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GEORGIA O'KEEFFE - Cottonwood Tree (Near Abiquiu), New Mexico - oil on canvas - 36 x 30 in.

GEORGIA O'KEEFFE

DIEGO RIVERA - Portrait of Enriqueta G. Dávila - oil on canvas - 79 1/8 x 48 3/8 in.

DIEGO RIVERA

WILLEM DE KOONING - Woman in a Rowboat - oil on paper laid on masonite - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair. <br> <br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.

TOM WESSELMANN

When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br> <br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water. <br> <br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting. <br> <br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.

WAYNE THIEBAUD

ALFRED SISLEY - L'Église de Moret, le Soir - oil canvas - 31 1/4 x 39 1/2 in.

ALFRED SISLEY

EMIL NOLDE - Sonnenblumen, Abend II - oil on canvas - 26 1/2 x 35 3/8 in.

EMIL NOLDE

ALEXANDER CALDER - The Cross - oil on canvas - 28 3/4 x 36 1/4 in.

ALEXANDER CALDER

During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip painted the summer of 1872. Among the many other paintings inspired by the region, Girl Standing in the Wheatfield is rich in sentiment, but not over sentimentalized. It directly relates to an 1866 study painted in France entitled, In the Wheatfields, and another, painted the following year after he returned to America. But Homer would have undoubtedly been most proud of this one. It is a portrait, a costume study, a genre painting in the great tradition of European pastoral painting, and a dramatically backlit, atmospheric tour de force steeped in the quickly fading gloaming hour light buoyed with lambent, flowery notes and wheat spike touches. In 1874, Homer sent four paintings to the National Academy of Design exhibition. One was titled, “Girl”. Might it not be this one?

WINSLOW HOMER

FRIDA KAHLO - Hammer and Sickle (and unborn baby) - dry plaster and mixed media - 16 1/4 x 13 x 6 in.

FRIDA KAHLO

N.C. WYETH - Summer. "Hush" - oil on canvas - 33 3/4 x 30 1/4 in.

N.C. WYETH

SEAN SCULLY - Grey Red - oil on aluminum - 85 x 75 in.

SEAN SCULLY

The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky.

MARC CHAGALL

ANISH KAPOOR - Halo - stainless steel - 120 x 120 x 27 in.

ANISH KAPOOR

TOM WESSELMANN - Bedroom Brunette with Irises - oil on cut-out aluminum - 105 3/4 x 164 5/8 in.

TOM WESSELMANN

MARSDEN HARTLEY - Bach Preludes et Fugues No. 1 (Musical Theme) - oil on canvas laid down on board - 28 1/2 x 21 in.

MARSDEN HARTLEY

Pablo Picasso was not only the greatest painter and most innovative sculptor of the twentieth century, but he was also its foremost printmaker. He produced a staggering number of prints in every conceivable medium. Yet Picasso’s crowning printmaking achievement may be the linocut, a relief print of such a low technical barrier that it is accessible to almost anyone. If you have ever made a block print and experienced the carving and removing of portions so that a succession of colors can be preserved on the resulting print, it is a thrill to feel in your hand how Picasso created the image. <br> <br>Buste de Femme au Chapeau was created in 1962 when Picasso was eighty years of age. Boldly designed and simply conceived, it remains today as a testament to his ever-restless nature and genius for expanding his repertoire. Printed in five vibrant opaque colors – yellow, blue, green, red – and black assembled on the strength of his unmatched graphic skill, it is a portrait inspired by his wife Jacqueline Roque. The assertive layering of color carries a visual impact similar to his paintings in oil. Considered by many collectors as his most important linocut, it was printed and published in an edition of 50. The colors of this particular print — an artist’s proof — are exceptionally fresh and strong.

