622 Warren Street
Hudson, NY. 12534

Tel.  518.828.1915 Fax. 518.828.3341

Open Daily
11 am to 5 pm
noon - 5 pm

Richard Merkin

click on image for an enlargement, price, size and medium.

Tempera Paintings from the 70's

Additional Tempera Paintings

Larger paintings

Additional Large Paintings

Additional Small Paintings


358 Kurt Ollman and Lorraine Hunt in Ashoka's Dream, c.1980-2008

(065) Erik Jensen in Y2K, c.1980 - 2000

(067) Sinead Cusak , c.1980 - 2000

(096) Ralph Richardson , c.1980 - 2000

(121) The Women by Claire Boothe Luce, c.1980 - 2000

(126) John Lithgow, c. 1980 - 2000

(132) Girlie Show, c.1980 - 2000

(143) Faith Prince, Mark Waldrop, Jason Workman, c.1980 - 2000

(144) Faith Prince, c.1980 - 2000

(145) Lynn Redgrave, c.1980 - 2000

(147) Hugh Jackman, c.1980 - 2000

(150) Michael Jeter in GRAND HOTEL, 1990


(154) Nell Campbell, c.1980 - 2000

(155) Study for Nell, c.1980 - 2000

(183) Cleavon Little in ALL GOD's DANGERS, 1989

(184) Mia Dillon, Bethel Leslie, Ann Wedgeworth, c.1980 - 2000

(185) Avery Brooks as Paul Robinson, c.1980 - 2000

(262) Judy Parfitt and Mathew Broderick, c.1980 - 2000

(266) The Crucible, c.1980-2008

(274) Emily Skinner and Alice Ripley, c.1980 - 2000

(277) Gorges Feydeau's A FLEA IN HER EAR, c.1980 - 2000

(278) Peter Falk, Erica Bradshaw, and Anne Jackson, c.1980 - 2000

(280) George S. Kaufman, c.1980 - 2000

(281) Ring Lardner, c.1980 - 2000

(307) Jeff Lyons in FORBIDDEN BROADWAY, c.1980- 2000

(319) Larry Parks as Al Jolson, c.1980- 2000

(432) Bill Irwin, c. 1980 - 2006

361 Judd Hirsh, Dov Tiefenbach, Marin Hinkle in A Thousand Clowns, c.1980-2008

379 Lenny Bruce, c.1980 - 2000

482 Alec Baldwin, Mary-Louise Parker, Bernard Huges in Prelude for a Kiss, c. 1980 - 2006

483 Todd Robbins in Carnival Knowledge, c. 1980 - 2006

Brian Mitchell and Angela Teek in OH KAY, c.1980 - 2000

Untitled 028 Vernel Bagneris (Further Mo), c. 1980 - 2000

Untitled 292 (Kali Rocha and Chris Stafford in Goodnight Children Everywhere, c.1980-2008

Untitled 294 (Marian Seldes, Donal Donnelly in Dear Liar) , c.1980-2008

Untitled 298 (Ron Rifkin as Henry Dennett with Daniel Davis in Wrong Mountain), c.1980-2008

Untitled 328 (Jason Robards in Park Your Car in Harvard Yard), c.1980-2008

Untitled 329 (Moss Hart), c.1980-2008

Untitled 337 (Georges Feydeau), c.1980-2008

Untitled 340 (Charles Dutton and Whoopi Goldberg in Ma Rainey's Black Bottom), c.1980-2008

Untitled 341 (Michael Learned and Rosemary Harris in All Over), c.1980-2008

Untitled 350 (Debrah Findlay, Anthony Sher and Anna Chancellor in Stanley), c.1980-2008

Untitled 357 (Allison Janney, Frank Langella, Caroline Seymour in Present Laughter), c.1980-2008

Untitled 365 (Jason Robards and Blythe Danner in Pinter's Moonlight), c.1980-2008

