998 - President, Royal Scottish Society of Painters in Watercolour


  • 2001 - Philip Reeves at 70; Hunterian Art Gallery, Glasgow; Talbot Rice Gallery, Edinburgh; I 2 eye two gallery, Edinburgh
  • 2002 - Fine Art Society, London; Peacock Printmakers, Aberdeen
  • 2003 - Bankside Gallery, London
  • 2003 - Scottish Art Club, Edinburgh


  • Aberdeen Art Gallery
  • British Government Art Collection
  • Lillie Art Gallery, Milngavie
  • Contemporary Art Society
  • Dundee Art Gallery
  • Edinburgh University
  • City Art Centre, Edinburgh
  • Fleming Wyfold Art Foundation
  • Glasgow Art Gallery & Museum
  • Hunterian Art Gallery, Glasgow
  • Paisley Art Gallery
  • Paintings in Hospitals, Edinburgh
  • Perth Art Gallery
  • Royal Scottish Academy
  • Scottish National Gallery of Modern Art
  • Stirling University
  • Strathclyde University
  • Victoria and Albert Museum

Selected Works 21


Reeves' work today is the result of a long-developing vision. It is as crucial in its 'rightness' as the engineering of a bridge.

Christopher Andreae, Christian Science Monitor, 1998

The peerless geometric abstraction of Philip Reeves…

Iain Gale, Scotland on Sunday, 1998

He works by a process of reduction, of isolating the essential ingredients of his subject, distilling it down and re-building the image around it. The result is a very subtle sort of art that works very slowly on the brain. They are contemplative images, lingering and very satisfying.

Richard Ingleby, The Independent, 1997

Reeves commands 'open sesame' to new experience. He is more linear than that other magician Howard Hodgkin, creating his effects by more structured orchestration, but the music they make come from the same poetic sources.

Almost oriental in subtlety, mentor for many modern artists.

W. Gordon Smith, Scotland on Sunday, 1993