PABLO PICASSO

Théo van Rysselberghe’s Portrait de Sylvie Lacombe, painted in 1906, is a classic masterwork by one of the most refined and consistent portrait painters of his time. The color is harmonious, the brushwork vigorous and tailored to its material task, her body and countenance true and revealing. The sitter is the daughter of his good friend, the painter Georges Lacombe, who shared a close association with Gauguin, and was a member of Les Nabis with artists Bonnard, Denis, and Vuillard, among others. We now know about Sylvie Lacombe because Van Rysselberghe is so skilled at rendering subtle facial expressions and through careful observation and attention to detail, provided insights into her inner world. He has chosen a direct gaze, her eyes to yours, an inescapable covenant between subject and viewer regardless of our physical relationship to the painting. Van Rysselberghe had largely abandoned the Pointillist technique when he painted this portrait. But he continued to apply color theory guidelines by using tints of red — pinks and mauves — against greens to create a harmonious ameliorated palette of complementary colors to which he added a strong accent to draw the eye – an intensely saturated, red bow asymmetrically laid to the side of her head.

THÉO VAN RYSSELBERGHE

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life. <br> <br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.

N.C. WYETH

It is not difficult to grasp how Robert Indiana’s brilliant two-row arrangement of four letters came to help empower a movement during the 1960s. Its origin emerged from deeply felt exposure to religion and from friend and mentor Ellsworth Kelly, whose hard-edged style and sensuous, unaccented color made a lasting impression. But as Indiana exclaimed, it was a moment of kismet that just happened when “LOVE bit me!” and the design came to him sharp and focused. Indiana, of course, put the design through many paces, and then the logo began to sprout up everywhere. The message, best conveyed in sculpture, stands in cities worldwide and has been translated into several languages, not least of which, is its Italian iteration, “Amor” with its fortuitous “O” also tilted to the right. But rather than being kicked by the foot of the “L”, this version lends a beautifully staged teetering effect to the “A” above. It gives a new, but no less profound, impression of love and its emotionally charged nature. In either case, Love’s tilted “O” imparts instability to an otherwise stable design, a profound projection of Indiana’s implicit critique of “the often-hollow sentimentality associated with the word, metaphorically suggesting unrequited longing and disappointment rather than saccharine affection” (Robert Indiana’s Best: A Mini Retrospective, New York Times, May 24, 2018). Repetition, of course has a nasty habit of dampening our appreciation for the genius of simplicity and, groundbreaking design. Late in life, Indiana lamented that “it was a marvelous idea, but also terrible mistake. It became too popular. And there are people who don’t like popularity.” But we, denizens of a world fraught with divisiveness and caught in turmoil, thank you. “Love” and its many versions are strong reminders of our capacity for love, and that is our best everlasting hope for a better future.

ROBERT INDIANA

ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.

ADOLPH GOTTLIEB

FRANK STELLA - The Musket - mixed media on aluminum - 74 1/2 x 77 1/2 x 33 in.

FRANK STELLA

SALOMON VAN RUYSDAEL - A Dune Landscape with Figures Resting and a Couple on Horseback, a View of Nijmegen Cathedral Beyond - oil on canvas - 26 1/2 x 41 1/2 in.

SALOMON VAN RUYSDAEL

JAN JOSEPHSZOON VAN GOYEN - River Landscape with a Windmill and Chapel - oil on panel - 22 1/2 x 31 3/4 in.

JAN JOSEPHSZOON VAN GOYEN

JOAN MIRO - L'Oiseau - bronze and cinderblock - 23 7/8 x 20 x 16 1/8 in.

JOAN MIRO

EXHIBITIONS

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Florals for Spring, Groundbreaking
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Florals for Spring, Groundbreaking

May 8 - November 30, 2023
First Circle: Circles in Art
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First Circle: Circles in Art

February 14 - August 31, 2023
Pop Art: Can't Buy My Love
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Pop Art: Can't Buy My Love

January 26 - July 31, 2023
Your Heart’s Blood: Intersections of Art and Literature
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Your Heart’s Blood: Intersections of Art and Literature

September 12, 2022 - September 30, 2023
More to Life: Impressionist Dialogues from Monet and Beyond
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More to Life: Impressionist Dialogues from Monet and Beyond

August 17, 2022 - August 31, 2023
Alexander Calder: A Universe of Painting
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Alexander Calder: A Universe of Painting

August 10, 2022 - August 31, 2023
Paper Cut: Unique Works on Paper
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Paper Cut: Unique Works on Paper