Untitled 372 (George C. Wolfe), c.1980-2008

Untitled 373 (RIP Cats the Musical), c.1980-2008

Robert Morse in Capote, c. 1980

Sharon McNight, 2003

Literature and Publishing

(021) Diane di Prima, c. 1980 - 2000

(323) Chris Curry, c.1980-2008

(517) General Art Books Robert K. Brown, c.1980 - 1990

(019) Henry Miller, c.1998-2000

(023) Marquis de Sade, c. 1980 - 2000

(047) Chris Curry , c.1980 - 2000

(083) Roger Straus, c. 1980 - 2000

(123) Katharine S. White's Dachsund, c.1980 - 2000

(186) Ralph Waldo Ellison, c.1980 - 2000

(189) Harold Brodkey, c.1980 - 2000

(203) Zora Neale Hurston, c.1980 - 2000

(204) Tom Wolfe, c.1980 - 2000

(214) Norman Mailer, The Executioner's Song, 1980

(232) Dashiell Hammett, c1992-93

(247) A. J. Liebling, c.1980 - 2000

(250) John Cheever: GOODBYE MY BROTHER, c.1980 - 2000

(251) James Baldwin, c.1980 - 2000

(259) Chester Himes, c.1980 - 2000

(272) Henry Miller, c.1980 - 2000

(293) Edmund Wilson, c.1980-2008

(300) Paul Bowles in Tangiers, c.1980-2008

(311) Alfred Knopf, c.1980-2008

(385) Arthur Rimbaud (White), c.1980-2008

(386) Arthur Rimbaud after a drawing by Paul Verlaine, c.1980-2008

(393) Arthur Rimbaud in his bed in Brussels, c. 1980 - 2000

(394) Arthur Rimbaud (purple), c. 1980 - 2000

(406) Flannery O'Connor, c. 1980 - 2000

(408) Oscar Wilde, c. 1980 - 2000

(410) Susan Sontag, c. 1980 - 2000

(416) Malcolm Lowry, c. 1980 - 2000

(439) Colette, c. 1980 - 2006

(445) Jean Cocteau, c. 1980 - 2006

(518) Robert K. Brown Art Books, c.1980 - 1990

(539) Richard Brautigan, c. 1980 - 2006

(540) Djuna Barnes, c. 1980 - 2006

285) John Dos Passos, c.1980-2008

325) Arthur Rimbaud, c.1980-2008

345) Arthur Rimbaud in Africa, c.1980-2008

370) Anne Hollander, c.1980-2008

Carson McCullers, 2005

Dorothy Parker, c.2005

Dylan Thomas au Jardin , 2003

Edna St. Vincent Millay in Greenwich Village, 1992-1999

Hans Christian Anderson, 2004

Henry Miller in Paris (Tropic of Cancer), 1990

Isabelle Eberhardt in Algeria (2nd version), 2005

Maeve Brennan's Prayer, 2008

Mr. and Mrs. H.P. Lovecraft (Sonia Greene), 2004

The Lover of the Long Shot and the Catcher in the Rye, 2000

The Press Box: Tad & Herriman, 1999

Untitled (Algonquin), c. 1995

Untitled 297 (Life of Galileo by Brecht), c.1980-2008

Untitled 359 (Jane Bowles), c.1980-2008

A Portrait of Harry Crosby, 1994

Langston Hughes, unknown

Nathaniel West, 2000

The Theosophist (Blavatsky), unknown

The Other Alice or Birmingham, 1986

Eberhardt in Algeria, 2002

Isabelle Eberhardt in the Army Hospital, 2005

Vanity Fair: Tina Brown, c. 1980 - 2000

Skippy, 1988

Janet Flanner in Paris 1927, c. 1980 - 2000

Andy Gump, 1988

A Portrait of Joan Didion, 2002


039 Markus Oehlen, c.1980 - 2000

041 Francisco Alvarado-Juares, 1992

(063) Duchamp and Man Ray, c.1980 - 2000

(081) Seaver Leslie, c. 1980 - 2000

(118) Salvador Dali and Luis Buñuels L'Age d'Or, c. 1980 - 2000

(193) Peter Max, c.1980 - 2000

(241) Duncan Hannah, c.1980 - 2000

(317) Milton Resnick, c.1980- 2000

(476) Stuart Davis, c. 1980 - 2006

(479) Lee Friedlander, c. 1980 - 2006

Good-Bye to All That: A Sociologist of Sorts (Arbus), 1996

Henry Darger in Old Chicago, 2006

Joseph Bueys (119), c.1980 - 2000

Mark Rothko, c. 2005

Mr. Proesch in Europe (Gilbert of Gilbert & George), 1997

Sickert in Camdentown, 1995

The Chagalist, 2001

Two Men Standing, c. 1995

Untitled 316 (Jean Debuffet), c.1980-2008

