Men Portrait Prints

Ths Portrait of a Boy " D'apres Manet" is an original etching print on paper realized by Albert Lepreux (1868-1959); included a Passepartout: 25 x 16 cm...

The Portrait is an original etching on paper realized by Albert Lepreux (1868-1959); included a Passepartout: 25 x 16 cm. The state of preservation of ...

Portrait of Garibaldi is an original print realized in 19th Century by Anonymous artist. MIxed colored lithograph. Good conditions except for some light stains. This artwork repr...

Portrait of Man is a beautiful etching realized by an Anonymous artist active in the 18th century. Titled on the lower center "Giovanni Paisiello", wit...

Portrait is an original print on paper realized by an Anonymous artist in the 1930s. Original etching on paper. Good conditions except for ...

Tomb of Tippoo Sacb is an original lithograph artwork realized by an Anonymous engraver of the 19 century. Printed as part of the Series of "France Pittoresque" at the top center. ...

Slodki Dom (Home Sweet Home) is an original offset artwork on paper realized in 1973 Original colored offset. Good condition and aged.

Portrait is an original artwork realized in 19th Century "D'après Souvent". Original etching. Good conditions except for aged and consumed margins. The artwork represents a portra...

Self-portrait is an original etching realized by Giuseppe Viviani on plate in 1931. In 1983 a 100-piece edition was made, all signed by the widow of the artist Signora Eralda Benso ...

Costumes and Portraits is an original lithograph artwork realized by an anonymous engraver of the 19th cCentury. Printed in series of "France Pittoresque" at the top center. Titled...

Costume and Portrait is an original lithograph artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in...

Portrait and Cityscape is an original lithograph artwork realized by an Anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled ...

Portrait and Landscape is an original lithograph artwork realized by an Anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled ...

Paris Costume is an original lithograph artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in France at the top center. Included two images on a sheet, Costume of VI and X and XII century...

Portrait sand Landscape is a lithograph realized by an Anonymous engraver of the 19th century. Printed in series "France Pittoresque", as indicated at the top center. Titled in Fra...

Portrait and Cityscape is a lithograph realized by an Anonymous engraver of the 19th Century. Printed in the series "France Pittoresque", as indicated at the top center. Titled in ...

Christian Art and Portraits is an original lithograph realized by an anonymous engraver of the 19th Century. Printed in series "France Pittoresque", as indicated at the top center. Titled in France on the lower center. Included three images on a sheet. The state of preservation of the artwork is good except for diffused foxing due to timing. A fascinating piece of art represents portraits on the lower and Christian grotesque art...

Costume and Portrait is an original lithograph artwork realized by an anonymous engraver of the XIX century. Printed in series of "France Pittoresque" at the top center. Titled in ...

Ariosto is an original Hand-colored lithograph artwork realized by Dolfino in the XIX century. Signed on the plate on the lower left Titled on the lower center. The state of pres...

Portrait is an original lithograph artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in France on t...

Unpublished Portrait of Honoré Daumier is a photographic albumen print on CDV size. Stamp of Photographic studio H. Le Lieure in Rome on front lower edge of cardboard. Slight voile...

Torquato Tasso Portrait is an original Modern artwork realized in the half of the XIX Century. Original Etching on paper. Passepartout included (tot...

Devotion is original lithograph realized by Denis Auguste Marie Raffet in 1849. Signed on the plate on the lower left. Titled on the lower. Good condition. An interesting Lithogra...

Man is an original drawing in China ink on brownish paper, realized by an Anonymous artist of the XX century, in 1920 ca. With the stamp of "collection of...

Neapolitan Fishermen is an original modern artwork realized by Anonymous Artist of thr XIX Century. Original gouache. Hand-signed on the lower center corner: "LeDoux". The work is...

Self Portrait is an original contemprary artwork realized by Luigi Calamatta. Original etching on ivory paper. The signature of the artist on the lo...

Poster. Measures 36.25 x 29.75 inches and is Unframed. Good/Fair Condition.

The Courtesy is an original lithography artwork on paper realized by Anonymous Artist of the mid-20th Century. In good condition, with some small stain. The artwork represents a couple in a romantic scene with while the boy is putting on the girl shoe...

"Snoop Dogg Mugshot" Print 39 x 36 inch Ed. of 75 by Gerard Marti Digital print on paper Not framed. Ships rolled in tube. Signed and numbered by the artist. Snoop Dogg's arrest ...

Portrait of Elegant Man is an original modern artwork realized in the first half of the XX Century. Original woodcut on paper. Signed on plate by the ar...

Self-Portrait is an original woodcut realized by Giuseppe Viviani in the 1920s. Hand-signed in pencil on the lower right by Artist's wife after Viviani's death. Numbered in pencil ...

Portrait of Pierre Guastalla is an original etching on paper realized in 1926 by Halman Hagelstam (1899-1941) Hand-signed and dated on the lower right in pencil with the dedication ...

"Il Café" 1896s is a splendid lithograph, engraved by the artist André Lynen (1852-1938). The state of preservation of the artwork is excellent. The sign...