April 27, 2022 - October 31, 2023
Andy Warhol Polaroids: Wicked Wonders
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Andy Warhol Polaroids: Wicked Wonders

December 13, 2021 - September 30, 2023
Andy Warhol: Glamour at the Edge
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Andy Warhol: Glamour at the Edge

October 27, 2021 - September 30, 2023
California Here We Come: The California Impressionists
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California Here We Come: The California Impressionists

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A Beautiful Time: American Art in the Gilded Age
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A Beautiful Time: American Art in the Gilded Age

June 24, 2021 - August 31, 2023
It Was Acceptable in the 80s
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It Was Acceptable in the 80s

April 27, 2021 - August 31, 2023
Herb Alpert: The Coffee Paintings
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Herb Alpert: The Coffee Paintings

December 22, 2020 - September 30, 2023
Pattern and Decoration: Feminism and Friendship
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Pattern and Decoration: Feminism and Friendship

September 14, 2020 - September 30, 2023
Max Pellegrini: Silence and Fantasy
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Max Pellegrini: Silence and Fantasy

July 30, 2020 - September 30, 2023
Moment to Moment: Figuration and the Northern California Avant Garde
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Moment to Moment: Figuration and the Northern California Avant Garde

May 12, 2020 - September 30, 2023
Jewish Modernism Part 1: Abstraction from Gottlieb to Schnabel
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Jewish Modernism Part 1: Abstraction from Gottlieb to Schnabel

April 23, 2020 - September 30, 2023
Jae Kon Park: Life and Root
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Jae Kon Park: Life and Root

March 12, 2020 - September 30, 2023
Irving Norman: Dark Matter
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Irving Norman: Dark Matter

November 27, 2019 - September 30, 2023
Meeting Life: N.C. Wyeth and the MetLife Murals
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Meeting Life: N.C. Wyeth and the MetLife Murals

July 18, 2022 - April 25, 2023
N.C. Wyeth: A Decade of Painting
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N.C. Wyeth: A Decade of Painting

September 29, 2022 - March 31, 2023
Paul Jenkins: Coloring the Phenomenal
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Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - March 31, 2023
Herb Alpert: Whispered Conversations
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Herb Alpert: Whispered Conversations

March 7 - March 13, 2023
Norman Zammitt: The Progression of Color
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Norman Zammitt: The Progression of Color

March 19, 2020 - February 28, 2023
Sculpture for the Senses: Outdoor Sculpture
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Sculpture for the Senses: Outdoor Sculpture

August 4, 2021 - February 28, 2023
Georgia O’Keeffe and Marsden Hartley: Modern Minds
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Georgia O’Keeffe and Marsden Hartley: Modern Minds

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Figurative Masters of the Americas
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Figurative Masters of the Americas

January 4 - February 12, 2023
James Rosenquist: Potent Pop
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James Rosenquist: Potent Pop

June 7, 2021 - January 31, 2023
Abstract Expressionism: Transcending the Radical
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Abstract Expressionism: Transcending the Radical

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Everyone Needs a Fantasy: Pop Art in America
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Everyone Needs a Fantasy: Pop Art in America

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A Sparkling Holiday: Art for Everyone
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A Sparkling Holiday: Art for Everyone

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The Gift of Art
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The Gift of Art

November 24, 2022 - January 7, 2023
My Own Skin: Frida Kahlo and Diego Rivera
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My Own Skin: Frida Kahlo and Diego Rivera

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Josef Albers: The Heart of Painting
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Josef Albers: The Heart of Painting

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Claude Monet: An Impressionist Genius
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Claude Monet: An Impressionist Genius

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Impressionism at Heather James Fine Art
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Impressionism at Heather James Fine Art

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Jackson Hole - Top Works
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Jackson Hole - Top Works

September 15 - October 15, 2022
Marc Chagall: The Color of Love
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Marc Chagall: The Color of Love

September 8 - October 12, 2022
Picasso - Prints and Works on Paper
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Picasso - Prints and Works on Paper

September 1 - October 12, 2022
All We Have Seen: Impressionist Landscapes from Monet to Kleitsch
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All We Have Seen: Impressionist Landscapes from Monet to Kleitsch

