Richard Hamilton, ‘Picasso's meninas: three impressions’, 1973, Phillips

All images: 22 1/2 x 19 3/8 in. (57.3 x 49.2 cm)
All sheets: 29 3/4 x 22 1/2 in. (75.5 x 57 cm)
From the Catalogue:
Picasso and Hamilton are not alone in regarding Las Meniñas [by Velázquez] as one of the most important works in Western art: Picasso had displayed his admiration for the painting by making forty-five pastiches between August and December 1957. In his carefully wrought etching Hamilton is perhaps more reverential: 'The stage of Velázquez' "meninas" could carry a lot of action, and the mysterious ambiguities (it seems to contain an infinity of cross reflections within the space the picture confronts), allowed some narrative interplay with substitutions of personalities as well as styles...Hamilton adopts a different period of Picasso's work for each of the characters in Velázquez' masterpiece in such a way that the many styles of Picasso are (as his title suggests) hand maidens to the artist rather than the Infanta. Hamilton developed the pictorial idea in three studies made in 1973, which he then used to create the plate in Paris. Six different stage proofs document the progress of his work in the Atelier Crommelynck. Etienne Lullin Richard Hamilton, Prints and Multiples 1939-2002, p. 124
Courtesy of Phillips

Signature: All signed and annotated 'Etat I', 'Etat III' and 'Etat V' (of VI) respectively in pencil (rare progressive state working proofs, one of 2 printed of each state, before the edition of 90 and 15 artist's proofs, plus 30 impressions in Roman numerals reserved for museums of the sixth/final state), printed by Atelier Crommelynck, Paris and co-published by Propyläen Verlag, Berlin and Pantheon Presse, Rome, for Portfolio 2 of Hommage à Picasso, all unframed.

Etienne Lullin 91
Kunsthalle Bremen nos. 146-151

Piero Crommelynck Collection, Paris
(inkstamp on reverse)

About Richard Hamilton

In his celebrated collages, Richard Hamilton explored the relationship between fine art, product design, and popular culture, setting the stage for Pop art. His most iconic work, Just What Is it that Makes Today’s Homes So Different, So Appealing? (1956)—a scene comprised of images cut from magazines ads, showing a semi-nude couple in their living space—was produced for the groundbreaking exhibition “This is Tomorrow,” organized by the Independent Group at the Whitechapel Art Gallery in London in 1956. Throughout his career, Hamilton continued to break down hierarchies of artistic value, making silkscreens of Mick Jagger’s drug arrest, producing studies of industrial design objects (like toasters), and designing the cover of the Beatles’ 1968 White Album.

British, 1922-2011, London, United Kingdom