Untitled 338 (Ken Price), c.1980-2008

Untitled 346 (McDermott and McGough), c.1980-2008

Untitled 348 (Italo Scanga), c.1980-2008

Untitled 349 (Dale Chihuly), c.1980-2008

Untitled 355 (Rube Goldberg), c.1980-2008

Untitled 364 (Joseph Stella), 1980-2008

Untitled 367 (Gaston Lachaise), c.1980-2008

Untitled 369 (Paul Resika), c.1980-2008

Walker Evans in Havana, 2003

Nocturne: Alice Neel in Soho, 2004

Alex Katz at the Immortality Threshold, 1988

Honoring the Saints, James Vanderzee in Harlem, 2002

Mary Quant's London, 2001

Gluyas Williams, 1994

Mondrian in New York, 1986

The Photographer: Aaron Siskind, 2004

Peter Arno, c. 1980

The Sculptor Scanga (Fetishist), 1983

Willem DeKooning, 2004

Barney Tobey, c. 2005

Helen Hokinson, unknown

The Abortionist's Assistant (for Ed Kienholz), 1965

Giacometti in the Rain, 2003

Portrait of Susan Rezac, 1986


(002) Unknown, c. 1980

(097) Unknown, c.1980 - 2000

053 Marian McPartland, c. 1980 - 2000

( 122) Dave Frishberg att he Algonquin, c.1980 - 2000

(020) The Gumbo House , c. 1980-2000

(030) Gladys Bentley, c. 1980 - 2000

(034) Unknown, c. 1980 - 2000

(037) Unknown, c. 1980 - 2000

(058) Renee Rosnes, c. 1980 - 2000

(071) Richard Rodgers and Lorenz Hart, c. 1980 - 2000

(093) Unknown, c.1980 - 2000

(110) Iggy Pop and Tom Waits, 2003

(114) Meredith d'Abrosio, c.1980 - 2000

(116) Jon Hendricks and Annie Ross, c.1980 - 2000

(124) Tchaikovsky and Ellington side by side , c.1980 - 2000

(125) Steve Sterner plays to Buster Keaton, c.1980 - 2000

(130) Soubrette, c.1980 - 2000

(152) Carmen McRae at the Blue Note, 1989

(182) Nana Vasconcelos, c.1980 - 2000

(188) Unknown, c.1980 - 2000

(190) Randy Weston, c.1980 - 2000

(206) Kid Creole and the Coconuts, c.1980 - 2000

(207) Billy Joel #2, c.1980 - 2000

(221) Unknown, c.1980 - 2000

(227) Unknown, c.1980 - 2000

(228) Unknown, 1980 - 2000

(258) Charles Mingus, c.1980 - 2000

(260) The Flying Neutrinos, c.1980 - 2000

(268) Barbara Cook, c.1980 - 2000

(282) Julie Wilson, c. 1980 - 2000

(283) Jimmy Scott, c.1980- 2000

(284) Bill Charlap, c.1980- 2000

(305) Billy Strayhorn, c.1980 - 2000

(306) Townes Van Zandt, c.1980- 2000

(314) Joann Brackeen, c.1980- 2000

(318) Dick Hyman, c.1980- 2000

(332) Firehose: George Hurly, Ed Crawford, Mike Watt, c.1980- 2000

(383) My Cousin Willie C., c. 1980 - 2000

(413) Benny Green, c. 1980 - 2000

(414) Geri Allen, c. 1980 - 2000

(440) Unknown, c. 1980 - 2006

(466) Bobby (Blue) Bland, c. 1980 - 2006

(467) The Holmes Brothers, c. 1980 - 2006

(474) Bobby Short, c. 1980 - 2006

(475) Judy Carmichael and Michael Hashin, c. 1980 - 2006

(477) Five Guys named Moe, c. 1980 - 2006

(478) In Living Color, c. 1980 - 2006

(537) Edgar Bronfman Jr., Rupert Murdoch, and Sumner Redstone, c.1990 - 2011

Art Blakey (087), 1988-92

Barbara Carroll, c.1980 - 2000

Billy Joel (101), c.1980 - 2000

Boulez Ross (048), c.1980 - 2000

Dave McKenna, c.1980 - 2000

Doc Cheatham (090), unknown

John Cage (036), c.1980 - 2000

Max Roach (088), c.1980 - 2000

Terry Waldo (089), c.1980 - 2000

Tony Spargo in London, 1997

Untitled 040 Dave Frishberg, c. 1980 - 2000

Untitled 261 (Bette Midler), c.1980-2008

Untitled 279 (Large Guitar and Musicians), c.1980-2008

Untitled 288 (Betty Carter), c.1980-2008

Untitled 289 (Cyrus Chestnut), c.1980-2008

Untitled 290 (Joe Lovano), c.1980-2008

Untitled 291 (Pharoah Sanders), c.1980-2008