Portrait of Giuseppe Ungaretti is a fine lithograph realized by the Italian artist Pericle Fazzini in 1958. Hand-signed in lower margin. Numberd in Roman Numerals. In very good con...

Craxi at the UN is a splendid lithograph on paper engraved by Nani Tedeschi (1938-2017). The state of preservation of the artwork is excellent: only small gray spots in the lower le...

Portrait is an original Hand-colored etching on brownish paper realized by Annibale Carracci (Annibal Carrache). Signed on the plate on the lower left. The state of preservation is...

Return of Napoleon From Egypt is an original lithograph on paper realized in about 1846 after Laffite. Sheet dimension: 20 x 25.5 cm The state of preservation is very good except ...

"Portrait" is an original drawing in etching, realized by an Anonymous French Artist of the XX Century . The state of preservation of the artwork is very good. Sheet dimension: 19 ...

Portrait is a beautiful etching realized in 1971 by the Italian artist Giovanni Omiccioli (Rome, 1901-1975). Hand-signed in pencil on the lower right and dated. Numbered on the lower left, edition of 8/10 prints. In very good conditions The artwork represents the portrait of Marinaio Calabrese through soft and short strokes, depicted skillfully. Giovanni Omiccioli was an Italian painter belonging to the modern movement of the Scuola romana with dynamic paintwork. Having joined the Scuola Romana movement, in 1928, Omiccioli collaborated especially with Mario Mafai...

Soldier is an original lithograph on paper realized by an Anonymous artist of the XIX century, it represents a Japanese soldier in traditional costume. Hand-watercolored. In very g...

Hendrick Goltzius (1558-1617), engraving, 1593 [with extensive inscription in the plate]. Reference: Bartsch 161, Hollstein 177, second state (of two...

Portrait of a Man is a wonderful phototype print realized in the second half of XIX century. Signed on the lower right margin. Fair conditions, with a browing of paper due to the t...

Three Twins is a beautiful lithograph realized by the Italian artist Pompeo Borra (Milan, 1898-1973). Hand-signed in pencil "P. Borra" on the lower left margin. Numbered on the lowe...

Image dimensions: 25.5 x 27 cm. "Self-Portrait" is an original xilography realized by Giuseppe Viviani in 1925; Hand-signed in pencil on the lower right, and numbered in pencil on t...

Vintage Exhibition Poster - Henri Matisse - Drawings - New-York after Henri MATISSE 1967 75 x 52 cm References : Poster for the 1967 exhibition at Albert LOEB & KRUGIER Gallery in N...

Remy de Gourmont is a black and white print realized by André Rouveyre in the First Half 20th Century. The artwork represents a portrait of the Fren...

GRAPHICTHERAPY is David Calderley: an Englishman in New York, Creative/Art Director, Graphic Designer and Illustrator. After graduating from the esteemed St. Martin’s School of Art in Covent Garden, London and beginning a freelance career, he moved to New York City in 1990. Over the last 30+ years he has designed over 1200 albums and single covers, as well as promotional and full campaigns for a myriad of artists including, Interpol, Madonna, The White Stripes, RZA, Moby, The Black Crowes, Elvis Costello, to name a few. After a 10 year spot as the Creative Director for Sir Richard Branson’s North American Record Label V2, he set up GRAPHICTHERAPY in 2007, a small boutique creative agency that offers a complete range of design services, both in print and media. A unique mix of art direction, design and creative illustration can be seen across a wide variety of brands, products and publications in music, fashion, events and campaigns. His largest illustrated piece is a 90ftx50ft mural on 57th and Park Avenue for the British menswear company, Turnbull & Asser, as part of their rebrand. David’s work has been recognized by numerous global companies and publications, and has won several industry awards. He continues to work from his studio in Harlem. This capsule of collage/mixed media prints: ‘Eating Vinegar with A Fork,’ reflecting a dry wit, as suggested in the title; juxtaposing formal Victorian etchings...

GRAPHICTHERAPY is David Calderley: an Englishman in New York, Creative/Art Director, Graphic Designer and Illustrator. After graduating from the esteemed St. Martin’s School of Art in Covent Garden, London and beginning a freelance career, he moved to New York City in 1990. Over the last 30+ years he has designed over 1200 albums and single covers, as well as promotional and full campaigns for a myriad of artists including, Interpol, Madonna, The White Stripes, RZA, Moby, The Black Crowes, Elvis Costello, to name a few. After a 10 year spot as the Creative Director for Sir Richard Branson’s North American Record Label V2, he set up GRAPHICTHERAPY in 2007, a small boutique creative agency that offers a complete range of design services, both in print and media. A unique mix of art direction, design and creative illustration can be seen across a wide variety of brands, products and publications in music, fashion, events and campaigns. His largest illustrated piece is a 90ftx50ft mural on 57th and Park Avenue for the British menswear company, Turnbull & Asser, as part of their rebrand. David’s work has been recognized by numerous global companies and publications, and has won several industry awards. He continues to work from his studio in Harlem. This capsule of collage/mixed media prints: ‘Eating Vinegar with A Fork,’ reflecting a dry wit, as suggested in the title; juxtaposing formal Victorian etchings...

