Portrait Figurative Paintings

Oil on canvas Matteo Nannini is an Italian artist born in 1979 in Bologna who lives and works in Cento, Ferrara, Italy. He studied at the Academy of F...

Sisterhood is also about growth and transformation. As we go through life, we change and evolve as individuals, and our relationships with our sisters change and evolve with us. The ...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

‘Young Beauty holding a Red Rose’ by Étienne Adolphe Piot (1831-1910). Academy Fine Paintings is fully conversant with the latest US Government import duties and the legal exemptio...

English family portrait from the late 18th century. The canvas is aged accordingly with newsprint from October 1847. The painting is framed in a decorative gold frame with an open ba...

Beautiful ca. 1970's portrait by American artist, Vito Tomasello. Oil on masonite panel measures 10 x 12 inches. Signed and dated lower right. A lifetime NYC resident, Tomasello ...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Karen Offutt's (US based) "Spark" is an original, handmade oil painting that depicts a nude female on an abstracted background. The painting is framed, with overall dimensions of 18 ...

Non si tratta di uno studio preliminare al dipinto ma di una ulteriore messa a fuoco della fisionomia stravolta del protagonista, un ‘primo piano’ che ben corrisponde a quanto annota...

Title: Mid Century French Bust Portrait Artist: Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal on artists paper Size: 19 (height) x 12.5 (width) Stamped: Verso Condit...

Patrick Terenchin (b.1970). Victor, 2025 Oil, acrylic, color pencil on wood panel. Panel measuring 20 x 20 inches inches. Signed, titled, dated on verso. The portrait is from...

The inspiration for Daniel Wimmer’s art consistently stems from the human body. He is particularly fascinated by the beautiful colors of the skin and is constantly searching for intr...

In the time of my mother and the women before her in her generation line, women are not allowed to talk or have a genuine opinion on the crucial and critical matters of emergency in ...

Nathan Brad Hall's work comes together in this show to build an undeniably jaw dropping experience for viewers. “Undercurrents,” says Hall, “is about ...

Portrait of a Seated Lady signed by Jacob Markiel (Polish 1911-2008) *See notes oil on canvas, unframed canvas: 32 x 24 inches provenance: the artists estate, south of France condit...

Christ with the Angry Gaze (The Savior of the Burning Gaze), after a Russian icon from the mid-17th century Artist: Oliver Samsinger Technique: Egg tempera on gesso and wood, with 24...

ARTIST: Joanna Rusinek (1979) Polish contemporary painter. Diploma at the Academy of Fine Arts in Gdańsk in 2007 at the Graphics Studio under the supervision of prof. Jadwiga Okras...

"Girl with Muff" is aa American figurative portrait oil on canvas painting by Robert Henri in 1912. The artwork is 57 1/4 x 38 1/4 inches and, with the frame, is 64 1/4 x 45 1/4 x 2 ...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Mic...

This poignant portrait by Swedish artist Nina Bergstedt captures a quiet intensity that lingers in the viewer’s mind. The sitter, an unknown woman, is portrayed with deep emotional p...

The Fisher Boy Huguette Ginet-Lasnier (French 1927-2020) signed and inscribed verso in a wooden frame oil painting on board framed: 40.5 x 32 inches board: 33 x 25 inches. All the pa...

This piece titled "Voisine (Neighbor)" is an original artwork by Alain Jean-Baptiste and measures 48"h x 36"w x 1.5"d. . This work is made from oil paints on canvas and ships with a ...

Self Portrait at 43

René Mels (1909-1977) Portrait of a young man, signed lower right oil on canvas 73 x 60 cm Framed : 77.5 x 64.5 This impressive portrait is obviously tou...

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

William-Adolphe Bouguereau 1825-1905 French Jeune mère contemplant deux enfants qui s'embrassent (Young Mother Contemplating Two Embracing Children) Signed “W-Bouguereau” (bottom ...

The title of the painting, "Transcendent of Reflections," speaks to the woman's contemplative state of mind. It suggests that she is in the process of transcending her own thoughts and reflections, perhaps seeking a deeper understanding of herself and the world around her. "Transcendent of Reflections" is a powerful and thought-provoking painting that invites viewers to reflect on their own inner worlds. The painting celebrates the beauty and complexity of black African women and encourages viewers to embrace their own inner contemplation as a means of transcending the limitations of everyday life. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Bakare Babatunde...

The Victorian English Gentleman Portrait of a Man seated in a leather chair, holding a letter in his hand. oil on canvas , framed framed: 41 x 33 inches canvas: 36 x 28 inches prove...

Portrait of a Young Lady French Modernist artist, circa 1960's period signed oil on board, unframed Board: 21.5 x 15 inches Provenance: private collection, France Condition: very goo...

Mid Century portrait of a grey haired woman wearing a sun hat by Jon Blanchette (American, 1908-1987). Rendered his signature style, this...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (issued by The Gal...

