Drawings and Watercolor Paintings

The News (2018), Watercolor Paper Fabriano 600 g, 40,5x50,5 cm, by Italian contemporary artist Annemarie Ambrosoli (ICA - International Certified Artist) This watercolor comes direc...

In my Mind (2018), Watercolor on Paper Fabriano 600 g, 46,5x67,5 cm, by Italian contemporary artist Annemarie Ambrosoli (ICA - International Certified Artist) This watercolor comes...

Nancy Lamb, Key Lime Lime, 2020, Watercolor on Paper, 5.5 x 3.5" Contemporary American Still Life of a Key Lime Pie, Dessert Treat. This fantastic zero-c...

Nancy Lamb, Strawberry Blip, 2020, Watercolor on Paper, 5.5 x 3.5" Contemporary American Still Life of Strawberry Cupcake, Dessert Treat. This fantastic ...

Graphite on colored paper. This work is unique. Work comes with a Certificate of Provenance from The Andy Warhol Foundation for the Visual Arts issued by Christie’s. Stamped on the v...

Graphite on paper. This work is unique. Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Ar...

Graphite on paper. This work is unique. Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Ar...

Nancy Lamb, Mile High Pie, 2020, Watercolor on Paper, 5.5 x 3.5" Contemporary American Still Life of a Chocolate, Mile High Pie Dessert Treat. This fant...

Nancy Lamb, Kiss Cake, 2020, Watercolor on Paper, 5.5 x 3.5." Contemporary American Still Life of Hershey's Kiss Cake, Chocolate Dessert Treat. This fan...

Signed (at lower right): FJK

Signed (at lower right): FJK

WPA Post Office Mural Study Native American Scene Regionalism Social Realism Louise Emerson Ronnebeck (1901 - 1980) Proposal Sketch for Worland Wyoming Post Office WPA Mural Project Image: 7 x 15 inches Board 14 x 22 inches Watercolor on paper, attached to black/gray cardboard/thick paper c. 1937 Signed lower right Written in Louise's hand on mounting paper in white chalk/pencil: "Sketch for Mural...

The body of a slim young man. 1970s. Marco Silombria signed. Marco Silombria, Italian advertising graphic designer, artist and ceramist. charcoal and wax on paper. Signed bottom righ...

Takashi Murakami Untitled signed original drawing of Two Flowers with heart doodle, 2021 Original marker drawing done on title page and bound in hardback monograph with purple boards...

After waking up. Daydreaming. Large scale painting on paper. Size cm 100x70 Torsos of a young nude. Around 1980. Watercolor, colored ink, wax colors on paper. Silombria uses ...

Original oil pastel and gouache figure painting by celebrated, twentieth-century California landscape painter, Ronald Shap. Vibrant sketch of nude woman with fetish accessories in wa...

Takashi Murakami Unique drawing (Two Flowers) created for the Modern Art Museum, Ft. Worth, Texas, 2018 Original drawing done in marker, and bound on title page of hardback monograph...

David Dewey (B. 1946) Reader's Digest Headquarters, 1996 Watercolor on paper Sight: 24 x 18 1/2 in. Framed: 36 x 29 3/4 x 1 in. Living on the Maine coast, David Dewey is a watercolo...

Joanne Seltzer was born in Philadelphia, Pennsylvania and raised in Charleston, West Virginia. After having majored in journalism at Northwestern University (she graduated in 1963), ...

Original colored crayons and pastel drawing on paper. Hand signed and dated on front by David Hockney. Artwork size 16.75 x 14inches. Frame size approx 27 x 24 inches. Provenance...

John Livzey Ridgeway (American, 1859-1947) Signed: J. L. Ridgway Imperial Woodpecker, aka Ivory Billed Woodpecker, c. 1898 Gifted to Doris Barroll Amos in 1938 Original Watercolo...

This artwork titled "Danzantes de Colores from the "Colcha" series, 1989, is a watercolor and ink on hand made paper by noted American artist Amado Maurilio Pena...

Gilbert & George (British, b. 1942 and 1943) The World of Gilbert & George: The Storyboard, 2001 Medium: Ink wash drawing on paper (and artist’s book) Dimensions: 20.3 x 29.2 cm (8 x...

This artwork titled "Woman in Purple" from the "Colcha" series, 1989, is a watercolor and ink on hand made paper by noted American artist Amado Maurilio Pena...

Pencil portrait of a brave signed by Joseph A. Imhof.

"Men in Barracks" WPA Mid 20th Century American Scene Realism Gay Modernism WWII. 18 x 24 inches Watercolor on paper. c. 1940s. Signed lower right. BIO ...

Standing Female Nude Colored chalks on tan Strathmore paper, c. 1975 Signed in chalk upper right (see photo) Condition: Excellent Housed in an 8 play acid free rag matting S...