August 9, 2021 - September 30, 2022
Abstract Expressionism: The Persistent Women
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Abstract Expressionism: The Persistent Women

November 1, 2021 - August 31, 2022
Subtle Opulence
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Subtle Opulence

September 8, 2021 - August 31, 2022
Alexander Calder: Painting the Cosmos
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Alexander Calder: Painting the Cosmos

March 2 - August 12, 2022
An Invisible State: Asian American Artists and Abstraction
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An Invisible State: Asian American Artists and Abstraction

April 23, 2020 - June 30, 2022
The Rest So Beautiful: Contemporary Art and China
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The Rest So Beautiful: Contemporary Art and China

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Mercedes Matter: A Miraculous Quality
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Mercedes Matter: A Miraculous Quality

March 22, 2021 - June 30, 2022
Moore! Moore! Moore! Henry Moore and Sculpture
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Moore! Moore! Moore! Henry Moore and Sculpture

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Still Life, Still
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Still Life, Still

April 10, 2020 - April 30, 2022
Alexander Calder: Bold Gouaches
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Alexander Calder: Bold Gouaches

March 25, 2020 - March 2, 2022
Elaine and Willem de Kooning: Painting in the Light
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Elaine and Willem de Kooning: Painting in the Light

August 3, 2021 - January 31, 2022
Andy Warhol Polaroids: Ars Longa
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Andy Warhol Polaroids: Ars Longa

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Andy Warhol Polaroids: Me, Myself, & I
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Andy Warhol Polaroids: Me, Myself, & I

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Andy Warhol Polaroids: All That Glitters
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Andy Warhol Polaroids: All That Glitters

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Andy Warhol Polaroids: Bring It to the Runway
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Andy Warhol Polaroids: Bring It to the Runway

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Maurice Golubov
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Maurice Golubov

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The Land and the Body
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The Land and the Body

March 13, 2020 - December 31, 2021
The Cool School
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The Cool School

March 30, 2020 - December 31, 2021
Jewish Modernism Part 2: Figuration from Chagall to Norman
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Jewish Modernism Part 2: Figuration from Chagall to Norman

April 30, 2020 - December 31, 2021
American Eye: Selections from the Pardee Collection
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American Eye: Selections from the Pardee Collection

February 28 - December 31, 2021
Our Most Viewed Art for the Month
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Our Most Viewed Art for the Month

October 14 - November 14, 2021
The Gloria Luria Collection
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The Gloria Luria Collection

March 16, 2020 - October 31, 2021
Andy Warhol: Wayward Allure
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Andy Warhol: Wayward Allure

July 30, 2020 - September 30, 2021
Vincent van Gogh and The Great Impressionists of the Grand Boulevard
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Vincent van Gogh and The Great Impressionists of the Grand Boulevard

March 2 - August 10, 2021
Modern Prints
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Modern Prints

December 26, 2020 - June 19, 2021
Pop Figures: Mel Ramos and Tom Wesselmann
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Pop Figures: Mel Ramos and Tom Wesselmann

March 26, 2020 - April 30, 2021
Wonders of Impressionist and Modern Art in America and Europe
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Wonders of Impressionist and Modern Art in America and Europe

August 26, 2020 - April 30, 2021
Portraits: From the 19th Century to Today
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Portraits: From the 19th Century to Today

August 26, 2020 - April 30, 2021
Abstract Expressionism: Visions of the Sublime
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Abstract Expressionism: Visions of the Sublime

August 11, 2020 - January 31, 2021
The Radical Line
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The Radical Line

April 11, 2020 - January 31, 2021
Herb Alpert: Recent Works
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Herb Alpert: Recent Works

September 28 - December 13, 2020
Zúñiga x Castañeda
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Zúñiga x Castañeda

April 30 - November 30, 2020
Jewels of Impressionism and Modern Art
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Jewels of Impressionism and Modern Art

February 19 - October 31, 2020
Cool Britannia: The Young British Artists
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Cool Britannia: The Young British Artists

April 2 - September 30, 2020
Weekly Opportunities
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Weekly Opportunities

