George Wachsteter

"My Three Sons, " Season Premiere, 1965

1965

Medium: Color Pencil on Paper Signature: Signed Lower Right A pin-up study.

Medium: Pen & Ink, Colored Pencil and Cut Paper on Onionsk Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) for CBS-TV comedy `The Ann Sothern Show` (1958-1961) starring Sothern as Katy O`Connor, assistant manager of the swank NYC hotel...

Medium: Pen & Ink, Colored Pencil & Graphite on Board Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) for CBS-TV`s `Step on the Gas` starring Hans Conried,...

Medium: Pen & Ink, Color Pencil Onionskin Overlay on Board Signature: Signed Center Left Ink drawing on 15.00" x 20.00" illustration board, the image measures to 9.75" x 14.00." Includes preliminary sketch on newsprint and copies of the magazine. Caricature by George Wachsteter (1911-2004) for `The Garry Moore Show`, Carol Burnett...

Medium: Pen and Ink, Color Pencil on Onionskin Overlay, on Board Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) for `The Jimmy Durante...

Medium: Pen and Ink with Colored Pencil Onionskin Overlay on Board Signature: Signed Lower Left This piece is on 22.00" x 15.00" illustration board with the drawing itself measuring ...

Graphite and coloured pencil on paper, signed and dated (lower right), 36cm x 44cm, (45cm x 53cm framed). The picture is behind museum quality non-reflective UV glass. Throughout h...

Red Lips by Georges Manzana Pissarro (1871-1961) Coloured crayon and black pencil on paper 25.5 x 19.5 cm (10 x 7 ⁵/₈ inches) Signed lower left with Estate stamp Created in Morocco a...

Julia Randall is in love with drawing, and crafts images that challenge assumptions about corporeality, desire, and the natural world. Intersecting sensibilities activate her work; i...

Julia Randall is in love with drawing, and uses her seductive technique to craft images that subtly challenge assumptions about corporeality, desire, and the natural world. Intersecting sensibilities activate her work; images are simultaneously erotic and humorous, beautiful and repulsive. Although she clearly operates in the realm of fantasy, Randall uses observation-based drawing and hyperrealistic technique to create images that are surreal and suggestive. Mysterious in tone, these "Under and Afloat" drawings hint at the fugitive nature of our passions, and the dreaded passage of time. Spatial convolutions and open-ended narratives allude to the confounding emotional layers that exist between people, and the enigmatic nature of desire, love and loss. In this vein, desire is ultimately ephemeral, but ironically drawn in fastidious detail. Framed: 64 x 49 inches Provenance: Artist to GarveySimon, New York, NY Exhibitions: 2015 "She's a Changeling," the Harts Gallery...

"Sisters #4", 2019 by Valerie Hammond 72 x 35 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels ...

"Sisters #2", 2019 by Valerie Hammond 73 x 34.5 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels that are unframed, can be installed with magnets, but framing is recommended. In Valerie Hammond’s series of wax drawings, protection is two-fold: the artist (previously) encases dried flowers and ferns in a thin layer of wax, preserving their fragile tissues long after they’ve been plucked from the ground. In outlining a pair of hands, she also secures a memory, or rather, “the essence of a gesture and the fleeting moment in which it was made.” Centered on limbs lying flat on Japanese paper, the ongoing series dates back to the 1990s, when Hammond made the first tracing “partly in response to the death of a dear friend, whose beautiful hands I often found myself remembering.” She continued by working with family and friends, mainly women and children, to delineate their wrists, palms, and fingers. Today, the series features dozens of works that are comprised of either hands tethered to the dried botanics, which sprout outward in wispy tendrils, or others over layed with thread and glass beads. Although the delicate pieces began as a simple trace, Hammond shares that she soon began to overlay the original drawing with pressed florals, creating encaustic assemblages that “echoed the body’s bones, veins, and circulatory systems.” She continued to experiment with the series by introducing various techniques, including printmaking, Xerox transfers, and finally Photoshop inversions, that distorted the original rendering...