Richard Hamilton
Richard Hamilton (1922-2011), born in London, UK, lived and worked in London. Known for his pioneering contributions to the Pop Art movement, Hamilton's work often combined elements of popular culture, consumerism, and mass media, questioning the impact of these forces on modern life. His famous 1956 collage Just what is it that makes today's homes so different, so appealing? is considered one of the earliest and most iconic works of Pop Art, blending imagery from advertisements, comics, and everyday consumer products. Throughout his career, Hamilton experimented with a wide range of media, including painting, printmaking, and installations. His work often addressed the relationship between art, technology, and society, reflecting his keen interest in how mass production and popular culture shape visual experience.
Richard Hamilton Editions
Guggenheim (black)
Kent State
Richard Hamilton
The Annunciation
2005
Inkjet digital print on rag paper, 59.4 x 68 cm (23½ x 26¾ in). Edition of 60, signed and numbered.
Richard Hamilton’s edition The Annunciation (2005) is a direct response to Fra Angelico’s celebrated Annunciation fresco in the Convent of San Marco in Florence. Hamilton transposes the Renaissance subject into a contemporary gallery interior, where a painting of a seated woman speaking on a cordless telephone replaces the sacred encounter between Mary and the Angel Gabriel.
Created through a complex process of digital collage combining photography and painting, the work deliberately blurs the distinction between an actual painting and its photographic representation. The telephone takes the place of the angel as a wry reference to contemporary communication, while the gallery setting replaces Fra Angelico’s monastic architecture. In this interplay between Renaissance imagery, contemporary life and digital media, Hamilton examines the ways in which images are constructed, reproduced and perceived.
Richard Hamilton
Bathroom - fig. 1
1997
Published for documenta X.
Computer-processed Iris giclée print on rag paper, 61 x 56 cm (24 x 22 in). Edition of 50, signed and numbered.
About this edition, which Schellmann Art published for documenta X, Richard Hamilton said: "This print is among my first attempts to directly output an edition from work done on a graphics computer. The image derives from the Seven Rooms paintings now being shown at documenta – stark spaces, which I felt invited habitation. Inspired by a visit to an exhibition of late Degas paintings, I decided for a woman rising from her bath. Bathroom is complex in that a level of geometric abstraction is added to the surface. This is intended to flatten a representation of space so strongly accented that the areas of unbroken color have a hard time in holding their own. The fluidity of blurred photographic texture adds another dimension to the room – a psychological layer emerges into view."
EUR 3,500
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Richard Hamilton
The Orangeman
1990
Five-colour offset lithograph with hand-applied Humbrol enamel on paper, 100 x 70 cm. Edition of 60, signed and numbered.
Created in 1990, The Orangeman is a limited edition work by Richard Hamilton from his celebrated series examining The Troubles in Northern Ireland. Based on television footage of a member of the Orange Order, the work was manipulated using the pioneering digital imaging program Quantel Paintbox before being further developed through printmaking. Rather than presenting a straightforward political statement, Hamilton explores the ways in which mass media shapes perceptions of conflict, identity, and history. Combining technical innovation with conceptual complexity, The Orangeman exemplifies Hamilton's enduring engagement with the intersection of art, politics, and visual culture.
EUR 7,500
Richard Hamilton
Berlin Interieur
1979
Etching and aquatint, 56 x 76 cm (22 x 30 in). Edition of 100, signed and numbered.
For this edition, Richard Hamilton began with several collaged photographs of the interior of art dealer René Block’s Berlin apartment before transferring the images to a plate using photogravure. He then filled in the gaps with various etching techniques to enhance the sense of an interior space. The repeated image of a long stick leaning against a corner – actually a 1968 sculpture by Blinky Palermo – serves as a reminder of the fractured, multifaceted nature of the composition. What appears to be a photograph hanging at the center (and repeated to the right) is actually a painted portrait by Gerhard Richter, further confusing the distinction between the hand-drawn line and the photographic object.
Richard Hamilton
Sunrise
1975
From Landscapes
Collotype/silkscreen on cardstock, 33 x 40 cm (13 x 17¼ in). Edition: 55, signed and numbered
Richard Hamilton’s edition Sunrise blends painterly atmosphere with technical experimentation, capturing the fleeting radiance of dawn through soft gradations of color. Produced in 1975 as part of the group portfolio Landscapes, the work exemplifies Hamilton’s innovative use of printmaking processes, here combining collotype with silkscreen to achieve subtle tonal effects alongside vivid contrasts. Evocative and quietly cinematic, Sunrise reflects Hamilton’s lifelong interest in the intersections of perception, reproduction, and modern visual culture.
Richard Hamilton
Guggenheim (black)
1970
Vacuum-formed acrylic and cellulose multiple, depicting the spiral architecture of the Solomon R. Guggenheim Museum, 59 x 59 x 10 cm. Signed and numbered on label verso.
Although an edition of 750 was originally planned, the technical difficulties of the vacuum-forming process meant that only 271 examples were ultimately realised across the three colours (with 106 made in black).
Richard Hamilton’s Guggenheim (Black) (1970) transforms the distinctive spiral architecture of Frank Lloyd Wright’s Solomon R. Guggenheim Museum into a three-dimensional relief. The vacuum-formed acrylic and cellulose construction creates a striking play between geometric form, depth and perspective, reducing the iconic building to an abstracted architectural structure.
The work reflects Hamilton’s interest in architecture, industrial production and the visual language of modern consumer culture. Produced for the Zurich-based xartcollection, Guggenheim was conceived as a multiple that could translate an iconic work of modern architecture into an accessible, industrially produced art object.
EUR 20,000
Richard Hamilton
Kent State
1970
Color silkscreen on Schoeller Turm paper, 72.7 x 102 cm. Edition of 5000, signed and numbered.
Richard Hamilton’s Kent State (1970) responds to the tragic events at Kent State University in Ohio, where National Guard soldiers opened fire on anti-Vietnam War demonstrators, killing four students and wounding others. Strongly opposed to America’s involvement in Vietnam, Hamilton used the broad reach of a large-scale edition to create a powerful indictment of the war. The work depicts a fallen student and is based on a still photograph taken from a television screen during a BBC broadcast of the event.
Hamilton, one of the most inventive artists to incorporate photographic imagery into his work, preserves the blurred and distorted quality of the televised image. The hazy contours and overlapping colours convey both the immediacy and disorientation of the event as it entered public consciousness through the mass media. By transforming a television image of political violence into a widely distributed print, Hamilton reflects on the relationship between photography, mass communication and the representation of contemporary events. Kent State is in the collections of The Museum of Modern Art, New York, and Tate, London.
EUR 2,400
