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HEATHER JAMES FINE ART presents a rare look into art history’s past and present, offering important works from a cross section of periods, movements, and genres including Post-War, Contemporary, Impressionist, Modern, American, Latin American, and Old Masters. In twenty-four years, Heather James Fine Art has expanded into a global network with galleries located in Palm Desert, California; New York, New York; San Francisco, California; Montecito, California; Jackson Hole, Wyoming, along with consultancies in Los Angeles, Chicago, Newport Beach, Austin, New Orleans, and Basel. Each year, its galleries present an array of museum-quality exhibitions, exploring historical and contemporary themes, or examining the work of individual influential artists. Heather James Fine Art is dedicated to bringing exceptional art to private clients and museums globally, while providing the utmost personalized logistical, curatorial, and financial services.

Twenty-four years ago, we opened our first gallery, a small space on an elegant street in a resort community. With backgrounds in art, art history, education, and finance, we curated our gallery to feel like a tiny museum, with the finest art and cultural antiquities we could find, while providing education, information, and curated experiences for each of our clients. We wanted every person who came in to our gallery to feel enriched in some way, to have a personal experience with the art, to understand its importance within art history, and to feel a connection to it. Today we have grown to include galleries in Palm Desert (right down the street from the first Heather James), Jackson Hole, New York, San Francisco, and Montecito, with art consultancies in Los Angeles, Chicago, Austin, Newport Beach, New Orleans, and Basel. We’ve expanded our specialties to showcase important works from a cross section of periods, movements, and genres. As Heather James has grown, we have maintained the standard of providing top notch customer service, while continuing to make that personal connection between the art and our client. We have always been enchanted by the beauty of the object and intrigued by its history – where it was made, and why, who touched it, owned it and loved it in the past, and sharing these stories with our clients, and seeing them fall in love with a work of art, is both a joy and a reward. We invite you to come in to one of our galleries and experience what Heather James Fine Art has to offer. We are confident that you, too, will find yourself enriched by the experience. - Heather Sacre and James Carona


CLAUDE MONET (1840-1926) Le Mont Riboudet à Rouen au Printemps Signed lower right, "Claude Monet" oil on canvas 21 1/2 x 28 5/8 in. 1872


Claude Monet in his gardens, 1915

One of Claude Monet’s characteristic processes was to paint scenes and areas over and over, at different times of the day and of the year. In Le Mont Riboudet à Rouen au Printemps, Monet has captured the countryside outside of the rapidly developing metropolitan Rouen in spring. His careful brushstrokes of the fields and houses contrast with the muted tones of the soft sky, all in an effort to capture the changing light of a rural spring. Rouen would become a site that Monet returned to often. This painting was acquired by dealer Paul Durand-Ruel who supported and championed the Impressionists and was subsequently bought by fellow Impressionist, Gustave Caillebotte.

SALVADOR DALÍ (1904-1989) Les Yeux Fleuris oil on canvas 27 x 19 3/8 in. 1944


Salvador Dali created a curtain with eyes for Alfred Hitchcock's psychoanalytic thriller Spellbound (1945)

In 1942, a few months after his retrospective exhibition at the Museum of Modern Art in New York, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year, Les Yeux Fleuris, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Its provenance traces to Marques Jorge de Cuevas, who also owned a similar painting by Dalí, the 15-foot-wide Yeux Fleuris, a 1931 tempera and oil on canvas that was used on the set for Mad Tristan. Eyes appear in Dalí paintings throughout his career — as late as the 1981 painting Argus, which has five eyes. Most notably, the eye appears in paintings Dalí made for the dream sequences of the film Spellbound starring Ingrid Bergman and directed by Alfred Hitchcock.

PIERRE-AUGUSTE RENOIR (1841-1919) Femme à Corsage à Rayures Jaune et Rouge Ecrivant oil on canvas 17 3/4 x 21 in. 1918


Pierre-Auguste Renoir

This painting portrays Renoir’s favorite and final model, Andrée Heuschling. She would go one to marry the artist’s son. Heuschling recurs in many of Renoir portraits, including Andrée en chapeau, lisant, from the same year and now at the Barnes Foundation in Philadelphia. One of the leaders of the Impressionists, Renoir is best known for his portraits showcasing modern, metropolitan life. The painting exemplifies Renoir’s fondness for a brighter color palette, lending warmth and texture to his artworks.

GUSTAVE CAILLEBOTTE (1848-1894) Vue du Jardin de l’Artiste et de la Vallée de Yerres oil on canvas 19 1/8 x 25 1/2 in. 1877


Gustave Caillebotte

Caillebotte’s scenes from his country home at Yerres display soft brushwork and a pastel palette typical of the Impressionists. Although closely associated with that movement, Caillebotte drew inspiration from other approaches as well, resulting in a style closer to Realism than many of his contemporaries. His noteworthy urban scenes employ flatter colors and dramatic perspectives inspired by Japanese wood block prints. Here, the artist’s delicate paint handling compliments his measured use of color. Naturalistic hues of the artist’s garden and the valley beyond – a bed of cool green and blue that divide the canvas into contrasting swaths of heavy and light tones – underscore the details touched by light.