Jeff Koons Original antiquity drawing, 2009 Drawing in gold marker on paper Signed and dated on the front 8 × 10 inches Unframed About Jeff Koons: I like to think that when you leav...

Pencil on cream wove paper, 5 5/8 x 9 7/8 inches (141 x 250 mm), signed in pencil, lower lower left. With some remarques in graphite and the letter "H" written in green pencil in the left margin. There is some adhesive residue from a former mount at the top corners on the verso, and at each of the four corners on the recto, as well as some minor, uniform age toning. On the verso in pencil is the date, along with an inscription including the name "Magriel," in reference to the important New York City based art collector Paul David Magriel (1906-1990). Presented in a simple gold and cinnebar wood frame from the period. With the Paul Magriel Collection label on the frame back, as well as labels from the Hebert E. Feist Gallery, NY, NY, and the Country Art Gallery, Locust Valley, NY. Henry Farrer was a founding member of the American Society of Painters in Water Color (1866), and served as the secretary of that organization for many years. Farrer was also a founding member of the New York Etching...

Yellow Poppies by Texas artist Julie England is an Ink and Watercolor, Oil on Yupo paper. The size of Yellow Poppies is Image 26” x 40” Framed 31 ¼” x 45 ¼” Yellow Poppies by J...

KAWS Untitled cloud drawing, 2010 Marker on colored paper Signed, dated and inscribed in marker Frame included Signed, dated and inscribed to Froggie in marker Floated and framed in...

Cool Afternoon by Texas artist Julie England is an Ink and Watercolor, Oil on Yupo paper. The size of Cool Afternoon is 11″ x 14″ Image 16″ x 21 3/4″...

Portrait of a semi-attired young woman titled "Regarding Agnes" by Duncan Hannah. Conte pencil on paper. Signed front lower right. Offered framed. Frame size: 10.75 x 8.75 inches ...

Irises by Texas artist Julie England is an Ink and Watercolor, Oil on Yupo paper. THe size of Irises is Image 26” x 40” Framed 31 ¼” x 45 ¼” Art is...

PETER MAX God Bless America II, 2001 Acrylic on paper. Hand signed, bears artist unique catalogue/inventory number verso 28 × 21 inches Hand-signe...

Original watercolor by Edward Lamson Henry looking back at barge travel through small New York state towns. Delaware & Hudson Canal, Ellenville N...

Ronnie Cutrone Original bird drawing (hand signed and inscribed by Ronnie Cutrone), 1990 Original signed drawing done in marker held in hardback monograph with dust jacket Boldly signed, dated and inscribed by Ronnie Cutrone on the first front end page 11 × 9 1/2 × 3/4 inches Original signed drawing done in marker held in monograph, dated and inscribed by Ronnie Cutrone on the first front end page. The inscription reads: For David & Barbara Ronnie Cutrone 90 Book information: Publisher: ‎ Martin Lawrence Limited Editions, (January 1, 1990) English; Hardcover; 46 pages with 44 color and 11 monochrome illustrations About Ronnie Cutrone: Ronnie Cutrone (July 10, 1948 – July 21, 2013) was an American pop artist known for his large-scale paintings of some of America's favorite cartoon characters, such as Felix the Cat, Pink Panther, Woody Woodpecker and No Glove No Love. Cutrone's paintings are colorful, lively, and less challenging than those of his contemporaries. As Andy Warhol's assistant at the Factory atop the Decker Building from 1972 until 1980, Cutrone worked with Warhol on paintings, prints, films, and other concepts, eventually co-opting Warhol's earliest work (pre-1960) as well as works by Roy Lichtenstein and others, until finally distilling those myriad influences into the style a few critics eventually labeled "Post-Pop." He exhibited at the Niveau Gallery in 1979 with a Scottish artist called Mike Gall who showed paintings of Snoopy, Mickey and Minnie mouse, the Pink Panther and also a small series of Peter Rabbit paintings...

Untitled, 1997 Colored pencil on paper S. 12 x 9 in. (30.5 x 22.9 cm) Signed and dated, lower right, and titled on the top margin

Robert Rauschenberg 'Snowflake Crime XIX', from the ACE Gallery Collection, 1981 Solvent transfer, acrylic and fabric collage on handmade paper with deckled edges Signed and dated '81 in permanent marker on the back; bears unique artist inventory number on the back This is a UNIQUE work of art 7 3/4 × 7 1/2 inches This work is affixed on the top to its original mat, and the artist's hand signature can be seen on the verso, along with the date and artist's unique inventory number. Rauschenberg Reference No: RR-81.002 Signed and dated '81 by Robert Rauschenberg in permanent marker on the verso; bears unique inventory number Provenance: ACE Gallery art collection...