Untitled 295 (Pierre Boulez), c.1980-2008

Untitled 296 (Poul Ruders), c.1980-2008

Untitled 322 (Two Singers), c.1980-2008

Untitled 324 (Richard Tauber), .1980-2008

Untitled 330 (Darius Milhaud), c.1980-2008

Untitled 331 (Arthur Schoenberg), c.1980-2008

Untitled 333 (Nancy Wilson), c.1980-2008

Untitled 334 (Vince Giordano), c.1980-2008

Untitled 335 (The Microscopic Septet), c.1980-2008

Untitled 339 (Leon Botstein), c.1980-2008

Untitled 342 (Birgit Nilsson), c.1980-2008

Untitled 356 (Smiling Man) , c.1980-2008

Untitled 366 (Blossom Dearie), c.1980-2008

Untitled 368 (Phoebe Legere), c.1980-2008

Untitled 371 (Steve Ross), c.1980-2008

Upon the Passing of Jutta Hipp, c. 2005

Easy Street, 1982

Wendy O. Williams, 1984

Stanley Crouch, unknown

Gladys Bentley in Harlem, 2003

Lil Green, 1972


(360) The Exile, c.1980-2008

(038) Ernst Lubitsch, c.1980 - 2000

(060) David Brown, c. 1980 - 2000

(091) Nastassja Kinski , c.1980 - 2000

(092) José Ferrer as Talouse Latrec, c.1980 - 2000

(111) Kenji Mizoguchi, c.1980 - 2000

(112) William Wyler, c.1980 - 2000

(115) Peitro Germi's Seduced and Abandoned, c.1980 - 2000

(128) Judy Holliday, c.1980 - 2000

(140) Michael O'Donoghue, 1994

(153) Ginger Rogers as Susan Applegate, 1988-92

(187) David Cronenburg, c.1980 - 2000

(210) Agentsaurus Rex, 1996

(213) Peter Bart and Jack Benny, c.1990 - 2000

(215) Marlon Brando, Ewa Aulin, and John Astin, c.1980 - 2000

(226) Orson Welles , c.1980 - 2000

(233) Steven Spielberg, c.1980 - 2000

(256) Chinatown , c.1980 - 2000

(275) Jane Fonda, c.1980-2008

(276) L.A. Confidential, 1997

(301) Preston Sturges, c.1980-2008

(310) DeNiro, Alexander, Russo in Rocky and Bullwinkle, c.1980-2008

(312) (Sapph-o Rama, Lesbian Cult Films) , c.1980-2008

(343) Carol Reed, c.1980-2008

(351) Claudia Cardinale, c. 1980 - 2000

(363) Mae Murray, c.1980-2008

(409) Groucho Marx, c. 1980 - 2000

(414) Frank Capra's Dirigible and Submarine, c. 1980 - 2000

(421) Klaus Kinski and Claudia Cardinale in Fitzcarraldo, c. 1980 - 2006

(422) Ingrid Bergman as Golda Meir, c. 1980 - 2006

(429) Peter Lorre in M, c. 1980 - 2006

(446) Elmo Lincoln as Tarzan, c. 1980 - 2006

(485) Development Hell, 1998

(487) Ron Howard and Brian Grazer, 1998

(488) John Travolta and Roman Polanski, 1998

(489) The Trouble with Agents, 1998

(490) Warren Beatty in Bugsy, 1998

(491) Joe Roth, 1998

(494) John Calley, 1998

(495) Charlie Chaplin and Sylvester Stallone, 1998

(496) Tweedle Dee and Tweedle Dum, c. 1980 - 2006

(530) Ronald Bass, c.1990 - 2011

(531) Building the Perfect Buzz (Mad Hatter's Tea Party), c. 1980 - 2006

(532) Ronald Bass, c. 1980 - 2006

(533) D W Griffith, c. 1980 - 2006

(534) Godzilla, Dean Devlin, Roland Emmerich, c. 1980 - 2006

(538) Francis Ford Coppola, c.1990 - 2000

Browning (Tod Browning), 1997

Buster Keaton , c. 1980

Harmonica Monday (Peter Lorre), 1990

Jack Smith (Flaming Creatures), 2003

Marlene Dietrich, c. 2005

Scorpio Rising: Tarzan and Queen La of Opar, unknown

The Burial of Zip, the What Is It?, 1997

The Pre-History of Cinema: Griffith, 1996

The Wedding Party (From Freaks), 2003

Tom Tyler in Portland, 2004

Twiggy, 1980-84

D.W. Griffith, 2006

DeNiro as Capone, 1988

Notorious People

Additional Works on Paper

Self Portriats

Baseball and Sports



Paris de Nuit portfolio

Personal Photos

Artist Statement

Richard Merkin:  Statement



‘Art strives for form and hopes for beauty.’

