{"title":"Gallery Wall Sets","description":"\u003cp\u003eSpecially curated groups of posters designed to work well together on your wall.\u003c\/p\u003e","products":[{"product_id":"charles-rennie-mackintosh-flower-watercolours-gallery-wall-set-of-3-exhibition-posters","title":"Charles Rennie Mackintosh Flower Watercolours - Gallery Wall Set of 3 Exhibition Posters","description":"\u003cp\u003eThree of Charles Rennie Mackintosh's flower watercolours, 'Butterfly Flower', 'Peonies' and 'Petunias', each presented as a period exhibition poster and sold together as a gallery wall set of three same-size prints.\u003c\/p\u003e\n\u003cp\u003eMackintosh is remembered first as the architect of the Glasgow School of Art and the designer of the Willow Tea Rooms, but painting occupied more and more of his working life after 1910. The flower studies began as pencil and watercolour sketches made on holiday and developed into a sustained body of work: close botanical observation set down with an architect's line, then coloured with flat, controlled washes that owe as much to Japanese prints as to the English watercolour tradition. 'Butterfly Flower', dated Bowling 1912, carries the small cartouche of place, date and initials (his own and Margaret Macdonald Mackintosh's) that he used throughout the series.\u003c\/p\u003e\n\u003cp\u003eSeen together, the three make a case for Mackintosh as a colourist. The warm palette runs from the oranges and pinks of the Butterfly Flower through the deep reds of the Peonies to the purples and whites of the Petunias, and the three sheets share the same balance of exact drawing and decorative flatness. They were chosen for this set because they hang together on a wall, not only because they share an author.\u003c\/p\u003e\n\u003cp\u003eEach poster imagines a different exhibition. The Butterfly Flower is presented as a 1972 show at the Scottish Society of Watercolour Painters in Glasgow, set in a Caslon-style serif; the Peonies as a 1986 exhibition of drawings and watercolours at the National Architecture Institute, Bath, in the lettering Mackintosh used on his own drawings; the Petunias as a show of paintings, drawings and furniture at the Institute of Art Workers, London. The typography on each follows the conventions of its imagined date and venue.\u003c\/p\u003e\n\u003cp\u003eThese are designed posters, not historical reproductions. They have been created as part of Art Poster Archive, a project focused on period-accurate exhibition graphics for artists and movements.\u003c\/p\u003e","brand":"artposterarchive","offers":[{"title":"A3 (11.7 x 16.5 ins)","offer_id":56891891417474,"sku":null,"price":64.0,"currency_code":"GBP","in_stock":true},{"title":"A2 (16.5 x 23.4 ins)","offer_id":56891891450242,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"18 x 24 ins (45 x 60 cm)","offer_id":56891891483010,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"A1 (23.4 x 33.1 ins)","offer_id":56891891515778,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true},{"title":"24 x 36 ins (60 x 90 cm)","offer_id":56891891548546,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/5260\/4323\/files\/mackintosh_warm_v2.png?v=1788626351"},{"product_id":"charles-rennie-mackintosh-walberswick-watercolours-gallery-wall-set-of-3-exhibition-posters","title":"Charles Rennie Mackintosh Walberswick Watercolours - Gallery Wall Set of 3 Exhibition Posters","description":"\u003cp\u003eThree of Charles Rennie Mackintosh's botanical watercolours, 'Winter Rose', 'Walberswick Floral Study (Gilardia)' and 'Japanese Witch Hazel', each presented as a period exhibition poster and sold together as a gallery wall set of three same-size prints.\u003c\/p\u003e\n\u003cp\u003eThe Walberswick studies mark a turning point. In 1914, with architectural commissions drying up in Glasgow, Mackintosh and Margaret Macdonald Mackintosh left for the Suffolk coast, intending a short break that stretched to fifteen months. He drew almost daily: around forty flower studies survive, each identified by its plant name, the place, the year and the initials of both husband and wife in a small ruled cartouche. The drawings are exact enough to name the species and yet composed with the same feeling for line and interval as his furniture and lettering. The Gilardia sheet here is dated Walberswick 1914.\u003c\/p\u003e\n\u003cp\u003eThe three chosen for this set share a cool, spare palette and a great deal of empty paper. The Winter Rose is barely more than a pencil line and a wash of pink; the Witch Hazel throws a few purple and yellow flowers across bare stems; the Gilardia is the most fully worked, with its red and yellow head above blue-green leaves. Hung together, they read as one sustained act of looking.\u003c\/p\u003e\n\u003cp\u003eEach poster imagines a different exhibition of the work. The Winter Rose becomes a 1973 show of drawings and watercolours at the Kunstmuseum Grindelwald, in German, set in a mid-century Swiss sans-serif; the Gilardia is presented as 'Walberswick Watercolours 1914-1915' at the Matsby Memorial Art Gallery in 1959; the Witch Hazel as a 1975 exhibition of watercolours at the Galerie Watelet, Brussels, in French, in the Helvetica of a Belgian gallery announcement of the period.