This was actually my very first attempt at creating a signed/limited edition work. I thought it was faboo. I think I got three orders which wasn't nearly enough to cover the cost of printing so this rare little gem thankfully fell into an obscure black hole. Some things are just meant to be.

By 1981 my drive was still there, yet showing signs of slowing down. However, I still studied her face. My only purpose was to create a work which was undeniable in its own right. A work which simply could not be denied. Obviously this was not it. I can not say that I even remember the name of this one. I recall selling it for $100 to some guy in a bar.

As a result of selling this drawing at the bar, I got another commission for Lucille Ball. The man who commissioned it had been a long time fan of the comedian and desperately wanted to meet her. He came up with the bright idea of giving the portrait to Lucy as a gift and she would have to meet him. I knew differently but could certainly relate to his desire. Nonetheless, I was certainly not going to be the one to burst his bubble and lose a commission at the same time.

Although Miss Ball politely declined his generous offer, the portrait I drew of her was an instant hit. I got enough orders within a week to afford printing the work in a very limited edition run. The added income from the Lucy / Queen of Comedy reproductions also made it possible for me to consider drawing a second work to accompany it. Naturally, there was only one logical choice. It was going to be Barbra.

By the time I finished the portrait I could see that I had achieved something special with this work. As with all of my previous Barbra drawings, this one provided a great lesson and began the style and method with which I currently employ when drawing pencil portraits.

Streisandesign was a bigger hit than Lucy. And The Celebrity Series was born.

I sent a couple prints to Columbia Records, knowing the original people I had dealt with were also as absent as the security guard and secretary. I was at long last informed that my work was very good but that Columbia really had nothing to do with the cover work on the album and that they had no manner in which to even submit such a thing. Eventually I happened upon what was "suppose" to be Barbra's home address in Malibu. I mailed a print there too. To this day I still have no idea who's house I sent that to but I never did hear anything back.

Insofar as I am aware, none of my work actually did reach the mark.