British architectural and interior designer Ben Pentreath had finally persuaded an English antique map peddler to part with his last copy of a detailed engraving of 18th-century London’s streets. But the triumphant cartophile faced one problem: how to hang the 24 panels that comprised the 13-by-7-foot map.
BLOCK PARTY A map of Georgian London behind British designer Ben Pentreath’s dining table, as shown in his coming book, ‘English Houses’ (Ryland Peters & Small, October).
PHOTO: JAN BALDWINMr. Pentreath turned to a technique designers use on collections of similarly sized art (or large images broken into pieces): Framing each panel identically, he butted them to form a tight grid. This kept the presentation compact and imposed a pleasing geometry over the unruly arch of the Thames. (Antique maps of this size often come ready-made in panels, and Mr. Pentreath doesn’t recommend taking scissors to an image to achieve this look.)
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The grid technique is arguably more surprising when you’re framing individual but related images. This refreshing alternative to salon-style hangings has major impact but captures viewers’ attention more quietly than the "trendy, heroically-sized works" that "consume the viewer as well as the room," explained Manhattan-based designer Jeffrey Bilhuber.
"The individual images draw you in," said another New York designer, Richard Mishaan, "and when you stop looking closely, they become a wallpaper." He hung 12 photos by Massimo Vitali in a client’s dining nook. The shots—from crowded Italian beaches to Alpine resorts—share an overexposed, sun-faded quality that unites the group. Any thread, such as genre or color scheme, can unify botanical prints, 19th-century silhouettes, even vintage wallpaper samples.
New York designer Richard Mishaan hung 12 of Italian artist Massimo Vitali’s photos in a client’s dining nook, as shown in the book, ‘Interior Design Master Class’ (Rizzoli, October).
PHOTO: GEORGE ROSSExplaining why he massed a client’s collection of etchings by German artist Thomas Schütte, Mr. Bilhuber said, "Having them in this grid format creates a dialogue." Dispersing them throughout the house breaks up the narrative, diminishing their impact.
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Thin, equal-sized frames work best. Matting can compensate for slightly different sizes of art. And a second set of eyes will help make sure the arrangement coheres.
Downsizing is completely acceptable. "A 10-by-10 grid of 1-inch-square intaglios," said Mr. Bilhuber, "could be powerful."
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