ALEXANDER CALDER (1898-1976) Le Pyramide Orange Inscribed and dated 'Ă Monsieur Gourmelon Calder 75' (lower right) titled 'le pyramide orange' (on the reverse) gouache and ink on paper 29 3/4 x 42 1/8 in. 1975


Alexander Calder

Alexander Calder was a prolific American artist who infused his artwork with a wit and whimsy and brought movement to objects, thereby creating kinetic sculptures and dynamic drawings. Famed for his mobiles which appear to be drawings in space, Calder is renowned for his paintings which capture the dynamism in lines that appear to dance and pirouette like his sculptures. This work combines the witty lines Calder was known for with his strong sense of color featuring his often-used primary colors, black, and white as well as the orange noted in the title. Pyramids were a common motif for Calder and reappears in several of his paintings as well as in his set design for the performance Work in Progress at the Teatro dell’Opera in Rome.

JOHN SINGER SARGENT (1856-1925) Mrs. Huth Jackson oil on canvas 60 1/2 x 40 1/8 in. 1907


John Singer Sargent in his studio with Portrait of Madame X, c. 1885

This painting depicts Claire Annabel Caroline Grant Duff, daughter of Sir Mountstuart Grant Duff, a member of the British Parliament from 1857 to 1881 and from 1881-1886 the Governor of Madras, in South India. Claire married Frederick Huth Jackson who worked in the family bank, Frederick Huth & Co. As a couple they moved through the high society of London and on the Continent. Duff and her husband were frequent visitors to the Anglo-American enclave at Broadway in the Cotswolds. It was in Broadway that Sargent painted his landmark Carnation, Lily, Lily, Rose now in the Tate collection. Duff was a lively hostess and made her own name as a frequent contributor to the Spectator and as the author of A Victorian Childhood, detailing her incredible life. Claire had known Sargent for many years before he painted her in 1907. The portrait was done in his Tite Street studio in London where he arranged her on his Louis Seizestyle daybed with a coral-pink cushion framing her dark brown hair. Her shoulders are draped by the artist's cashmere shawl; the shawl features in his famous and enigmatic painting Cashmere.

HENRY MOORE (1898-1986) Reclining Figure Curved: Rough bronze 5 x 8 1/4 x 5 1/4 in. 1976 Edition 6/9


Henry Moore

One of the pioneers of modern British art, Henry Moore pushed the boundaries of figurative sculpture while at the same time sustaining a vein of classicism running through his work. This intimate sculpture features a reclining figure, one of Moore’s favorite and iconic motifs. The figure has been abstracted to sensuous curves giving the viewer of a sense of modernity and the fluidity possible in bronze. Nevertheless, this sculpture and much of Moore’s oeuvre is in dialogue with art history and the use of classic figural forms and themes. Moore masterfully mixes modernity, primitivism, and classicism to create a sculpture that speaks across time and culture.

ROBERTO MATTA (1911-2002) Untitled oil on canvas 39 1/8 x 40 3/8 in. 1976


Roberto Matta

One of the most prominent modernist artists, Roberto Matta created artworks brimming with color and surrealist forms. Born in Chile, Matta worked for two years in modern architect Le Corbusier’s studio in Paris. He also formed strong friendships with Salvador Dalí and Andre Breton, officially joining the surrealists in 1937. This painting incorporates psychological responses to political and social concerns, hallmarks of Matta’s paintings influenced by the impact of World War II. The painting also contains his classic style of numerous, overlapping architectural planes. Matta deftly merges his surrealist background with the visual language of the Abstract Expressionists.

MARC QUINN (b. 1964) (Red) Eclipse oil on canvas 78 1/8 in. diameter 2018


Marc Quinn

Marc Quinn is one of the most influential members of the YBA or Young British Artists who emerged in the 1990s through their shocking artwork underpinned by radical new approaches to art making. A multidisciplinary artist, Quinn’s output explores and blurs the boundaries of art, science, and technology along with issues of corporeality, decay, and preservation. This painting is part of his series derived from scientific photographs of solar eclipses from the last 100 years. Quinn brings to the fore themes of temporality – the duration of an eclipse against human life, human life against the cyclical cosmos. What does it mean to capture a temporal action? The series name “Anthropocene” is a nod to the human effect on nature. Not just conceptually deep, the painting is aesthetically beautiful, capturing the explosion of reds, oranges, and yellows during the cosmic event. The circular canvas is sympathetic to the eclipse of the moon across the sun.

KEITH HARING (1958-1990) Untitled acrylic on canvas 89 1/4 x 90 1/2 1984


Keith Haring

Haring created this double-paneled canvas as a central set piece for Secret Pastures, a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world. This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating Untitled, he was featured in documenta 7 (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic Crack is Wack (1986) mural. 1984 is Haring at the height of his career.

HELEN FRANKENTHALER (1928-2011) Terracotta acrylic on canvas 68 1/4 x 61 3/4 in. 1982


Helen Frankenthaler at work in studio

Frankenthaler was a famed abstract expressionist whose use of staining pigment directly on canvas gave way to the Color Field movement. By pouring paint on raw canvas, Frankenthaler fused the pigment into the very fabric, drawing attention to the nature of paint and color. In this painting, Frankenthaler mixes the surface of the canvas with thick use impasto, showcasing her ability to mix color and textures. The sprays of blue and red impasto against the tonal changes of the stained canvas creates dynamic depth and exemplifies the development that Frankenthaler pursued during life.

