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Richard Hamilton Acquisition Prize: All Acquisitions
Presented by ChampionScott

2023: RISD Museum

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Wako Shuji, "Fan-tastic," 2012, Edition of 55 from The Tolman Collection of New York

Dindga McCannon, "Sojourner, Harriet, Shirley, and Maya," 2022,

Collagraph with Chine Collé, Unique Edition from EFA Studios

2022: Ulster Museum, National Museums NI (UK)

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Analia Saban, Flowchart (Mountain), 2020, 2-colour etching from Gemini G.E.L. at Joni Moisant Weyl

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Nicole Eisenman, Man Holding His Own Shadow, 2011, Lithograph from Jungle Press Editions 

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Riva Helfond, Hero Returns/ Homecoming, 1939, Lithograph from Susan Teller Gallery


Elizabeth Catlett, Man, 1975/2003, woodcut and screenprint from Dolan/Maxwell

2019: Art Museum of West Virginia University

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Derrick Adams, Self-Portrait on Float (12/50), 2019, woodblock, gold leaf, and collage from Tandem Press

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.

Martin Puryear, Side (Beijing), 2013, Color aquatint etching

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.

2018: Metropolitan Museum of Art


Sam Gilliam, Phase, 1974, Screenprint, Edition of 16

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.

2017: Krannert Art Museum


Albrecht Dürer, Christ Carrying the Cross, 1512, Engraving (from the set of the Engraved Passion)

2016: Amgueddfa Cymru – National Museum Wales


Karl Schmidt-Rottluff, Die Sonne ("The Sun"), 1914, Woodcut, Signed in Pencil, Impression numbered "31" from an edition of 75

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.


Karl Schmidt-Rottluff, Zehn Holzschnitte - Inhaltsverzeichnis fur die Neumann Mappe, 1919, Woodcut
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.


Clare Woods, Danish Alan, 2016, Series of Four Carborundum Reliefs, Edition of 25 from Stoney Road Press

Clare Woods, Harry the Weatherman, 2016, Series of Four Carborundum Reliefs, Edition of 25 from Stoney Road Press

2015: Cincinnati Art Museum

2014: Portland Art Museum


Jacob Lawrence, The Library, 1978, Color Silkscreen, Number 48 of 100

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, Mirror Mirror; Mulatta Seeking Inner Negress II, 2015, Woodcut with Chine-Collé, 30 of 30 


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.


James Ensor (1860-1949), The Cathedral (first plate), 1886, Etching, Edition Unknown - Signed and dated in the plate, upper right. Signed and dated in pencil, lower right. Countersigned in pencil across the verso.

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.

2013: The British Museum


Ida Applebroog, American Medical Association I, 1985, Linocut on Rice Paper, Edition of 20

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.


Ida Applebroog, A Performance, 1977-1981, 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


John Cage, Not Wanting to Say Anything About Marcel, Lithograph A, 1969, Lithograph, Unique Trial Proof

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.

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