David Morrison was born in Council Bluffs, Iowa in 1956. He received his MFA in Printmaking from the University of Wisconsin-Madison in 1985. A visiting lecturer and guest artist at numerous universities, he is very involved in the world of printmaking, specifically stone lithography, and he is the Professor Emeritus at Indiana University’s Herron School of Art and Design in Indianapolis. Morrison has exhibited widely, and his work is included in numerous public collections including The Whitney Museum of American Art, The New-York Historical Society, The National Gallery of Art, The Smithsonian American Art Museum, The Nelson-Atkins Museum of Art, the Figge Art Museum, the Arkansas Museum of Fine Arts, the Portland Museum of Art, Collection of Eau Palm Beach Resort & Spa, to name a few. 'David Morrison’s drawings are in the Old Master tradition of still-life and natura morte, whose surface beauty with its signs of decay warn viewers about the transitory nature of all life. In many ways the artist’s refined drawings can be connected to the works of John James Audubon in the N-YHS collection, which, along with their birds, showcase fruit, leaves, and flowers whose signs of decay allude to the cycle of nature and the temporal nature of life. Audubon also tended to isolate his birds and settings against empty white backgrounds. Morrison’s portrayals of leaves also tie into the poetic celebration of nature and landscape found in the works of the Hudson River School. Most profoundly they relate to Asher B. Durand’s obsession with trees (see the 2010 Durand catalogue and the essay “‘A Magnificent Obsession’: Durand’s Trees as Spiritual Sentinels of Nature”). Nevertheless, in the case of the over-lifesize measurements and the leaf's and branch's isolation on the page, Morrison's watercolors are contemporary and modern in appearance, yet profoundly evocative of both past and future.' (Roberta Olson, Curator of Drawings The New-York Historical Society). Artist Statement My drawings of tree branches and trunks embrace nature. I love the springtime when there are eruptive explosions of buds with new leaves and berries. I am seduced by the sensual shape and color of the buds protruding from the branches. I love the firecracker explosion of the red and yellow berries of the crabapple. My drawings capture a moment of this existence. I am also fascinated with fallen tree branches with their scarification left by diseases, infestation, decomposition and storm damage. My drawings capture the degeneration cycle of plant materials and how they echo the living conditions of man and nature. I am interested in capturing the reality of their existence, with all the imperfections, echoing their fragile existence in nature, not an idealized beautification of nature like botanical illustrations. The drawings are hyper realistic: they capture minute details of the subjects that I portray, but they are only an illusion of the actual reality. I became obsessed with drawing branches...

RGRFinearts is pleased to offer this WPA Era drawing by Carl Pickhardt of construction workers. It is matted and drawn on slightly pinkish paper. A wonderful addition to a WPA or lab...

David Morrison was born in Council Bluffs, Iowa in 1956. He received his MFA in Printmaking from the University of Wisconsin-Madison in 1985. A visiting lecturer and guest artist at numerous universities, he is very involved in the world of printmaking, specifically stone lithography, and he is the Professor Emeritus at Indiana University’s Herron School of Art and Design in Indianapolis. Morrison has exhibited widely, and his work is included in numerous public collections including The Whitney Museum of American Art, The New-York Historical Society, The National Gallery of Art, The Smithsonian American Art Museum, The Nelson-Atkins Museum of Art, the Figge Art Museum, the Arkansas Museum of Fine Arts, the Portland Museum of Art, Collection of Eau Palm Beach Resort & Spa, to name a few. 'David Morrison’s drawings are in the Old Master tradition of still-life and natura morte, whose surface beauty with its signs of decay warn viewers about the transitory nature of all life. In many ways the artist’s refined drawings can be connected to the works of John James Audubon in the N-YHS collection, which, along with their birds, showcase fruit, leaves, and flowers whose signs of decay allude to the cycle of nature and the temporal nature of life. Audubon also tended to isolate his birds and settings against empty white backgrounds. Morrison’s portrayals of leaves also tie into the poetic celebration of nature and landscape found in the works of the Hudson River School. Most profoundly they relate to Asher B. Durand’s obsession with trees (see the 2010 Durand catalogue and the essay “‘A Magnificent Obsession’: Durand’s Trees as Spiritual Sentinels of Nature”). Nevertheless, in the case of the over-lifesize measurements and the leaf's and branch's isolation on the page, Morrison's watercolors are contemporary and modern in appearance, yet profoundly evocative of both past and future.' (Roberta Olson, Curator of Drawings The New-York Historical Society). Artist Statement My drawings of tree branches and trunks embrace nature. I love the springtime when there are eruptive explosions of buds with new leaves and berries. I am seduced by the sensual shape and color of the buds protruding from the branches. I love the firecracker explosion of the red and yellow berries of the crabapple. My drawings capture a moment of this existence. I am also fascinated with fallen tree branches with their scarification left by diseases, infestation, decomposition and storm damage. My drawings capture the degeneration cycle of plant materials and how they echo the living conditions of man and nature. I am interested in capturing the reality of their existence, with all the imperfections, echoing their fragile existence in nature, not an idealized beautification of nature like botanical illustrations. The drawings are hyper realistic: they capture minute details of the subjects that I portray, but they are only an illusion of the actual reality. I became obsessed with drawing branches...