KURT SCHWITTERS (1887-1948) Ohne Titel (Merzbild Mit Schuhsohle) Signed in paint, lower right, "KS 45" oil and relief assemblage on plywood 21 1/4 x 17 3/4 in. 1945


Kurt Schwitters

Ohne Titel (Merzbild Mit Schuhsohle) is representational of European Avant Garde trends of the early 20th Century, including most notably the Dada movement. Kurt Schwitters was born in Hanover, Germany, in 1887 and studied at the Dresden Academy. As an early associate of the Dada movement, it was planned for Schwitters to start a Hanover outpost of sorts for the group, but this never came to fruition. An assemblage of found and crafted objects, the present work is typical of the Merz style, for which Schwitters is most highly lauded. Merz is a made-up term and describes the large assemblages and room installations that comprised the artist's output during the 1920s and 1930s. Schwitters is known as a father of installation art and was incredibly influential to artists such as Jasper Johns, Robert Rauschenberg, and Anselm Kiefer.

AI WEIWEI (b. 1957) Circle of Animals/Zodiac Heads: Gold bronze with gold patina 2010 Edition 1/4 AP


Ai Weiwei

World-renowned Chinese contemporary artist Ai Weiwei is a sculptor, installation artist, architectural designer, curator, and social and cultural critic who has been exhibiting his work internationally since the late 1990s. His artistic practice is inextricably linked with cultural engagement and willingly crosses barriers between different media—cultural, artistic, and social. It was perhaps his detention from 2011 until August 2015 by the Chinese government that brought his views to the greatest audience. Ai Weiwei now lives in Germany and continues to create new works and uses his significant international profile to promote artistic and personal freedom. These twelve sculptures depict the animals associated with the traditional Chinese zodiac. Ai Weiwei’s cycle references a European rendering of the zodiac animals designed by the Italian Jesuit Giuseppe Castiglione. The original sculptures were built in the eighteenth century for an elaborate water-clock fountain at the Yuanming Yuan (Old Summer Palace), which was ransacked in 1860. By recreating the lost and displaced statues, Ai Weiwei engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in his work concerning the “fake” and “copy” in relation to the original.

ANDREW WYETH (1917-2009) Star Route watercolor on paper 21 1/4 x 29 in. 1977


Andrew Wyeth

Andrew Wyeth is considered among the preeminent representational painters of the 20th century. Born in Chadds Ford, Pennsylvania, Wyeth drew his subject matter from the world around him: the interiors and exteriors of the stone buildings, mills, and farms of the Brandywine River countryside, and in the summers, the clapboard houses and stark landscape of the Maine coast. In this full-sheet watercolor, Star Route (1977), Wyeth depicted a house on the road to East Friendship, Maine, not far from his own summer residence. While relying on keen visual observation, he pared down the elements of a composition to their most essential, giving his works an abstracted quality and imbuing them with a sense of quietude and stillness.

PAUL JENKINS (1923-2012) Phenomena By Return acrylic on canvas 104 3/4 x 49 5/8 in. c. 1964


Paul Jenkins

Paul Jenkins is renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew upon a wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” A combination of chance and control (Jenkins used a dull ivory knife to guide the paint) reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of phenomenal colors. Jenkins primed his canvas so that unlike those of other Color Field artists, the paint did not soak in and instead, flowed and pooled – perhaps best exemplified in this large-scale painting with gem-like colors. Whether oil, acrylic, or watercolor, Jenkins displayed a mastery over these media so that both the process and the product are united.

JOHN MARIN (1870-1953) Cape Split, Maine Signed lower right, “Marin 45� oil on canvas 22 1/4 x 28 1/4 in. 1945


John Marin in 1922. Photo by Alfred Stieglitz

After a late start in studying art at the age of 29, John Marin set up his studio in Paris where he learned to meld the ideas of Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. A 1948 survey of directors, curators, and art critics voted John Marin as the greatest painter in America. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast through brushstrokes that push the painting towards abstraction without fully giving in to non-representation.

WINSLOW HOMER (1836-1910) In the Garden watercolor 9 1/4 x 6 3/4 in. 1874


Winslow Homer

In the Garden is a rare work on paper by Winslow Homer. The artist began to use watercolor as a separate means of artistic expression at the age of 37 after he had established himself as a professional illustrator. By 1875, the artist quit working as an illustrator owing to the success of his watercolors and paintings. Homer is now celebrated as much for his watercolors as his illustrations. In this work, Homer combines a variety of brushstrokes to create textural differences between the lush foliage and the figure. The woman and her dress are finely painted in pale colors in contrast with the dazzling array of flowers and vegetation. Homer achieves a play of light and color through astute brushwork and conveys a sense of leisure for those in the late 1800s.

ROBERT MOTHERWELL (1915-1991) Gesture No. 45 Signed verso, "AZUL CON Rojo Soto 1991" acrylic on canvas 48 x 36 in. c. 1977


Robert Motherwell

Robert Motherwell is widely recognized as a father of Abstract Expressionism and a great champion of painting in America during his lifetime. Outliving many of his Abstract Expressionist contemporaries, Robert Motherwell had an extensive body of work that can be seen as a time capsule of sorts, documenting the evolution of the artist over a career spanning over half of a century. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 shows how Motherwell approached his canvas, often leaving an element of chance to determine composition and form. This belief and practice was to be shared with his students Cy Twombly and Robert Rauschenberg while he was teaching at Black Mountain College. This work belongs to a small series of approximately five paintings created within a very brief period that work out a theme of bold-black elements against a gold-hued background.