Portrait d'un homme is a beautiful original etching and drypoint on paper, realized by the French painter Charles Paul Renouard (Cour, Cheverny, 1845 - Paris,1924) Monogrammed on pl...

“Busto di Nerone” (Bust of Nerone) is a beautiful black and white burin and etching on paper, realized by the Italian artist Pietro Fontana, after Bernardino Nocchi as the inscriptions on plates on lower margins report “Bernardino Nocchi delineò./ Pietro Fontana incise Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XVII" and is a plate from the series "Illustrazioni de'Monumenti scelti Borghesiani già esistenti nella Villa sul Pincio (..)date ora per la prima volta in luce dal cav. Gio. Gherardo De Rossi e da Stefano Piale sotto la guida di Vincenzo Feoli", by Ennio Quirino Visconti, published by Stamperia de Romanis in Rome, 1821. This old master’s original prints shows a precious piece of the Borghese's collection, the marble bust of the Roma Emperor, Nerone, realized with neoclassical style and a wise touch In excellent conditions with some light signs of the time, with some sporadic minor stains along the margins above all on the lower, and a usual yellowing of the paper on the lower margin, this wonderful burin has preserved still today his fresh impression. Illustrazioni de' Monumenti scelti Borghesiani This collection in two volumes is a beautifully detailed catalog of classical sculptures collected by Prince Borghese (1730-1800) in his Villa on the Pincio. Ennio Quirino Visconti (1751 - 1818) wrote the texts that accompany the large branches depicting. To these writings, which were available by the son of the illustrious archaeologist, the publishers added only a few illustrations relating to some minor monument of which copper had already been engraved. The engraved title-plate are signed by draughtsmen like Agostino Tofanelli, Stefano Tofanelli, Bernardino Nocchi, Domenico de Angelis or Teodoro Matteini, and by engravers Pietro Fontana Veneto, P. Vitali, Pietro Bettelini, Giovanni Folo Veneto, Giovanni Brunetti da Ravenna, Giovanni Ottaviani, Francesco Cecchini, Gio. Batta. Leonetti, Girolamo Carattoni, Domenico Cunego, Luigi Cunego, Alessandro Mochetti, Luigi Pizzi, Angelo Campanella or Giacomo Bossi. The Volume I shows ancient full-length statues, of the Borghese warrior by Agasias (two plates), Greek gods and heroes and Roman famous historical figures; the last two plates represents antique Egyptian deities. There are plates representing ancient bas-reliefs, sarcophagi, of mythological subjects, the Borghese Vase, portrait busts, a vase on an altar, two statues of Amor; and two modern statues, by Bernini (the Apollo and Daphne, and the David). «Très bel ouvrage» writes Brunet, «Grand ouvrage, le seul qui mérite, parmi ceux sur la villa Borgese, de figurer dans le chapitre aux Galeries et Collections» Vinet said, looking at this plate. Pietro Fontana (Bassano Romano,1762 – Rome, 1837) The Italian artist and engraver, Pietro Fontana was active in Rome and specialized in subjects dealing with the Vatican and the Papacy. He started his career as a student of Raffaello...

George Lockwood, American (1929 - 1969) - A woman with Flowers, Year: circa 1963, Medium: Screenprint on laid paper, signed, titled and numbered in pencil, Edition: AP, Image Size: ...

Aubrey Schwartz, American (1928 - 2019) - Man in Red, Year: circa 1965, Medium: Lithograph, signed and numbered in pencil, Edition: 14/15, Image Size: 9 x 10 inches, Size: 15 x 13 i...

Aubrey Schwartz, American (1928 - 2019) - Portrait from The Midget and The Dwarf Portfolio, Year: 1960, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: 19/20,...

Aubrey Schwartz, American (1928 - 2019) - Portrait of a Woman, Year: circa 1965, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Image Size: 20 x 13 inches, Size: 3...

GRAPHICTHERAPY is David Calderley: an Englishman in New York, Creative/Art Director, Graphic Designer and Illustrator. After graduating from the estee...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Self Portrait is an original artwork realized by Eliseo Fattorini in the second half of the XIX Century. Etching on paper. Hand-signed by the artist on the lower right corner. Orig...

Image dimensions: 11x15 cm. Very Good Conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created over 70 years ago by an artist who has...

Dodd, Francis. CHARLES CUNDALL, R. A.. Drypoint, 1926. Schwabe, 171. Signed in pencil. 18 x 11 3/4 inches, on a sheet of cream colored wove paper 20 1/2 x 14 5/8 inches. In excellent...

Dine, Jim. SELF-PORTRAIT IN A FLAT CAP (WINTER). Krens and Castleman, 181. Etching, 1974. First State, published by Petersburgh Press. The Bon A Tirer proof b...