\u003c\/p\u003e\n\u003cp\u003eThese are designed posters, not historical reproductions. They have been created as part of Art Poster Archive, a project focused on period-accurate exhibition graphics for artists and movements.\u003c\/p\u003e","brand":"artposterarchive","offers":[{"title":"A3 (11.7 x 16.5 ins)","offer_id":56891892236674,"sku":null,"price":64.0,"currency_code":"GBP","in_stock":true},{"title":"A2 (16.5 x 23.4 ins)","offer_id":56891892269442,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"18 x 24 ins (45 x 60 cm)","offer_id":56891892302210,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"A1 (23.4 x 33.1 ins)","offer_id":56891892334978,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true},{"title":"24 x 36 ins (60 x 90 cm)","offer_id":56891892367746,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/5260\/4323\/files\/mackintosh-cool.png?v=1788626367"},{"product_id":"the-reading-room-gallery-wall-set-of-3-book-and-library-posters","title":"The Reading Room - Gallery Wall Set of 3 Book and Library Posters","description":"\u003cp\u003eThree mid-century American posters celebrating books and reading, sold together as a gallery wall set of three same-size prints: 'National Library Week' (1961), Bruno Munari's 'Swing Into Books' (Book Week, 1964) and Maurice Sendak's 'Hurray for Books' (Book Week, 1960).\u003c\/p\u003e\n\u003cp\u003eBetween the late 1950s and the mid 1960s, American libraries and publishers ran an unusually confident campaign for reading. National Library Week was launched in 1958 by the American Library Association and the National Book Committee, and each year's poster was commissioned from a working graphic designer; the 1961 edition, 'Wake Up and Read', gives the slogan to a reader with an arrow running straight from the open book to the heart. Children's Book Week, older still, was by then the Children's Book Council's flagship event, and its posters went to the illustrators of the moment.\u003c\/p\u003e\n\u003cp\u003eBruno Munari's 1964 poster is the most graphically inventive of the three. Munari, whose 'Design as Art' appeared in 1966, draws a flamingo in a single flat magenta and hangs a child reading from a swing between its legs. Maurice Sendak's 1960 poster predates 'Where the Wild Things Are' by three years and already has his line: a clown in a checked coat plays the tuba on a tightrope while books fly overhead. The National Library Week poster provides the typographic backbone. Hung as a row, the three read as one campaign, which in spirit they were.\u003c\/p\u003e","brand":"artposterarchive","offers":[{"title":"A3 (11.7 x 16.5 ins)","offer_id":56891893088642,"sku":null,"price":64.0,"currency_code":"GBP","in_stock":true},{"title":"A2 (16.5 x 23.4 ins)","offer_id":56891893121410,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"18 x 24 ins (45 x 60 cm)","offer_id":56891893154178,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"A1 (23.4 x 33.1 ins)","offer_id":56891893186946,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true},{"title":"24 x 36 ins (60 x 90 cm)","offer_id":56891893219714,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/5260\/4323\/files\/reading_room_v2_nice_v2.png?v=1788626382"},{"product_id":"bauhaus-weimar-1923-gallery-wall-set-of-3-exhibition-posters-bayer-kandinsky-moholy-nagy","title":"Bauhaus Weimar 1923 - Gallery Wall Set of 3 Exhibition Posters (Bayer, Kandinsky, Moholy-Nagy)","description":"\u003cp\u003eThree Bauhaus posters sold together as a gallery wall set of three same-size prints: Herbert Bayer's and Wassily Kandinsky's designs for the 1923 Bauhaus exhibition in Weimar, and an exhibition poster for László Moholy-Nagy's photographs of the 1930s.\u003c\/p\u003e\n\u003cp\u003eThe Bauhaus Ausstellung of 1923, announced for July to September and open from 15 August to 30 September, was the school's first public account of itself, mounted under pressure from the Thuringian government to show results. Gropius used it to announce the shift from craft to industry ('Art and Technology: A New Unity'), and the masters and students produced a set of twenty postcards to publicise it, each a small manifesto of the new graphic language. Bayer, still a student, designed his around a blue triangle, black circle and red square, with the date set in the hand-drawn geometric capitals that anticipate his Universal alphabet of 1925. Kandinsky, who had joined the staff the year before, drew a construction of crossing diagonals, a checkered flag and a red arc, lettering 'Bauhaus Ausstellung Weimar' in a loose hand across it.