As I have been going through the archives, concentrating on the post-war period, I have come across a number of exhibition invites and catalogues. The variety of styles and forms they come in, made me think how exhibition literature is a reflection of the context in which they are produced.
One of the earliest was from 1949, an invitation to the private view of 'RECENT TAPESTRIES by the Edinburgh Tapestry Company' at the Arts Council Gallery, London. The card is small and modest - perhaps a reflection of the on-going poor financial climate. The card is, however, elegant and printed on high-quality card. The intended recipients included potential clients, who could afford to spend a significant amount on an artist-designed tapestry.
The invitation for an exhibition the following year, this time in Glasgow, is again different. The invite is considerably simplified with no colour print. What I could not deduce from these items was who made the decision regarding final design: weaver, director or gallery staff?