When, in 1966, Tate Adams opened Crossley Gallery in a lane off Bourke Street, Melbourne, he ioneered the importation of contemporary Japanese prints by masters such as Munakata and Sasajima. These were shown alongside those emerging local artist printmakers including at that time Fred Williams, Roger Kemp, George Baldessin, Bea Maddock and many others. This productive collision of cultures soon established the Crossley Gallery and its associated activities - such as the Crossley Print Workshop - as the hub of activity in this art form. The book contains memoirs of those associated with the Gallery and features prints shown or commissioned by Tate Adams - a leading printmaker himself. It provides first-hand insights into a previously under-examined aspect of the development of contemporary art in Australia. Also comes as a special edition with original wood engraving by Tate Adams, special cloth binding and a slip-case.

This richly detailed and colourfully illustrated book explores via a series of key themes the work of Melbourne artist Andrew Sibley. A self-confessed obsessive with demonic energy his many portraits entered the Archibald Prize and the more recent landscape paintings are also treated in sections in the book.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

Grahame Kings life as an artist began with his mastery of the new art of colour reproduction as a photolithographic colour etcher in Melbourne in the 1930s. At the same time, study at the National Gallery Art School with George Bell assisted his development as a painter. After war service and travels abroad, King returned to Melbourne with his wife, the sculptor Inge King. The two held a number of joint exhibitions of paintings and sculptures in Australia throughout the 1950s and then, from c.1962 Grahame King turned his attention, increasingly, towards the art of lithography becoming a master in this field of printmaking. He has also devoted himself to promoting the art of lithography and printmaking generally through the Print Council of Australia. He is often called Australias patron saint of printmaking. The book examines his seven decades working as an artist in Melbourne and is lavishly illustrated with colour reproductions throughout.

Presents profiles of important contemporary artists in Australia - whether newly arrived, emerging or increasingly recognised. This volume presents 48 artists from all over the country and includes paintings, drawings and scultpure. Two works by each artist are featured in colour, together with a concise biography, artist's comment and full exhibition details.

'Studio' presents an extraordinary anthology of visual and verbal insights into the way paintings are made, and the complex blend of motivation and inspiration that sustains the painter in his or her solitary search for meaning.

This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.

This comprehensive and richly illustrated catalogue focuses on the finest illustrated manuscripts produced in Europe during the great epoch in Flemish illumination. During this aesthetically fertile period – beginning in 1467 with the reign of the Burgundian duke Charles the Bold and ending in 1561 with the death of the artist Simon Bening – the art of book painting was raised to a new level of sophistication. Sharing inspiration with the celebrated panel painters of the time, illuminators achieved astonishing innovations in the handling of color, light, texture, and space, creating a naturalistic style that would dominate tastes throughout Europe for nearly a century. Centering on the notable artists of the period – Simon Marmion, the Vienna Master of Mary of Burgundy, Gerard David, Gerard Horenbout, Bening, and others – the catalogue examines both devotional and secular manuscript illumination within a broad context: the place of illuminators within the visual arts, including artistic exchange between book painters and panel painters; the role of court patronage and the emergence of personal libraries; and the international appeal of the new Flemish illumination style. Contributors to the catalogue include Maryan W. Ainsworth, curator of European paintings at the Metropolitan Museum of Art; independent scholar Catherine Reynolds; and Elizabeth Morrison, assistant curator of manuscripts at the Getty Museum. Illuminating the Renaissance is published in conjunction with an exhibition organized by the Getty Museum, the Royal Academy of Arts, London, and the British Library to be held at the Getty Museum from June 17 to September 7, 2003, and at the Royal Academy of Arts from November 25, 2003 to February 22, 2004.