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Richard Hamilton

(British, 1922-2011)

A portrait of the artist by Francis Bacon


Collotype and screenprint printed on smooth white
Edition of 140
Signed, dated, numbered and titled in pencil
Sheet: 32 1/4 x 27 1/8 inches (81.9 x 68.9 cm)

Price on request

Collotype and screenprint printed in colors, a fine, fresh impression of the only known state, the full sheet, printed on smooth white Schoeller Elfenbein-Karton paper, with margins, signed, dated, numbered and titled in pencil by the artist, executed in an edition of 140 (there were also 14 Artist’s Proofs) the collotype (from a Polaroid photograph of Richard Hamilton by Francis Bacon) printed by the artist and Heinz Häfner at Eberhard Schreiber, Stuttgart, the screenprining done by the artist and Dieter Dietz at Dietz Offizin, Lengmoos, Bavaria, published by Professional Prints A.G. Zug and Petersburg Press, London, in very fine condition, unframed.


Madrid, Museo Nacional Centro de Arte Reina Sofía, Richard Hamilton, 27 June –
13 October 2014 (another example)

Sakura City, Chiba, Japan, Kawamura Memorial DIC Museum of Art, MADE IN LONDON : Prints by Richard Hamilton, British pioneer of pop art, 02 August – 30 September 2012 (another example)

London, National Portrait Gallery, Richard Hamilton: Portraits of the Artist, 19 December 2011 – 14 May 2012 (another example).

New York. The Metropolitan Museum of Art, Richard Hamilton: Selected Prints from the Collection, 1970–2005, 16 December 2009 – 02 May 2010 (another example).

Salzburg, Museum Der Moderne, A Guest of Honour: From Francis Bacon to Peter Doig, 15 March – 06 July 2008.

Andros, Greece, Basil And Elise Goulandris Foundation Museum Of Contemporary Art, Metamorphosis: British Art of the Sixties, 26 June – 25 September 2005.

New Haven, Connecticut, Yale Center fo.r British Art, Richard Hamilton: Prints and Multiples 1939-2002, 12 February – 24 May 2004

Winterthur, Kunstmuseum Winterthur, Richard Hamilton: Prints and Multiples 1939-2002, 31 August – 24 November 2002.

Hildesheim, Germany, Roemer-Und Pelizaeue Museum, Out of Print, 15 March – 15 June 2001.

Bytom, Poland, Muzeum Gornoslaskie, Out of Print, 18 November 1999 – 15 June 2001.

Provo, Museum Of Art Brigham Young University, Out of Print, 01 September – 21 November 1997.

Bilbao, Spain, Museo De Bellas Artes De Bilbao, Out of Print, 02 May – 30 June 1996.

Gravelines, France, Musee Du Dessin Et D’estample Originale, Out of Print, 12 June – 30 September 1994.


Lullin, Etienne. Richard Hamilton: Prints and Multiples 1939-2002, Kunstmuseum Winterthur/Richter Verlag Dusseldorf, pp.104-105, no.78 (another example).


Museum of Modern Art, New York
Metropolitan Museum of Art, New York
The Brooklyn Museum, New York
The Art Institute of Chicago, Chicago
National Gallery of Art, Washington, DC
RISD Museum, Rhode Island School of Design, Providence
The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York
The Tate Gallery, London
National Galleries of Scotland, Edinburgh
The National Portrait Gallery, London
Victoria & Albert Museum, London
British Arts Council, London
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne, Australia
Stedelijk Museum, Amsterdam
Van Abbe Museum, Eindhoven, The Netherlands
Neue Berliner Kunstverein, Berlin
Kawamura Memorial DIC Museum of Art, Sakura City, Chiba, Japan
MB Art Foundation, Monaco


Richard Hamilton was first introduced to the Polaroid camera on a visit to Roy Lichtenstein’s studio in New York in March of 1968, when Lichtenstein took his picture immediately and handed Hamilton the developing photograph. Fascinated by the possibilities of this spontaneous new medium, Hamilton purchased his own Polaroid Camera and began to ask artist friends to take pictures of him. Over a period of 32 years Hamilton collected 128 portraits, which he published in groups of 32 as a series of books entitled Polaroid Portraits. On July 14, 1969, Hamilton invited Francis Bacon to lunch at Robert Carrier’s London restaurant. Hamilton took his Polaroid with him and asked Bacon to photograph him even though the light was poor and Bacon was, on his own admission, a terrible photographer and also slightly inebriated. What fascinated Hamilton was even in the simple act of pointing the lens and pressing the button, something of the personality and style of the photographer was captured in a mechanical process, as was the case with Bacon’s out of focus photograph. Hamilton then decided to push the Polaroid further, and so had it enlarged and, over eh next few weeks, under Bacon’s tutelage he added a number of painted brushstrokes to different versions, before Bacon himself selected the final version to be made into the present screen print edition.