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23 Grosvenor School of Modern Art I and cataloguing was by Stephen Coppel who, in 1992- 93, went on to curate Claude Flight and His Followers: the Colour Linocut Movement between the Wars, which toured several public galleries in Australia and New Zealand. Linocuts of the Grosvenor group can now be found in many public collections including those of the British Museum, the Museum of Fine Arts, Boston, the Museum of Modern Art, New York, the Australian National Gallery in Canberra and the Art Gallery of Victoria, the Wolfsonian-Florida International University, Miami; Auckland City Art Gallery and Christchurch Art Gallery Te Puna o Waiwhetu in New Zealand, and many more. From February to June 2008, The Museum of Fine Arts, Boston exhibited Rhythms of Modern Life: British Prints 1914-1939, the first major show of Modernist British prints in the USA. The show was made possible with generous loans from the Leslie & Johanna Garfield Collection, over three-quarters of which were linocuts of the Grosvenor School. The exhibition travelled to The Metropolitan Museum in New York in September-December 2008, and finally on to the Wolfsonian Foundation in November 2009 to February 2010. A whole new audience has been introduced to and inspired by these fine prints for the first time. Here in the UK, Gordon Samuel curated Cutting Edge: Modern British Print Making , at Dulwich Picture Gallery, London, June - September 2019, an exhibition which brought record numbers to the museum, reinforcing the schools enduring popularity. Osborne Samuel gallery and Lund Humphries Publishers have now co-published Cyril Power Linocuts – A Complete Catalogue by Philip Vann in 2008 and in 2015 the second in the series, Sybil Andrews Linocuts – A Complete Catalogue. the need for expensive apparatus which the making of etchings or lithographs demanded. Instead, many of the tools needed could be home-made. A recurring theme in Flight's writing is his social vision of a linocut in every home, affordable to the ordinary working man or woman. However, the reality was somewhat different; typically for sale in a London gallery at around £2-£3, the linocut print was out of reach for the ordinary person. One of the interesting paradoxes of the linocut during the early 1930s, when these vibrant prints were at the height of production and popularity, is that their promotion coincided with catastrophic financial turmoil, the Wall Street Crash of 1929 leading to the Great Depression, yet they remain invigoratingly optimistic works, not at all doom-laden. Their images of the theatre, concerts, sporting events, dancing, fun fairs and circuses exude more the spirit of the Roaring Twenties then the approaching despair and austerity of the 1930s. Over the past fours decades since their rediscovery, some important exhibitions have included Grosvenor School linocuts. Growing interest in this school of artists in the USA was marked by the Rhode Island School of Art and Design's show devoted to Flight and his pupils in the late 1980s. Similarly, the Wolfsonian Foundation in Miami included Grosvenor School prints in displays of its own superb art collection. The Sybil Andrews exhibition at the Glenbow Museum in Calgary in 1982 awakened further interest. In 1999, the CoBra Museum in Amstelveen, Holland included Grosvenor prints in its historical survey show, van Kandinsky tot Corneille. Linoleum in de kunst van de 20ste eeuw (From Kandinsky to Corneille. Linoleum in the art of the 20th century). However, the most important of these exhibitions in establishing the reputations of Claude Flight, Cyril Power, Sybil Andrews and Lill Tschudi internationally was a section in the British Museum's 1990 exhibition, Avant- Garde British Printmaking 1914-1960. This show helped to position these works within the context of the wider history of prints from that period. The contributing essay