That he is not a "household name" is merely an attribute of creating works that are decidedly not "commercial", being created in a very limited number for a very discerning clientele all over the world. Galleries were always vexed by the artist, as invariably they need a reasonable flow of incoming works by a given painter and found it hard to "market" Mr. Peterson. "The best art is the art that sells the best" was generally the norm. Nonetheless, fine galleries did buy his work and it did sell, if very selectively at galleries such as Morantin-Nouvion in Paris, Maxwell in San Francisco, and Old World in Newport Beach, CA. In 1975 Richard Peterson had a "two man exhibition" with Norman Rockwell at the Hagenmaker Gallery in Beverly Hills, CA. In addition to frequent participation in "salons" in Paris and Europe, he was also the "unofficial" house artist at the legendary Palace Hotel in St. Moritz, holding annual exhibitions attended by such personages as Prince Alexander of Yugoslavia, Prince Thun und Taxis, Valarian Rybar, Christina Onnassis, all members of the glittering Palace Circle. The hotel was itself a collector of Mr. Petersons' paintings, both the owners, the Badrutts in their private collection, and in the private suites. This was to be sure a very spectacular career creating art for a very private and knowledgeable group of collectors. He also had a following in a significant group of people of moderate means, for whom owning what they considered to be the finest paintings they had ever seen by a living artist was worth a financial "stretch". The artist is perhaps most proud of his latter group of collectors whom he truly considered the most knowledgeable of all and who acquired art which they really loved rather that which would impress.

As the mid-nineteen-nineties approached, and things were changing rapidly, this artist became increasingly disillusioned in the turns the "art world" was taking. Highly marketed "artists" seemed to be infiltrating everywhere and people, especially children, were becoming less aware of the difference between good art and a marketed commodity.

This and other elements were responsible for Mr. Peterson's decision to retire from art, having had a good run and a great career, he simply quit painting. Many could not believe it but this was his decision. Ten years have passed since then and now there appears to be a change in the air. People are becoming more demanding in what they spend money on, they want better and better quality in what they acquire for their homes and collections. It was impressed upon Mr. Peterson, both by personal observation and the input of those whose judgment he respects, that perhaps it might be time for a "comeback" while he is still able to create the type of high-quality paintings for which he became known. The world may be in the beginning of a "New Renaissance" in many ways. It would be his pleasure to make his personal contribution to this "new birth" of ideas and creativity. As a friend of his put it, "It's a bloody shame you are not painting." He is open to producing limited select commissions… no ceilings please.

The terms and conditions of commissioning a painting by Richard Peterson will be as they have always been and as listed here. As far as subject matter of any individual painting is concerned, this artist is incredibly versatile and relishes a "challenge" providing it falls within certain parameters. Size is also a consideration, as the creation of any excessively large picture would present significant difficulties, not to mention the time involved. Ideas submitted by clients have often proved the fuel to fire this artist's imagination and have produced some remarkable pieces. To appropriate the words of an Elizabethan gentleman, "The man who can spell a word but one way has a poor imagination." Richard Peterson feels the same way about art and has refused to "specialize" in any one subject. His agent, Cecelia Clouse, would be delighted to discuss with a prospective client their wishes, and to introduce them to Mr. Peterson who will effort to ensure their complete satisfaction with their commission. The "fuel" will never burn more brightly than with the brush of this artist.

In the work of Richard Peterson one observes the grandeur of the overall composition, moving in closer to his floral pieces for example, to the capturing of the reflections in a drop a dew on the leg-hairs of a butterfly, all exquisitely rendered in a jewel-like flawless technique unique to the artist and unimitatable.

His paintings repose in important collections worldwide, "private museums" in the Orient, royal collections, corporate collections, celebrities and other walks of life both grand and humble, all of whom treasure his work. Although considerations of privacy prevent the mention of some specific collections at the request of their owners, an abbreviated list is available.

Commissions, due to the nature of the work and time involved in their creation, must be extremely limited, as they always have been.