EDWARD HOPPER (1882-1967) Farm House at Essex Signed lower left, "Edward Hopper, Essex House" watercolor on paper 14 x 19 7/8 in. 1929


Edward Hopper

Farm House at Essex, a watercolor from 1929, is a masterwork by Edward Hopper. Created in the same year as Chop Suey, the record-setting painting that sold at auction in November 2018 for $91.9 million, this piece presents a quiet scene from a New England coastal town. Hopper’s depiction of a solitary house in a landscape devoid of people exemplifies the sense of stillness that made him one of the most important painters of 20th century American art.

PAT STEIR (b. 1940)




oil on canvas 60 x 180 in.; 60 x 60 in. ea. 1981 American painter Pat Steir has sought inspiration in both Abstract Expressionism and Taoist philosophy. Ancient Chinese painting techniques, most significantly the eighth and ninth century “ink-splashing� painters, helped to inform her Waterfall series, which gained her acclaim and recognition in the 1980s. These works, created by splashing and dripping her pigments onto the canvas, were inspired by the relationship between humanity and nature, and the concept of allowing elemental forces to actively assist in creating her paintings. She begins the process, and then lets gravity and the environment take over, the results no longer in her hands. Also appearing repeatedly in her work is floral imagery. This large-scale triptych from 1981 is one of her earliest Chrysanthemum paintings. It was exhibited in the Whitney Biennial in 1982.

Pat Steir

DAMIEN HIRST (b. 1965) Overwhelming Love household gloss, butterflies on canvas 36 x 60 in. 2008


Damien Hirst

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include The Physical Impossibility of Death in the Mind of Someone Living (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, Mother and Child Divided (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and For the Love of God (2007), a diamond-encrusted human skull made of platinum. Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as Overwhelming Love (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”

JOHN McCRACKEN (1934-2011) Black Block Signed underneath, "BLACK BLOCK 1966 JOHN MCCRACKEN" lacquer, fiberglass, plywood 15 1/2 x 18 x 8 1/2 in. 1966


John McCracken, 1966

A revolutionary Minimalist also associated with LA’s Cool School and the Light and Space Movement, John McCracken is perhaps best known for his Planks, narrow rectangular boards, finished in polished monochrome and leaned against a wall. He produced the first of these forms in 1966, the same year that he created Black Block. The 1960s were a formative and inventive time for McCracken, during which he produced much of his most celebrated work. To create his monochrome finish, McCracken coated wood and fiberglass with resin, polishing their surfaces smooth and applying thin stains of paint. Influenced by first generation Minimalists Donald Judd, Dan Flavin, and Carl Andre, McCracken created rich and refined finishes on sharp geometric forms. He often described his work as his idea of an extraterrestrial creation. McCracken’s aesthetic is one deeply rooted in a West Coast style while at the same time otherworldly.

CARLOS CRUZ-DIEZ (b. 1923) Physichromie No 1051 serigraph on aluminum, slats in stainless steel 39 5/8 x 59 3/8 x 1 5/8 in. 1976


Carlos Cruz-Diez

Carlos Cruz-Diez was one of the most important contemporary and Latin American artists. His work explores the experiential transience of color. He was often associated with the Op Art, Kinetic Art, and Concretism movement exploding out of Latin America from the mid-20th century. This work is one from one of Cruz-Diez's signature series "Physichromie" translated as "physical color", which explores the changing, physical dimension of color through the interaction of light and space. As Mari Carmen Ramírez, Wortham Curator of Latin American Art at The Museum of Fine Arts Houston, said, “He made us see and experience color as pure and sensuous pleasure; a participatory, interactive experience open to everyone, regardless of age, class, culture or social standing.”

ADOLPH GOTTLIEB (1903-1974) Blue on Black acrylic on paper laid on canvas 24 x 18 7/8 in. 1970


Adolph Gottlieb

Gottlieb was a first-generation member of the Abstract Expressionists. Blue on Black is from his trademark “Burst” series. Like fellow Ab Ex artists including Pollock who settled into their signature style late in their careers, it was not until 1956 that Gottlieb focused on these burst paintings. This painting showcases the lyricism that he found within the “Burst” paintings by simplifying color and form. In this painting, the shapes and color coalesce to produce harmony and depth within the visual landscape of the canvas. Gottlieb had an amazing 56 solo exhibitions during his long career and his works are included in over 140 museums throughout the world.

TOM WESSELMANN (1931-2004) 1962 Plus 35 Nude Sketch II Signed lower left, "Wesselmann 97" alkyd on canvas 43 x 58 5/8 in. 1997


Tom Wesselmann

American painter Tom Wesselmann was considered a Pop artist, though he never agreed with the label. His renowned Great American Nude series fuses the commercial and the aesthetic, removing individualistic features and reducing the figures to their erogenous zones. Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. In 1962 Plus 35 Nude Sketch II from 1997, the woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body addresses the consumer culture of Post War America – the commoditization of the flesh.