\u003c\/p\u003e\n\u003cp\u003eMoholy-Nagy arrived at the Bauhaus in 1923, the year of the exhibition, and went on to run the preliminary course and the metal workshop. His photographs of the late 1920s and early 1930s, taken from balconies and radio towers looking straight down, turned pavements and shadows into abstract compositions. The third poster presents one of these, a street seen from above with a cyclist and two walkers casting long shadows, as an exhibition of photographic works at Wilson Watson Fine Art, London, in the summer of 1978, set in the tightly condensed sans-serif a Mayfair gallery would have used that decade.\u003c\/p\u003e\n\u003cp\u003eThe three hang together because they share a palette, cream paper with red, blue and black, and a graphic logic of line and geometry that runs from the 1923 postcards to the 1930 photograph without a join. Bayer and Kandinsky give the wall its colour; Moholy-Nagy gives it its depth.\u003c\/p\u003e\n\u003cp\u003eThe Bayer and Kandinsky are reproductions of the 1923 postcards. The Moholy-Nagy is a designed poster, not a historical reproduction, created as part of Art Poster Archive, a project focused on period-accurate exhibition graphics for artists and movements.\u003c\/p\u003e","brand":"artposterarchive","offers":[{"title":"A3 (11.7 x 16.5 ins)","offer_id":56891893744002,"sku":null,"price":64.0,"currency_code":"GBP","in_stock":true},{"title":"A2 (16.5 x 23.4 ins)","offer_id":56891893776770,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"18 x 24 ins (45 x 60 cm)","offer_id":56891893809538,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"A1 (23.4 x 33.1 ins)","offer_id":56891893842306,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true},{"title":"24 x 36 ins (60 x 90 cm)","offer_id":56891893875074,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/5260\/4323\/files\/bauhaus-trio.png?v=1788626397"},{"product_id":"grosvenor-school-linocuts-gallery-wall-set-of-3-exhibition-posters-power-flight-spowers","title":"Grosvenor School Linocuts - Gallery Wall Set of 3 Exhibition Posters (Power, Flight, Spowers)","description":"\u003cp\u003eThree exhibition posters for the linocut artists of the Grosvenor School, sold together as a gallery wall set of three same-size prints: Cyril Power's 'The Eight', Claude Flight's 'Speed' and Ethel Spowers' 'The Giant Stride'.\u003c\/p\u003e\n\u003cp\u003eThe Grosvenor School of Modern Art opened in Pimlico in 1925, and from the following year Claude Flight taught a linocut class there that became the centre of a movement. Flight argued that linoleum, cheap and quick to cut, was the democratic printmaking medium of the machine age, and he pushed his students towards subjects to match: traffic, tube trains, sport, the crowd. 'Speed', which he cut in 1922 before the school existed, is the manifesto print, a red General omnibus swinging round a curve of tall buildings with the whole street bent by its motion.\u003c\/p\u003e\n\u003cp\u003eCyril Power was in his fifties when he joined Flight's class, an architect by training who shared a studio with Sybil Andrews and produced the school's most ambitious prints. 'The Eight' takes a rowing crew and reduces it to a repeated arc of white shirts and orange blades against a violet river, each figure a beat in a rhythm. Ethel Spowers came from Melbourne to study with Flight in 1928 and returned to Australia to work in the same idiom; 'The Giant Stride' (1933) catches children swinging out from a maypole in a wheel of colour, the ground and sky tilting with them.\u003c\/p\u003e\n\u003cp\u003eEach poster imagines a later exhibition of the artist's work, designed to the conventions of its date. Power's is a 1958 show of prints depicting London at Richmond Town Hall, set in a plain municipal sans-serif; Flight's a 1959 exhibition of his London prints at the Talbot Harlheigh Gallery, New Bond Street, in Albertus-style capitals over a Times-style serif; Spowers' a 1983 survey, 'Ethel Spowers and the Grosvenor School of Modern Art', at Wilson Watson Fine Art in Mayfair. Together they hang as a single wall of British modernism at its most exuberant.\u003c\/p\u003e\n\u003cp\u003eThese are designed posters, not historical reproductions. They have been created as part of Art Poster Archive, a project focused on period-accurate exhibition graphics for artists and movements. \u003c\/p\u003e","brand":"artposterarchive","offers":[{"title":"A3 (11.7 x 16.5 ins)","offer_id":56891894301058,"sku":null,"price":64.0,"currency_code":"GBP","in_stock":true},{"title":"A2 (16.5 x 23.4 ins)","offer_id":56891894333826,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"18 x 24 ins (45 x 60 cm)","offer_id":56891894366594,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true},{"title":"A1 (23.4 x 33.1 ins)","offer_id":56891894399362,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true},{"title":"24 x 36 ins (60 x 90 cm)","offer_id":56891894432130,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/5260\/4323\/files\/grosvenor_3.png?v=1788626412"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/5260\/4323\/collections\/bauhaus-trio.png?v=1789048856","url":"https:\/\/artposterarchive.com\/collections\/gallery-wall-sets.oembed","provider":"artposterarchive","version":"1.0","type":"link"}