GRANTS & AWARDS
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.
Richard Hamilton Acquisition Prize
RICHARD HAMILTON ACQUISITION PRIZE
Through the generosity of Champion & 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, Champion & Partners has chosen to honor 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.
To be eligible for consideration, museums must be primarily devoted to the exhibition of works of art, be open to the public, and be legally organized nonprofits or government entities. Institutions who wish to be considered may make their request in writing to the IFPDA Foundation.
2018: METROPOLITAN MUSEUM OF ART
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.
Edition of 16
2017: KRANNERT ART MUSEUM
Christ Carrying the Cross, 1512
From the set of the Engraved Passion
2016: AMGUEDDFA CYMRU – NATIONAL MUSEUM WALES
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
Woodcut, Signed in Pencil
Impression numbered "31", from an edition of 75
Zehn Holzschnitte - Inhaltsverzeichnis fur die Neumann Mappe, 1919
Danish Alan, 2016
Series of Four Carborundum Reliefs
Edition of 25
Harry the Weatherman, 2016
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.
2015: CINCINNATI ART MUSEUM
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)
Number 48 of 100
Mirror Mirror; Mulatta Seeking Inner Negress II, 2015 (below)
Woodcut with Chine-Collé
30 of 30
2014: PORTLAND ART MUSEUM
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.
2013: THE BRITISH MUSEUM
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)
Linocut on Rice Paper
Edition of 20
A Performance, 1977-1981 (below)
3 Volumes of Offset Lithographs
28 books from the original printings. Colophon signed and numbered from the edition of 46.
2012: PHILADELPHIA MUSEUM OF ART
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
Unique Trial Proof