George Bellows


‘Motherwell paints like a guy who knows what to tip the headwaiter.’

Anonymous colleague


‘It is the process of painting which is repellent; to force from little tubes of lead a glutinous flamboyance and to defile with the hair of a camel therein steeped, taut canvas is hardly the diversion of a gentleman.’

Max Beerbohm


‘By the way, those one-color boys have sure got me down. They contemplate their optical illusions as if they were Pure Being but all I can see is a…corporate symbol. Occasionally I talk shop with them but more often than not I demand an explanation.’

Justin Green



Notes towards an Explanation


Basically, the pictures that I have done in the recent past can be divided into two main groups:  those dominated by a single motivating factor, often of a more of less “documentary” nature and those that are compendia of varied associations from diffuse sources. A third category might seem to be suggested by the more eccentric pictures and perhaps a number of the assemblages and objects but more often than not I find that these have much in common with the latter form. The pictures then are executed in cycles and although they cannot in any sense be termed polarities, they do constitute a kind of balance in my program.


With rare exception I work on a single picture until it is complete. In the past few years I have found the pictures taking longer to do than they did four or five years ago. I am also aware of the fact that the more recent work has a sense of formality that is insinuated rather acutely. I find this somewhat curious because if anything my attitude towards the proprieties inherent in the act of painting (as see them) has become more flexible. The seeming paradox however gives rise to the positive results: the expansion of the total pictorial potential tempered by an execution that has become firmer and more exacting creates incidents that did not appear in the older pictures.


I believe in an art that is pertinent and one that is in a sense “employed” to use the phrase of a colleague. I naturally believe in a full art, a rich art and one that touches on as many levels as possible. There is no doubt that “art is a private matter”, as Tzara has said, but in so far as I am concerned this does not present an unsurmountable obstacle to the production of a picture that strives to be relevant. I have no interest in the multitudes of meager triumphs that abound. Like Rex Reed or those ghastly Norwegian wooden shoes that so many otherwise attractive young ladies insist upon dragging around, they are simply segments of my environment.

I have never made pictures that are to be solved like riddles nor deciphered like puzzles. I do not make pictures that are about anything except themselves. My selection of elements would, if traced, tell something about me but in the end, the effectiveness of any picture is dependent upon its organization and the associations that it can give rise to – what the picture is and what it stands for. I have no interest in nostalgia nor in a readily translatable language of symbols. I believe in the utilization of anything proper to make poetry. I use, both directly and obliquely, books, magazines, photographs, newspapers and printed ephemera of every nature. I find myself involved with the concept of history, research and journalism as material for the making of pictures. I select and work from and arrange to make a new totality that is itself. R. B. Kitaj’s remark about using books as a landscape painter would use trees is lyrical and it is accurate.


I cannot see anything wrong with knowing what to tip the headwaiter. I believe implicitly in proprieties and in the knowledge of those things one should not do, and I look upon restraint as as valuable an instrument as impulse and spontaneity. While the statement by Max Beerbohm on painting as an unsuitable activity for gentlemen may be somewhat extreme, it does serve to lay a good foundation for reticence as equipment. More to the point though is Sir Max’s comment upon the attire of Beau Brommell, “free from folly or affectation, yet susceptible to exquisite ordering, plastic, austere, economical” – and, as James Laver correctly adds, beautiful. It is somewhat remarkable to compare this description of the epitome of 19th century male costume with a synopsis of art by the Columbus, Ohio strongboy who painted a Stag at Sharkey’s – “Art strives for form and hopes for beauty.”


In conclusion,  I have used whatever I felt proper and necessary to make the best and the most beautiful pictures that I possibly could and that, as the actress said to the bishop, would seem to be all for the moment.


  Note:  Richard Merkin passed away October 2009.  We truly miss him.


