To request permission to reproduce a work by Frederick Hammersley, contact the New Mexico Museum of Art (https://nmartmuseum.org/education/research-and-reproductions), which will advise you how to proceed. The Museum can also provide high-resolution images of many of Hammersley’s works for approved requests.

In an effort to encourage the reproduction of Hammersley works for educational, scholarly, and research purposes, the Foundation made it possible for the Museum to waive permissions fees for non-profit organizations and other endeavors that contribute positively to his artistic legacy.

When reproducing works by Frederick Hammersley, please refer to the following caption guidelines, which the Foundation established based on the artist’s documentation and practice.

Guidelines for Captions of Works by Frederick Hammersley

Hammersley considered titles an important part of his works, especially his paintings, and used his own format, whether handwritten or in type, that often does not follow the traditional standards of capitalization for titles. He also expressed his wish that the titles be presented next to the works when they are exhibited or reproduced.

Paintings and Works on Paper

In general, only the first word of a title is capitalized with the remaining words all in lower case unless there is a proper name, for example, Plugged in and Peter pays Paul. In addition, when the ampersand or plus sign is indicated, it should remain so and not be spelled out into “and,” for example, Rhyme & reason and Two + fro. This format also applies to titles of works in all other media.
Specifically for paintings to which Hammersley assigned numbers, please note THE NUMBER IS NOT PART OF THE TITLE. This number documents the work’s position in the sequence of paintings he produced that year and therefore should be included in the caption with the year (for example, “#1” in Mutual fund, #1 1972, indicates that Mutual fund was the first painting he produced in 1972). First preference is that the number appears before the year; second preference (if necessary due to database or other technical factors) is that the number appears after the year, for example:

Mutual fund
#1 1972
oil on linen
44” x 44”

Mutual fund
1972 #1
oil on linen
44” x 44”

If the title information is on one line, first preference is that it appears as Mutual fund, #1 1972. The number should not be italicized or enclosed in parentheses with the title and it is preferred that a comma is not placed between it and the year.

Since Hammersley considered the title an important part of each work, it is preferable that in publications the title of a work appears next to its reproduction and in exhibitions that the title appears on the wall next to the work.
If the work does not have a title, that is, Hammersley did not assign a title to a work, the preference is to designate the work as having no title (without italics), and to avoid using italics, e.g., no title or untitled.
Since Hammersley handmade unique frames for many of his works, the preference is to include the frame in reproductions of works in artist-made frames, especially organic paintings.

Computer Drawings

Hammersley produced a progressive series, or what he called a “complete set,” of 72 computer drawings (individually titled and numbered #1-#72) and several "incomplete sets," as well as what he called “dupes” and “variations.”

To the best of our knowledge, the “dupes” (or duplicates) are computer printouts of images of the 72 computer drawings that comprise a "complete set." The printouts of each image range widely in quantity, tend to vary slightly, and generally do not exist as editions. To the best of our knowledge, "variations" are computer drawings related in composition or title to the 72 computer drawings of the “complete set” and only one of each “variation” was printed.

Hammersley’s computer drawings have their own unique characteristics, which led to the Foundation’s attempts to clarify as much as possible how they should be captioned in relation to the “complete sets” of 72, the various “incomplete sets,” and the individual “dupes” and “variations” he produced:

Preference is that all caps are used for the titles of individual computer drawings in accordance with how they were printed on the drawings (e.g., DOILIE).
The number assigned to a computer drawing IS NOT PART OF THE TITLE. It indicates its position in the progressive series of 72 (#1-#72) and should follow the title in parentheses or be preceded by a comma, e.g., SCALLOP POTATOES (#50) or SCALLOP POTATOES, #50, but should not be italicized.

The following examples show the preferred format for each element of the captions, e.g., the title and medium; however, the arrangement may vary, for example, the date may appear on the same line as the title.

For a “complete set”:
No title
“Complete set” of the series of #1-#72
Computer-generated drawings on paper
11 x 14 ¾ inches each
1969

For an “incomplete set” (varies in number of computer drawings):
No title
47 computer drawings from the series of #1-#72, comprising an “incomplete set”
Computer-generated drawings on paper|
11 x 14 ¾ inches each
1969

For an individual drawing from a “complete set”:
SCALLOP POTATOES, #50
From one “complete set” of the series of #1-#72
Computer-generated drawing on paper
11 x 14 ¾ inches
1969

For an individual drawing from an “incomplete set”:
SCALLOP POTATOES, #50
From one “incomplete set” of the series of #1-#72
Computer-generated drawing on paper
11 x 14 ¾ inches
1969

For an individual drawing (“dupe”):
SCALLOP POTATOES, #50
(5/11a)
From the series of #1-#72
Computer-generated drawing on paper
11 x 14 ¾ inches
1969

For an individual drawing (“variation”):
DOILIE
Computer-generated drawing on paper
11 x 14 ¾ inches
1969