We are proud to have recently discovered, “The Sophisticate”, by American artist Alexander Rosenfeld. Rosenfeld was classically trained in fine ...

Wencke Uhl is a contemporary figurative paintress living and working in Germany. She draws inspiration from human beauty and the female form. As a teenager Uhl wanted to become a f...

Artist: Roger König b. Dessau, Germany (1968) Master student of Kurt Schönburg, HWK Halle, Germany. Roger Koenig, the talented abstract painter, resides and creates his magnificent...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

"The Old Salt" (Cornish fisherman) by David W. Haddon (British, late 19th/ early 20th century) signed and dated oil on board, framed framed: 18 x 14 inches board: 16 x 12 inches ...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

Portrait by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on canvas stuck on board, unframed measures: 18 high by 15 inches wide conditi...

Portrait of a Lady in a Garden French School, early 1900's typical of the Nabis School movement oil on canvas, framed framed: 16.5 x 16.5 inches canvas : 14.5 x 14.5 inches provenanc...

When I arrived at my grandmother's house, the neighbors said, "Oh, the city girl has arrived." And my grandmother said, "Child, what have you done to yourself? You're a girl..." My g...

Fritz Muller (1913 - 1972) oil painting on board, framed signed framed: 17 x 14.5 inches board: 14 x 12 inches provenance: private collection, England condition: very good and sound ...

KAMIL LISEK (born in 1980) Studied under the guidance of prof. Maciej Świeszewski at the faculty of painting at the Academy of Fine Arts in Gdansk. He graduated with distinction obta...

American life is captured in this Clyde Singer painting, Red Coat, where he depicts a woman walking down the street towards her destination in 1956. An accomplished American Scene pa...

Beautifully executed original oil on canvas painting by the well known Canadian artist, Danielle Richard. Signed by the artist lower left. Condition...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Mic...

Unsigned

Regal Beauty 1 is an oil painting that showcases the elegance and majesty of a black African woman. The subject is depicted with an afro hairstyle and a tribal mark on her face, which highlights her cultural identity and connection to her African roots. The Ankara fabric provides the backdrop, adding texture and depth to the piece and making the subject stand out even more. The oil on Ankara fabric medium creates a stunning visual effect, bringing out the richness of the colors and capturing the subject's beauty and strength. This painting serves as a tribute to the beauty, elegance, and resilience of African women and is a powerful reminder of the importance of cultural appreciation and representation. Shipping Procedure: Ships in a well-protected tube from Nigeria. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Bakare Babatunde...

Study of man is an original artwork realized in the late 19th Century and attributed to the painter Marcello Dragonetti. Mixed colored oil paintig on canvas. Titled and signature ...

Madyol Jacques Brussels 1871 – 1950 Belgian Painter A Gypsy Lady Signature: Signed bottom right, verso signed Jacques Madyol, titled "Gitane" and placed Studio 5 Rue Gachard, Bruxel...

Artist: Raphael Soyer (1899-1987) Title: Girl with Braided Hair Year: Circa 1987 Medium: Oil on canvas Size: 12 x 9 inches; framed size, 19 x 16 inches Condition: Excellent Inscripti...

Jimmy Abeita B. 1947 painting is oil on canvas Image 9x12 Overall with frame 15x18 inches Signed lower right Housed in original Frame Gallery labels: Adobe Gallery and Brandywine gal...

This piece of work is encouraging individuals to cherish, preserve and celebrate their cultural heritage. In today's globalized world, cultural identity can become diluted or lost....

Jean Charlot Fresco style painting in plaster on board in the original artist made frame. Titled on a label on the verso: "Bed Time.” In excellent condition. Signed by the artist upp...

Mark Bradley Schwartz's (US based) "Untitled 12" is an original, handmade charcoal drawing that depicts a woman in profile with her long dark hair draped over her right shoulder with...

The painting is the only known self-portrait by the eminent 19th century French artist Frédéric Soulacroix (1858-1933). It is signed and presented in a bespoke gold metal leaf frame....

Maurice Ambroise Ehlinger (1896–1981) — Portrait of Mademoiselle France Noël, 1957. Radiating timeless Parisian elegance, this exceptional mid-century oil on canvas by noted French p...

Frank Nelson Wilcox (American, 1887-1964) The Stonecutter's Evening, c. 1915 Oil on canvas Signed lower right 36 x 27.5 inches 42.25 x 34 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer...

The Playing Cards by Louise Alix (French, 1888-1980) *see notes below oil painting on canvas unframed measures: 30.5 inches high by 22.5 inches wide condition: overall very good and ...

Eric Johansson's "Woman with Red Bow" (1940) We are delighted to present for sale the evocative portrait “Woman with Red Bow” by the distinguished artist Eric Johansson, painted in ...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Jason Langa...