June 26 - August 31, 2020
Place and Paradise: Artists from Santa Barbara
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Place and Paradise: Artists from Santa Barbara

March 5 - August 31, 2020
The Californians
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The Californians

February 3 - August 31, 2020
Irving Norman Estate
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Irving Norman Estate

October 1, 2019 - August 31, 2020
Jackson Hole: Highlights from 1900 to Today
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Jackson Hole: Highlights from 1900 to Today

November 1, 2019 - July 31, 2020
Grace Hartigan: Late Works
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Grace Hartigan: Late Works

October 15, 2019 - July 5, 2020
Hassel Smith: The Measured Paintings
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Hassel Smith: The Measured Paintings

February 12 - April 20, 2020
Richard Diebenkorn
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Richard Diebenkorn

October 16, 2019 - February 29, 2020
Mesa Modern
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Mesa Modern

February 13 - February 29, 2020
Artsy Auction: Figure + Form
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Artsy Auction: Figure + Form

February 13 - February 27, 2020
The Californians
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The Californians

November 1, 2019 - February 14, 2020
Roland Petersen: 1961
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Roland Petersen: 1961

November 18, 2019 - January 31, 2020
Opulent Minimalism
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Opulent Minimalism

December 3, 2019 - January 31, 2020
Paul Jenkins and Robert Natkin
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Paul Jenkins and Robert Natkin

November 1 - December 27, 2019
Montecito Grand Opening
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Montecito Grand Opening

September 21 - November 30, 2019
Morris Louis - The Early Paintings
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Morris Louis - The Early Paintings

October 11 - November 30, 2019
SHE/HER: A New Look at a History of Art Since 1900
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SHE/HER: A New Look at a History of Art Since 1900

October 3 - November 17, 2019
Sam Francis: On View in Jackson Hole
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Sam Francis: On View in Jackson Hole

July 1 - October 15, 2019
Edward Hopper
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Edward Hopper

July 1 - September 30, 2019
Anselm Kiefer
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Anselm Kiefer

August 15 - September 30, 2019
Salvador Dali
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Salvador Dali

August 15 - September 30, 2019
Paul Jenkins: Phenomenal
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Paul Jenkins: Phenomenal

July 1 - August 31, 2019
Peter Shelton: A Thing You Bump Into
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Peter Shelton: A Thing You Bump Into

July 16 - August 31, 2019
Andy Warhol
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Andy Warhol

July 16 - August 31, 2019
Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian
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Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian

July 25 - August 31, 2019
Alexander Calder: Cosmic Abstraction
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Alexander Calder: Cosmic Abstraction

June 21 - August 30, 2019
Julian Schnabel
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Julian Schnabel

June 4 - July 31, 2019
Modern British Sculpture
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Modern British Sculpture

June 30 - July 30, 2019
We Were Always Here: Japanese-American Post-War Pioneers of Art
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We Were Always Here: Japanese-American Post-War Pioneers of Art

April 4 - July 15, 2019
Hassel Smith
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Hassel Smith

May 6 - June 30, 2019
Luc Bernard: Unconventional Borders
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Luc Bernard: Unconventional Borders

May 3 - May 31, 2019
Sam Francis: From Dusk to Dawn
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Sam Francis: From Dusk to Dawn

November 15, 2018 - April 29, 2019
de Kooning x de Kooning
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de Kooning x de Kooning

November 8, 2018 - February 28, 2019
Architectural Landscapes
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Architectural Landscapes

December 1, 2018 - January 31, 2019
David Levinthal
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David Levinthal

December 1, 2018 - January 31, 2019
Wojciech Fangor: The Early 1960s
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Wojciech Fangor: The Early 1960s

October 11 - December 31, 2018
Herb Alpert: A Visual Melody
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Herb Alpert: A Visual Melody

October 11 - November 1, 2018
Herb Alpert: A Visual Melody
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Herb Alpert: A Visual Melody

August 1 - September 30, 2018
California: North and South
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California: North and South

June 16 - September 30, 2018
The Paintings of Sir Winston Churchill
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The Paintings of Sir Winston Churchill