ANDY WARHOL (1928-1987) Electric Chairs screenprint 35 3/8 x 47 7/8 in. ea. 1971 Edition 37/250


Andy Warhol

Andy Warhol, who famously said that, “In the future, everybody will be famous for 15 minutes,� was known for his portraits of influential and powerful celebrities, businesspeople, and socialites. He was obsessed with exploring hallmarks of a consumer society such as wealth and fame. From his renowned Factory studio in New York, Warhol became a pop culture icon, one of the most important artists of the 20th century, and a name synonymous with Pop art. Warhol's notable Death and Disaster series addresses depictions of death in the media, commenting on desensitization through repeated imagery. Often using photos from masscirculated newspapers, magazines, and tabloids, Warhol took them out of the journalistic context and appropriated them in artwork. Electric Chairs (1971) belongs to this series. Here, Warhol repeats the image ten times in different color combinations. Each screenprint is handsigned and stamped on the verso.

ANISH KAPOOR (b. 1954) Blood Cinema acrylic and steel 77 1/4 x 77 1/4 x 18 3/4 in. 2000


Kapoor's studio showing the production of Blood Cinema, pictured right

Anish Kapoor’s sculptural work explores perception, captivating and challenging viewers worldwide with iconic public installations, such as Chicago’s Cloud Gate, and in his well-known reflective glass and mirror pieces. Blood Cinema from 2000, composed of acrylic and steel, is nearly six and a half feet in diameter. Resting on the floor like an oversized lens, it warps the viewer’s perspective and distorts its environment through ethereal shades of red. The sculpture’s internal convex shape results in different visual effects when it is viewed from either side, exploring polarities of presence and absence, inward and outward, light and dark. The viewer’s presence activates these relationships – a central theme in Kapoor’s work.

JAMES ROSENQUIST (1933-2017) Untitled oil on canvas laid on panel 101 3/4 x 85 in. 1988


James Rosenquist

James Rosenquist was a prominent member of the Pop Art movement that emerged in American Art after WWII, along with Andy Warhol, Roy Lichtenstein, and Robert Rauschenberg. Rosenquist, in fact, was Warhol’s favorite artist. His unique vision of Pop art was the unusual juxtaposition of cultural and mass media images on large scale canvases. Untitled (1988) in electrifying colors represents Rosenquist’s high-energy large paintings. The artwork is connected to his significant series, Welcome to the Water Planet, which combined various disparate elements to address environmental concerns about planet Earth.

JULIAN SCHNABEL (b. 1951) Pascin Pig Passin Time oil, plates, and bondo on board 48 x 40 x 6 in. 1983


Julian Schnabel

Pascin Pig Passin Time is part of Scnabel's broken plate series of paintings. Inspired by the trencadĂ­s (or broken tile mosaic) of architect Antoni GaudĂ­ when he traveled through Europe including Barcelona in 1978, this series of works brought theatricality and process back to mainstream painting. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create largescale works that captured the brash and audacious period of the 1980s.

ED RUSCHA (b. 1937) Evolution Revolution acrylic on museum board paper 24 x 36 in. 2013


Ed Ruscha

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. He is perhaps best recognized for paintings incorporating words and phrases, or for his many photographic books, all influenced by the deadpan irreverence of the Pop Art movement. Ruscha employs words as images, taking phrases out of their original context and transforming them into subject matter. As with his East Coast Pop counterparts Andy Warhol and Roy Lichtenstein, Ruscha’s initial artistic training was in commercial art – a background evident in his iconic typographical works. In this painting from 2013, the words “Evolution Revolution” overlay a serene mountain silhouette. Describing his inspiration, Ruscha once said, “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.”

SAM FRANCIS (1923-1994) A Whirling Square Unsigned, estate stamped acrylic on canvas 222 x 210 in. 1975


Sam Francis in Broadway studio, Santa Monica, 1983

Sam Francis Foundation, California / Artists Rights Society (ARS), New York Photo by Michael Childers

Sam Francis was born in 1923 in San Mateo, California, and only became an artist after a training accident while in the U.S. Army Air corps in 1943. His true calling as an artist remained central to his experience until his death in 1994. At nearly 20’ tall, A Whirling Square is an imposing physical presence, softened by the peace and tranquility exuding off the painting's delicate surface. The work was inspired by Francis's interest in Eastern philosophy and the teachings of Zen Buddhism. The work is an attempt by Francis to approach the “archetype” in painting, or the purest form of art.

ANSELM KIEFER (b. 1945) San Loretto mixed media on canvas 74 x 111 in. 2008


Anselm Kiefer

Anselm Kiefer is one of the most important and influential European Contemporary artists because of his unique approach to painting and sculpture and the issues with which he wrestles. Kiefer’s work incorporates diverse materials including dirt, lead, ash, and other symbolically loaded media in order to contend with fraught cultural and political histories. Much of his work addresses themes of creation and destruction, often incorporating religious references. San Loretto, a large-scale mixed media piece typical of Kiefer’s style, references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth to Loreto, Italy, for protection during the Crusades. The story appeals to Kiefer's distinctive visual themes of ruin and renewal as the buildup of fragments and rubble on San Loretto coalesce into an image of a winged stone. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again."