Eileen Lake Crayon on paper, early1930's Initialed in pencil lower right (see photo) Titled and annotated verso "Eileen Lake, early 1930s girlfriend" Note: Eileen Hall Lake was an American poet and Adolf Dehn's girlfriend in the early 1930s. Provenance: Estate of the artist By descent Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

RGRFineArts is pleased to offer this fine pencil drawing of young people enjoing the beach by Carl Pickhardt done in the 1930s. This picture illustrates the fine craftsmanship that P...

Industrial Landscape Contemporary American Watercolor Magic Realism 20th Century Henry Koerner (1915-1991) J&L Oxygen Plant 18 x 24 1/2 inches Watercolo...

"They paved paradise and put up a parking lot," Joni Mitchell said. - - Created in 1969, at the dawn of the American environmental movement, artist Richard Erdoes draws a sequential narrative in the form of a coil. From inception to destruction, it illustrates a list of things that humans are doing to destroy the world we live in. The work was commissioned for school-age humans and executed in a whimsically comic way. Yet the underlying narrative is sophisticated and foreshadows a world that could be on the brink of ecological disaster. Graphically and conceptually, this work exhibits an endless amount of creativity and Erdoes cartoony style is one to fall in love with. Signed lower right. Unframed 12.4 inches Width: 12.85 inches Height is the live area. Board is 16x22 inches. Richard Erdoes (Hungarian Erdős, German Erdös; July 7, 1912 – July 16, 2008) was an American artist, photographer, illustrator and author. Early life Erdoes was born in Frankfurt,to Maria Josefa Schrom on July 7, 1912. His father, Richárd Erdős Sr., was a Jewish Hungarian opera singer who had died a few weeks earlier in Budapest on June 9, 1912.After his birth, his mother lived with her sister, the Viennese actress Leopoldine ("Poldi") Sangora,He described himself as "equal parts Austrian, Hungarian and German, as well as equal parts Catholic, Protestant and Jew..."[4] Career He was a student at the Berlin Academy of Art in 1933, when Adolf Hitler came to power. He was involved in a small underground paper where he published anti-Hitler political cartoons which attracted the attention of the Nazi regime. He fled Germany with a price on his head. Back in Vienna, he continued his training at the Kunstgewerbeschule, now the University of Applied Arts, Vienna.[5] He also wrote and illustrated children's books and worked as a caricaturist for Tag and Stunde, anti-Nazi newspapers. After the Anschluss of Austria in 1938 he fled again, first to Paris, where he studied at the Academie de la Grande Chaumiere, and then London, England before journeying to the United States. He married his first wife, fellow artist Elsie Schulhof (d. xxxx) in London, shortly before their arrival in New York City. In New York City, Erdoes enjoyed a long career as a commercial artist, and was known for his highly detailed, whimsical drawings. He created illustrations for such magazines as Stage, Fortune, Pageant, Gourmet, Harper's Bazaar, Sports Illustrated, The New York Times, Time, National Geographic and Life Magazine, where he met his second wife, Jean Sternbergh (d. 1995) who was an art director there. The couple married in 1951 and had three children.[6] Erdoes also illustrated many children's books. An assignment for Life in 1967 took Erdoes to the Pine Ridge Indian Reservation for the first time, and marked the beginning of the work for which he would be best known. Erdoes was fascinated by Native American culture, outraged at the conditions on the reservation and deeply moved by the Civil Rights Movement that was raging at the time. He wrote histories, collections of Native American stories...

Original watercolor on archival paper of a sailboat with a trailing dory heading out to sea. Attributed to the hand of Alexander Yaron. Signed lower right and dated 1980. Condition is excellent. Under glass. The artwork is matted and housed in a rounded front edge solid oak wood frame. Overall framed measurements are 27 by 34 inches. Provenance: A Sarasota, Florida gentleman. Alexander A. Yaron was born in Estonia in 1910, lived in China and the Philippines before moving to the United States in the 1950’s. He lived in New York as well as in Anaheim, California where he has a working studio. An autodidact and a versatile commercial artist, Alexander Yaron applied his talent in portraiture, photography, interior design, advertising, layout and illustration. His best known projects were illustrated art...

Bronx Post Office Mural Study WPA Horse Social Realism Mid 20th Century Modern Jo Cain (1904 - 2003) Couriers of History Bronx Post Office Mural Study Horse in the Sun (with two ad...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...