Artist Bio


Richard Merkin’s work conjures up scenes that evoke the raucous spirit of the 1920’s, 30’s and 40’s. In his witty, often eccentric illustrations and paintings, Merkin depicts movie stars, jazz musicians, sports heroes and literary impresarios co-mingling with more personal references. In his highly stylized approach to the figure, Merkin privileges color relationships, balance and juxtaposition over strictly literal descriptions of his subjects.

Merging his role as flaneur (connoisseur of city life) with his role as painter and social historian, Merkin retrieves lost cultural artifacts-a Turkish cigarette, a gangster, a bowler and generally 'things most people don't know about'-and reconstitutes their Jazz Age virtues on canvas in cubist, comic-laced landscapes of tropical color.


“This desire to know and celebrate people and events that others find devoid of significance”, according to Barbara Dayer Gallati, ” is a primary characteristic of Merkin’s art and the source of the irony that prevails within it. More often than not these esoteric fragments of “public” information reveal a taste for the bizarre or darker side of human existence, the sinister nature of which is relieved by the artist’s use of vibrant color and dynamic compositions.”

In agreement, Tom Wolfe writes, "The typical Merkin picture takes legendary American images-from baseball, the movies, fashion, Society, tabloid crime and scandal-and mixes them with his own autobiography, often with dream-style juxtapositions."

Richard Merkin was born in Brooklyn, New York in 1938, and held degrees from Syracuse University and the Rhode Island School of Design. In 1962-63 he received a Louis Comfort Tiffany Foundation Fellowship in Painting and, in 1975, The Richard and Hinda Rosenthal Foundation Award from The National Institute of Arts and Letters.

Merkin also has the dubious distinction of appearing on the cover of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album, (back row, right of center).

Merkin began teaching at the Rhode Island School of Design (RISD) in 1963 and remained there for nearly 42 years. During this time, he built his reputation as a fine artist in New York City.  He is represented in the permanent collections of The Museum of Modern Art, The Smithsonian Institution and the Whitney Museum as well as many others.  Mr. Merkin had been a Contributing Editor for Vanity Fair from 1986 to 2008 and a regular contributor of illustrations to The New Yorker since 1988, as well as Harper’s and The New York Time’s Sunday Magazine. From 1988-1991 he wrote a monthly style column for Gentlemen’s Quarterly. In 1995, he illustrated the book, Leagues Apart: The Men and Times of the Negro Baseball Leagues, (by Larry Ritter). He also wrote the text and captions for The Tijuana Bibles, (Simon & Schuster, 1997).

Merkin’s exhibitions in Hudson, NY began in 2000 at Kendall Art & Design, a gallery run by one of his former RISD students, Laura Battle.  In 2002, he began exhibiting with Carrie Haddad Gallery until he died in 2009.  Carrie Haddad Gallery currently represents the Richard Merkin estate.


New Yorker News Desk

Posts by Chris Curry

September 9, 2009

Richard Merkin, 1938-2009

“I love you madly” is how Richard Merkin always signed off on the phone. Richard, whose paintings graced our pages for twenty years, died on Saturday. He was a life force, and he brought a smile to all who knew him. I was Richard’s editor, and when he phoned the office, the whole department knew it: you could actually hear his big, wonderful voice across the room.

Bobby Short whispered his name loudly when he entered the Carlyle; Richard bellowed back, “Hello, Bobby,” and charged over to deliver a hearty handshake. His passion for New York City was infectious. His love of jokes was a pleasure to all who knew him, even after the fourth telling. It was all in the delivery.

Richard loved and evoked the great spirit of the nineteen-twenties, thirties, and forties in his work. He created brilliant portraits on handmade paper, with handmade pastels, of everyone from Carmen McRae to Walter Winchell, along with several covers. (Here is a slide show of his work.) An avid reader of the magazine and a fan of Liebling, Arno, Thurber, and Angell, he drew inspiration from our pages and the magazine’s history. A lover of baseball, he illustrated “Leagues Apart: The Men and Times of the Negro Baseball Leagues.”

With his Krazy Kat-stamped hand-rolled cigarettes, custom Vincent Nicolosi suits, bowler hat, and signature mustache, Richard was a connoisseur of the good life in New York City. He was charming, and cared deeply for his many great friends, among them Tom Wolfe, Duncan Hannah, and a multitude of former students and fans from Rhode Island School of Design—not to mention the readers of this magazine.

We will miss him terribly, and continue to love him madly.


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