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The IFPDA Foundation provides various grants and awards throughout the year, benefiting many deserving institutions and organizations. Currently, the foundation offers Foundation Grants, the Book Award, Curatorial Internship grants, the Richard Hamilton Acquisition Prize, and the Jordan Schnitzer Award for Excellence in Printmaking. 



Through the generosity of ChampionScott Partners, the Richard Hamilton Acquisition Prize provides $10,000 for a museum’s acquisition of one or more prints from any period at the IFPDA Fine Art Print Fair. In naming the prize, ChampionScott Partners honors the late Richard Hamilton as a tribute to the artist’s profound influence on their own appreciation of prints and to acknowledge his impact on generations of printmakers. 



Philadelphia Museum of Art

The British Museum

Portland Art Museum (Oregon)

Cincinnati Art Museum

National Museum Wales

Krannert Art Museum

The Metropolitan Museum of Art

Art Museum of West Virginia University


2022:  Ulster Museum, National Museums NI (United Kingdom)


The Ulster Museum (National Museums NI) fine art collection holds a small but important representation of prints. Including around 1500 works, significant areas of the history of print making are demonstrated and have been further uncovered through recent years of research. A major strength of the collection is its ability to demonstrate various shifts and important movements in this mode of artistic production. 





Richard Hamilton

Picasso's meninas, 1973

Hard-ground, soft-ground and stipple etching, open-bite and lift-ground aquatint, engraving, drypoint and burnishing on Rives paper

Courtesy of Cristea Roberts Gallery. 

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Derrick Adams is a multidisciplinary artist based in Brooklyn, New York. He received his BFA from Pratt Institute and his MFA from Columbia University, and he is an alumnus of the Skowhegan School and the Sharpe-Walentas Studio program. He has received multiple notable awards including the Gordon Parks Fellowship Award in 2018 and the Louis Comfort Tiffany Award in 2009; he was also an honored finalist for the William H. Johnson Prize in 2011. Derrick Adams has been exhibiting extensively since 2001, including exhibitions at the Museum of Contemporary Art in Denver, the Museum of Arts and Design in New York, the Studio Museum in Harlem, the Museum of Modern Art in New York, the Walker Art Center in Minneapolis, and more. His work is included in many permanent public and private collections, including the Metropolitan Museum of Art, the Birmingham Museum of Art, the Whitney Museum of American Art, and the Virginia Museum of Fine Arts.

Self Portrait on Float, 2019

Derrick Adams

Woodblock, Gold Leaf, Collage

12 of 50

Side (Beijing) new.jpg

Sculptor, Martin Puryear employs wood, mesh, stone and metal to create forms that resist identification.  His objects and public installations are a marriage of minimalist logic with traditional ways of making. Puryear represented the United States at the Bienal de São Paulo in 1989, where his exhibition won the Grand Prize. Puryear is the recipient of numerous awards, including a John D. and Catherine T. MacArthur Foundation Award, a Louis Comfort Tiffany Grant, and the Skowhegan Medal for Sculpture. Puryear was elected to the American Academy and Institute of Arts and Letters in 2007 and received an honorary doctorate from Yale University in 1994.  His work is included in the permanent collections of the Museum of Modern Art, NY, The Getty Museum, Los Angeles, The Corcoran Gallery of Art, Washington D.C. and the National Gallery of Art, Washington D.C. among others.  He is represented by the Matthew Marks Gallery, NY.

Side (Beijing) 2013

Martin Puryear

Color Aquatint Etching

17 of 40



Gilliam is an important American artist best known for his “Color Field” painting and draped canvases as well as for becoming the first African American artist to represent the United States at the Venice Biennale in 1972.

Phase, 1974

Sam Gilliam


Edition of 16



Christ Carrying the Cross, 1512

Albrecht Dürer


From the set of the Engraved Passion



Schmidt-Rottluff was a German expressionist painter and printmaker and one of the four founders of the artist group Die Brücke. Die Sonne (translated as "The Sun") is the third of a portfolio entitled 'Zehn Holzschnitte' made up of ten woodcuts plus a woodcut Table of Contents that was also included in the acquisition. The portfolio was published by JB Neumann, Berlin, in 1919. This acquisition expands the Museum’s collection in an important new direction as its first print from the German Expressionist movement. The Prize also made possible the Museum’s purchase of two prints from a recent series by Welsh artist Clare Woods, Danish Alan, and Harry the Weatherman.