JEAN ARP (1886-1966) Evocation d'une Forme Humaine Lunaire Spectrale cast cement 33 1/8 in. 1950 Edition 2/2


Jean Arp

Jean Arp is one of the most important sculptors of the 20th century for his ability to create abstract yet organic sculptures in a variety of media. He was a founder of Dada and participated in the surrealist movement. Rather than starting with a subject, Arp utilized form and chance to produce art. Evocation d'une Forme Humaine Lunaire Spectrale is a stellar example of Arp’s abstract biomorphic sculpture. It presents a smooth and graceful form that melds the human figure with an ethereal lunar landscape. Arp experimented with this form in diverse media and other iterations can be found in the collection of the Smithsonian's Hirshorn Museum and Sculpture Garden (in bronze), Museo d'Arte Moderna in Rio de Janeiro (in pink limestone), and the Dotremont Collection in Brussels (in white marble).

RICHARD PRINCE (b. 1949) Untitled (Portrait)(Boy) inkjet on canvas 65 3/4 x 48 3/4 in. 2014


Richard Prince

Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art. Prince, in particular, centered appropriation within his art practice that both constructs and deconstructs the nature of images. This painting comes from his “Instagram” series in which Prince utilizes social media posts on which he has commented. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves.

TAKASHI MURAKAMI (b. 1962) Eye Ball Pink acrylic on canvas layed on wood 24 x 23 3/4 x 2 in. 2001


Takashi Murakami

Takashi Murakami is one of the most celebrated contemporary and Japanese artists. Murakami developed the theoretical and visual language of “Superflat”. He based his art movement on the Japanese “flat” art aesthetic and of anime and manga fused with commentary on the Kawaii tendency in postmodern Japan. Murakami and his art have chartered new ground in infiltrating and merging high and low culture. The painting features a proliferation of eyes in his trademark style. No two eyes are exactly alike, and each are in various states of opening or closing. Like his art, these eyes have hidden depth – the irises contain a multitude of miniature concentric circles. The painting seems to combine elements of pop culture, cartoons, technology, and fashion into a singular plane.

WOJCIECH FANGOR (b. 1922) #29 oil on canvas 39 1/2 x 39 1/2 in. 1963


Wojciech Fangor

Wojciech Fangor is a Polish painter who became one of the nation’s more preeminent artists by experimenting with abstraction in the years following the end of World War II. Born in 1922, Fangor studied and taught art during the early years of his career, producing paintings inspired by various styles of the European avant-garde before shifting his artistic output to poster design and eventually works that relate to both Optical Art and Color Field painting. Fangor’s first exhibitions in the United States took place in the 1960s, where he was included in two group exhibitions at the Museum of Modern Art in New York City, including 15 Polish Painters (1961) and The Responsive Eye (1965), the latter of which explored contemporary developments in Optical Art. Fangor received a major solo exhibition at the Guggenheim Museum in 1970, returning to Poland in 1999 where he continued to work until his death in November 2015. Maintaining that Contemporary painting should “radiate a force onto literal space which defines a zone of physical activity,” Fangor created captivating works such as #29 from 1963. Here, the centrifugal force of the spiral prompts one to investigate the formal qualities of the work, actively engaging in what he called “a zone of physical activity” in front of the painting.



45188 Portola Avenue, Palm Desert, CA 92260 760-346-8926


In over two decades, Heather James Fine Art has expanded from our original location in Palm Desert, California, to a global network with five galleries around the United States and six consultancy offices internationally. In 2020, we celebrate the ten-year anniversary of our gallery in Jackson Hole, Wyoming, the second Heather James location to open its doors. Since then, we have established galleries in New York on 75th Street, in San Francisco at the downtown arts building at 49 Geary Street, and most recently in Montecito, California, which opened in March of 2019. Our Fine Art Consultants are dedicated to bringing exceptional artworks and services at our consultancy locations in Los Angeles, Newport Beach, Chicago, Austin, New Orleans, and Basel.


42 East 75th Street, New York, NY 10021 646-858-1085



49 Geary St, Suite 511, San Francisco, CA 94108 415-872-9495



1298 Coast Village Road, Santa Barbara, CA 93108 805-845-5001



PO Box 3580 172 Center Street, Suite 101 Jackson Hole, WY 83001 307-200-6090



SERVICES We provide a wide range of client-based services, including: ESTATE AND TAX PLANNING


Art trusts

Updated appraisals and real-time market updates

Facilitation of appraisals for insurance purposes and estate tax filing

Access to market research tools for valuation, including market price index graphs and auction comparables

Museum gifting

Complete documentation of artwork information, including provenance, exhibition history, and literature references

Full documentation of the artwork or collection with digital records, photography, and condition reports for Fair Market Value estate planning

Interfacing with museums to facilitate donations, including assistance navigating the necessary tax documents and legal forms

Longstanding partnerships with appraisers for efficient and thorough documentation

Insurance advisory Obtaining appraisal documents for donation purposes

COLLECTIONS MANAGEMENT Collection documentation

Cataloguing your collection with detailed inventory documentation including photography, condition reports, and certificates of insurance organized and maintained in our digital records