August 1 - September 16, 2018
Penelope Gottlieb: Against Forgetting
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Penelope Gottlieb: Against Forgetting

May 3 - August 12, 2018
Elaine de Kooning
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Elaine de Kooning

July 1 - August 4, 2018
The Paintings of Sir Winston Churchill
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The Paintings of Sir Winston Churchill

June 1 - July 27, 2018
Buddhist Sculpture of Gandhara
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Buddhist Sculpture of Gandhara

July 13, 2018
Wojciech Fangor: The Early 1960s
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Wojciech Fangor: The Early 1960s

April 19 - June 30, 2018
Gregory Sumida: Americana
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Gregory Sumida: Americana

April 5 - May 31, 2018
N.C. Wyeth: Paintings and Illustrations
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N.C. Wyeth: Paintings and Illustrations

February 1 - May 31, 2018
Herb Alpert: A Visual Melody
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Herb Alpert: A Visual Melody

February 17 - May 31, 2018
Sublime Abstraction
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Sublime Abstraction

November 25, 2017 - May 31, 2018
The Paintings of Sir Winston Churchill
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The Paintings of Sir Winston Churchill

March 21 - May 30, 2018
Wojciech Fangor
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Wojciech Fangor

November 25, 2017 - March 17, 2018
Edward S. Curtis
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Edward S. Curtis

February 3 - March 17, 2018
Ferrari and Futurists: An Italian Look at Speed
ARCHIVE

Ferrari and Futurists: An Italian Look at Speed

November 21, 2016 - January 30, 2017
Norman Rockwell: The Artist at Work
ARCHIVE

Norman Rockwell: The Artist at Work

June 30 - September 30, 2016
Alexander Calder
ARCHIVE

Alexander Calder

November 21, 2015 - May 28, 2016
Max Pellegrini: A Retrospective Exhibition
ARCHIVE

Max Pellegrini: A Retrospective Exhibition

November 27, 2015 - March 27, 2016
Masters of California Impressionism
ARCHIVE

Masters of California Impressionism

November 22, 2014 - May 23, 2015
Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s
ARCHIVE

Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s

November 23, 2012 - January 31, 2013
Painterly Abstraction: Spheres of AbEx
ARCHIVE

Painterly Abstraction: Spheres of AbEx

November 25, 2011 - May 31, 2012
Washi Tales: Works by Kyoko Ibe
ARCHIVE

Washi Tales: Works by Kyoko Ibe

December 11, 2011 - January 28, 2012
Earl Cunningham: American Fauve
ARCHIVE

Earl Cunningham: American Fauve

September 8 - October 29, 2011
Masters of Impressionism and Modern Art
ARCHIVE

Masters of Impressionism and Modern Art

November 20, 2010 - September 25, 2011
Picasso
ARCHIVE

Picasso

November 20, 2009 - May 25, 2010
Go back to current exhibits

ART AS AN INVESTMENT

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Claude Monet Recently Sold Works

Monet and his works are a specialty for us at Heather James Fine Art, having sold dozens of his paintings over the years.

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The Art Market March 2023

Heather James Fine Art co-founder Jim Carona discusses the art market resilience and offers insights into investing in art during bear financial times.

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Art Market Resilience

Heather James Fine Art co-founder Jim Carona reviews the art market’s performance during previous recessionary periods and offers key observations as to why the art market has proven to be more resilient than other assets.

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Art as an Investment

Fine Art is listed among the best bets for 2022. See our in depth analysis of art as an asset in your portfolio.

GALLERIES

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PALM DESERT

45188 Portola Avenue
Palm Desert, CA 92260
(760) 346-8926
Hours: Monday through Friday 9-5

Jackson Hole Gallery

JACKSON

172 Center Street, Suite 101
P.O. Box 3580
 Jackson Hole, WY 83001
(307) 200-6090
Hours: By Appointment

CONSULTANCIES

NEW YORK

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LONDON

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LOS ANGELES

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BASEL

SAN FRANCISCO

SAN FRANCISCO

NEWPORT BEACH

NEWPORT BEACH

MONTECITO

MONTECITO

PALM BEACH

PALM BEACH

LAKE COMO

LAKE COMO

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