Die Sonne ("The Sun"), 1914

Karl Schmidt-Rottluff

Woodcut, Signed in Pencil

Impression numbered "31", from an edition of 75


Zehn Holzschnitte - Inhaltsverzeichnis fur die Neumann Mappe, 1919

Karl Schmidt-Rottluff



Danish Alan, 2016

Clare Woods

Series of Four Carborundum Reliefs

Edition of 25


Harry the Weatherman, 2016

Clare Woods

Series of Four Carborundum Reliefs

Edition of 25

Impression numbered "31", from an edition of 75. Signed in pencil. The Table of Contents from the portfolio entitled 'Zehn Holzschnitte' made up of ten woodcuts published in 1919.



Jacob Lawrence seriously took up printmaking in the early 1970s, which reflected his signature painting style—a reductive, figurative modernism wedded to socially concerned subject matter. The subjects of his paintings and color screen prints revolve around African American life and social issues, subjects that reflect the experiences of African Americans including his personal experience. The library reflects the important role of youth learning in African American communities for cultural, social, and economic improvement. Lawrence’s modernist style is characterized by interlocking patterns of simplified shapes and a select palette of flat, pure color. Alison Saar is a Los Angeles, California based sculptor, mixed-media, and installation artist. Her artwork focuses on the African diaspora and black female identity and is influenced by African, Caribbean, and Latin American folk art and spirituality. The Cincinnati Art Museum is actively seeking to reflect its community by actively growing it representation of the talented contributions of African American artists to the visual arts.


The Library, 1978 (above)

Jacob Lawrence

Color Silkscreen

Number 48 of 100

Mirror Mirror; Mulatta Seeking Inner Negress II, 2015 (below)

Alison Saar

Woodcut with Chine-Collé

30 of 30



Ensor completed The Cathedral in 1886, the same year he took up the demanding medium of etching. For Ensor, prints offered a chance of immortality; he wrote, “I want to speak to the men of the future…I want to survive, and I dream of solid copper, of indelible inks, of easy replication, of faithful prints, and I adopt etching as my means of expression.” It was Ensor’s most popular print during his lifetime, and, perhaps, the artists’ own favorite image. force of the etching medium and a landmark work for Belgian printmaking in the late 19th century.

The Cathedral (first plate), 1886

James Ensor (1860-1949)


Edition Unknown - Signed and dated in the plate, upper right. Signed and dated in pencil, lower right. Countersigned in pencil across the verso.



Ida Applebroog’s work is characterized by its pointed commentary on gender politics and often ambiguous power struggles. Her simplified human forms with immediately recognizable bold lines are strongly evident in the linocut American Medical Association I. These themes are also apparent in A Performance, where Applebroog combined elements of mail art, artists’ books and performance art, all of which were becoming popular at the time. Applebroog called each edition of the pictorial books “performances” and in them she reproduced her simple little paintings of enigmatic figures entitled Stagings. She then mailed the books, titled with terse conversational phrases, to curators, friends, acquaintances and other artists all over the world who appreciated, ignored or rejected them. These works were the first by Ida Applebroog to enter the British Museum’s collection.


American Medical Association I, 1985 (above)

Ida Applebroog

Linocut on Rice Paper

Edition of 20

A Performance, 1977-1981 (below)

Ida Applebroog

3 Volumes of Offset Lithographs

28 books from the original printings. Colophon signed and numbered from the edition of 46.



Not Wanting to Say Anything About Marcel was one of Cage’s first visual graphic works and was conceived as a tribute to Marcel Duchamp, with whom he shared a passion for chess. To make compositional decisions in this work, Cage employed the I-Ching, a Chinese text containing a divinatory numerical system with 64 possible outcomes. This trial proof on gray paper documents Cage’s experimentation, offering a unique view into the creative process as the project moved towards completion. It was published in 1969 with Carl Solway and consisted of eight editioned sculptural objects called Plexigrams, and two lithographs.

Not Wanting to Say Anything About Marcel,
Lithograph A, 1969

John Cage


Unique Trial Proof

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