Installation and security

Full-service installation for all art types and sizes Wall-to-wall art handling services: installation and de-installation; custom packing for transport or storage; specialized installation for earthquake mitigation and theft mitigation; consultation on security systems Home curation: in-house installers and in-house curators to help place and design the collection; advising on lighting and custom display systems such as pedestals and vitrines

Certificates of insurance and appraisals for insurance purposes

LOGISTICS MANAGEMENT Location tracking, packing, storing, delivery

Climatized storage and transportation: secure storage on-site or at external facilities; coordination with trusted partners and fine art shipping companies White glove handling to ensure the safety of the artwork at every step of transportation by air, ground, or sea, from crating and packing to unpacking and installation Personalized solutions for multimodal art shipping nationally and internationally

FINANCIAL SERVICES Lending for purchases and liquidity Assisting with loans for acquisition or against existing owned art

Facilitation of conservation, restoration, and preservation

Strategic loans to museums globally

In-house registrar department to oversee logistical planning, necessary paperwork, and documentation for museum loans


Re-framing, re-glazing, and advising on lighting and display

Conservation and restoration

ACQUISITIONS Interface with auction houses, dealers and private clients

Logistical coordination with auction houses, including packing, pick-up, transport, and installation Relationships with dealers and private clients for sourcing artwork Assessing artwork condition and quality for purchase consideration; assistance obtaining certificates of authentication from artist foundations or expert scholars

Facilitating conservation and restoration treatments from beginning to end, through communication with conservators, treatment proposals, secure transport, and treatment documentation

Home staging

Consultation visits, artwork selection for key walls and spaces, and installation Exchange and installation of artwork that may sell while on display as all works provided for staging remain active gallery inventory Negotiations with home buyer who also seeks to purchase the artwork on display

Contact us for an appointment or more information: 760-346-8926


November 2009 - May 2010 The exhibition, Picasso, was a major survey of the works of this 20th century master, including paintings, drawings, and sculptures from several of the artist’s major periods including Cubism. The exhibition also featured an important private collection of more than 80 pieces of his ceramics.


The Paintings of Sir Winston Churchill March - September 2018

Widely known as the greatest statesman of the 20th century, the savior of Western civilization, a Nobel prize winner, and the subject of a recent Academy Awardnominated film, Sir Winston Churchill (1874-1965) is capturing the attention of more people than ever. Yet few are aware that he was an avid painter. Eleven oil paintings by Churchill from the 1920s to 1940s from the collection of the family of the late Julian Sandys, the eldest of Churchill’s grandchildren, joined the spotlight in The Paintings of Sir Winston Churchill.


Alexander Calder

November 2015 - May 2016 Alexander Calder was a prolific American artist who infused his artwork with a wit and whimsy inspired by his early fascination with the circus. His childhood hobby of crafting objects from found materials evolved into his invention of mobiles. In addition to these sculptures, he created stabiles, or static sculptures, paintings, gouaches, drawings, prints, jewelry, and tapestries. Calder featured several artworks from private collections that have never been exhibited, including a five feet wide standing mobile constructed circa 1940.


de Kooning x de Kooning

November 2018 - February 2019 The first show in many years to include works by both Willem and Elaine de Kooning, de Kooning x de Kooning showcased many works from the private collections of family and friends. The selection of paintings, works on paper, and photographs provided an intimate portrait of the relationship shared by two major 20th century artists with one another and with the canvas. Our accompanying exhibition video features artist Yvonne Jacquette, Rudy Burckhardt’s widow, and art critic Amei Wallach sharing their insights about the de Koonings.



Masters of Impressionism and Modern Art November 2010 - May 2011

Spanning the creatively avant-garde decades of the late 19th century to the mid-20th century, Masters of Impressionism and Modern Art brought together exquisite examples of art by Fernand LĂŠger, Claude Monet, Berthe Morisot, Pablo Picasso, Pierre Auguste Renoir and Kees Van Dongen among many others.


Ai Weiwei Circle of Animals/Zodiac Heads - Gold November 2016 - May 2017

Ai Weiwei created two series of sculptures representing the animal symbols from the traditional Chinese zodiac: a monumental bronze edition for outdoor display and a smaller-scaled gold edition (made of bronze) for indoor display. This set of works measures between 20 and 30 inches in height, depending on the animal. Editions of Zodiac Heads have been exhibited at 35 international venues (and counting) around the world.


Sam Francis: From Dusk to Dawn November 2018 - April 2019

An exhibition of paintings by the acclaimed California artist Sam Francis was on view at Heather James Fine Art, Palm Desert. Drawing upon diverse influences including Fauvism, French Impressionism and Modernism, Color Field painting, and Japanese calligraphy, Francis is considered a central figure of the second generation of Abstract Expressionists whose pioneering style helped to establish the movement on the West Coast and internationally.


The Female Gaze: Women Surrealists in the Americas and Europe May - July 2019 Piercing through the male gaze, works by leading American, British, Latin American, and Polish female Surrealist artists was on view at Heather James Fine Art, New York. The Female Gaze: Women Surrealists in the Americas and Europe reframes the history of the movement by focusing exclusively on the pivotal role played by female artists as independent from their male counterparts. Featuring paintings, sculpture, mixed media, and collages spanning from 1938 to 2008, the exhibition also seeks to reveal the underlying political, social, and cultural attitudes that influenced ideas of gender.


SELECTED MUSEUM ACQUISITIONS The National Gallery of Art, Washington, D.C. MORRIS LOUIS (1912-1962) Sub-Marine, 1948, oil on canvas, 22 1/4 x 35 1/2 in.

The Art Institute of Chicago, Chicago, Illinois EDWARD HOPPER (1882-1967) Attic in Nyack, 1899, charcoal on paper, 13 1/2 x 9 3/4 in.

The Denver Art Museum, Denver, Colorado TOM WESSELMANN (1931-2004) Stocking Nude, 1980, pencil on paper, 8 x 18 3/4 in.

The Crocker Art Museum, Sacramento, California PAUL SAMPLE (1896-1974) Stockton, c. 1935-1936, oil on canvas, 25 x 30 in.

The Cincinnati Art Museum, Cincinnati, Ohio JUAN SORIANO (1920-2006) Bull, 2004, bronze, 27 x 73 x 23 in.

The Currier Museum of Art, Manchester, New Hampshire ELAINE DE KOONING (1918-1989) Michael Sonnabend, 1951, oil on canvas, 65 x 31 3/4 in.

The Barry Art Museum, Old Dominion University Norfolk, Virginia JULES OLITSKI (1922-2007) Embraced: Yellow and Pink, 2005, acrylic on canvas, 72 x 60 in.

The Mint Museum, Charlotte, North Carolina JOHN LESLIE BRECK (1860-1899) Suzanne Hoschedé-Monet Sewing, 1888, oil on canvas, 18 1/8 x 21 7/8 in.

The Smith College Museum of Art Northampton, Massachusetts THERESA BERNSTEIN (1890-2002) Armistice Day Parade: The Altar of Liberty, 1919, oil on canvas, 30 x 40 in.

The Wittliff Collections, Texas State University, San Marcos, Texas EDWARD S. CURTIS (1868-1952) Potter Building Her Kiln, 1906, vintage small format copper photogravure printing plate, 6 1/2 x 8 1/2 in.


Hassel Smith The varied career of Hassel Smith includes periods of Abstract Expressionism, Gestural Abstraction, and Hard-Edge Abstraction. His noteworthy “measured” paintings encompassed rhythmic compositions of geometric shapes and numbers on grids. Smith taught at the California School of Fine Art alongside Clyfford Still, David Park, Ansel Adams, and Richard Diebenkorn. His wok can be found in the Los Angeles County Museum of Art, the Tate Gallery in London, and the Whitney Museum of American Art in New York.


Jae Kon Park A Post-War abstract modernist, Jae Kon Park located inspiration not in his native South Korea, but in his travels through South America. Park theorized that art began with lines and dots transformed into the sacred circle. Park comprehended this communal circular motif as the Mandala, reaching across cultures as disparate as the Incan to the Chinese. His oeuvre travels a wide range of abstraction and was part of a larger trend of non-Western artists engaging in dialogues of abstraction outside of the European context.


Grace Hartigan Grace Hartigan was a pioneering Abstract Expressionist of the New York School and exhibited in the legendary Ninth Street Show in 1951. As early as 1952, Hartigan absorbed figuration into painting. By including familiar images, Hartigan is often considered a precursor to Pop Art. However, by replacing the sterile remove and mass manufacture of Pop Art with emotion and painterly technique, Hartigan deepens our understanding of the intersection of Pop, abstraction, and painting. Heather James Fine Art is the West Coast representative of the artist’s estate.


William Theophilus Brown A prominent member of the Bay Area Figurative Movement, William Theophilus Brown studied painting in New York and Paris, during which time he met Picasso, Braque, Giacommetti, and de Kooning. His diverse subject matter includes studies of the male figure and rich landscapes. Brown gained recognition in 1956 when his football player paintings appeared in Life magazine, and his work was included in the seminal Contemporary Bay Area Figurative Painting exhibition at the Oakland Museum in 1957.


Paul Wonner Paul Wonner was a distinguished California artist associated with the Bay Area Figurative Movement. Acclaimed for his expressive figurative paintings and distinctive style of crisp realism in still life painting, Wonner had numerous solo exhibitions in New York, Los Angeles and San Francisco. His work is held in major museums throughout the United States, including the San Francisco Museum of Modern Art, and the Solomon R. Guggenheim Museum in New York.


Nathan Oliveira Nathan Oliveira and his California contemporaries Diebenkorn and Park came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often-characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning. His works, characterized by a sense of melancholy and expressionist brushwork, are populated by isolated figures, birds of prey, and other subjects from the natural world. Heather James Fine Art is association with the Oliveira Family Estate and our initial offering of more than forty paintings, sculptures and graphics by Nathan Oliveira.


Irving Norman Social Surrealist painter Irving Norman produced some of the most potent visual indictments of a contemporary world shaped by war, immoral profiteering, and the nightmarish, dehumanizing elements of modern society. His mantra, “to tell the truth of our time,” and his mission to unmask the darker, most nefarious elements of human nature, grew from a belief that art had the power to change people’s behavior. The highly detailed dystopian scenes present a message not of hopelessness, but of motivation to effect change.



Profile for Heather James Fine Art

Heather James Fine Art - Catalog 2020  

Top Art Catalog 2020

Heather James Fine Art - Catalog 2020  

Top Art Catalog 2020