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Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers. <br> <br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form. <br> <br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology. <br> <br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

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

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First Circle: Circles in Art
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Pop Art: Can't Buy My Love
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Paper Cut: Unique Works on Paper
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Andy Warhol: Glamour at the Edge
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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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Herb Alpert: The Coffee Paintings
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Pattern and Decoration: Feminism and Friendship
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Max Pellegrini: Silence and Fantasy
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Moment to Moment: Figuration and the Northern California Avant Garde
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Jewish Modernism Part 1: Abstraction from Gottlieb to Schnabel
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Jae Kon Park: Life and Root
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Irving Norman: Dark Matter
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Irving Norman: Dark Matter

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Meeting Life: N.C. Wyeth and the MetLife Murals
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Meeting Life: N.C. Wyeth and the MetLife Murals

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N.C. Wyeth: A Decade of Painting
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N.C. Wyeth: A Decade of Painting

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Paul Jenkins: Coloring the Phenomenal
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Paul Jenkins: Coloring the Phenomenal

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Herb Alpert: Whispered Conversations
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Norman Zammitt: The Progression of Color
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Norman Zammitt: The Progression of Color

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Sculpture for the Senses: Outdoor Sculpture
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Sculpture for the Senses: Outdoor Sculpture

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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

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James Rosenquist: Potent Pop
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James Rosenquist: Potent Pop

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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

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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

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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

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All We Have Seen: Impressionist Landscapes from Monet to Kleitsch
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All We Have Seen: Impressionist Landscapes from Monet to Kleitsch

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Abstract Expressionism: The Persistent Women
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Abstract Expressionism: The Persistent Women

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Subtle Opulence
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Subtle Opulence

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Alexander Calder: Painting the Cosmos
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Alexander Calder: Painting the Cosmos

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An Invisible State: Asian American Artists and Abstraction
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An Invisible State: Asian American Artists and Abstraction

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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

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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

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Alexander Calder: Bold Gouaches
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Alexander Calder: Bold Gouaches

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Elaine and Willem de Kooning: Painting in the Light
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Elaine and Willem de Kooning: Painting in the Light

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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: 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

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The Cool School
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The Cool School

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Jewish Modernism Part 2: Figuration from Chagall to Norman
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Jewish Modernism Part 2: Figuration from Chagall to Norman

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American Eye: Selections from the Pardee Collection
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American Eye: Selections from the Pardee Collection

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Our Most Viewed Art for the Month
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Our Most Viewed Art for the Month

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The Gloria Luria Collection
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The Gloria Luria Collection

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Andy Warhol: Wayward Allure
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Andy Warhol: Wayward Allure

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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

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Modern Prints

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Pop Figures: Mel Ramos and Tom Wesselmann
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Pop Figures: Mel Ramos and Tom Wesselmann

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Wonders of Impressionist and Modern Art in America and Europe
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Wonders of Impressionist and Modern Art in America and Europe

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Portraits: From the 19th Century to Today
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Portraits: From the 19th Century to Today

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Abstract Expressionism: Visions of the Sublime
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Abstract Expressionism: Visions of the Sublime

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The Radical Line
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The Radical Line

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Herb Alpert: Recent Works
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Herb Alpert: Recent Works

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Zúñiga x Castañeda
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Zúñiga x Castañeda

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Jewels of Impressionism and Modern Art
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Jewels of Impressionism and Modern Art

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Cool Britannia: The Young British Artists
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Cool Britannia: The Young British Artists

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Weekly Opportunities
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Weekly Opportunities

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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

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Grace Hartigan: Late Works
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Grace Hartigan: Late Works

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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

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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

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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

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Edward Hopper
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Edward Hopper

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Anselm Kiefer
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Anselm Kiefer

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Salvador Dali
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Salvador Dali

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Paul Jenkins: Phenomenal
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Paul Jenkins: Phenomenal

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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
ARCHIVE

David Levinthal

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

Wojciech Fangor: The Early 1960s

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

Herb Alpert: A Visual Melody

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

Herb Alpert: A Visual Melody

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

California: North and South

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

The Paintings of Sir Winston Churchill

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

Penelope Gottlieb: Against Forgetting

May 3 - August 12, 2018
Elaine de Kooning
ARCHIVE

Elaine de Kooning

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

The Paintings of Sir Winston Churchill

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

Buddhist Sculpture of Gandhara

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

Wojciech Fangor: The Early 1960s

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

Gregory Sumida: Americana

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

N.C. Wyeth: Paintings and Illustrations

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

Herb Alpert: A Visual Melody

February 17 - May 31, 2018
Sublime Abstraction
ARCHIVE

Sublime Abstraction

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

The Paintings of Sir Winston Churchill

March 21 - May 30, 2018
Wojciech Fangor
ARCHIVE

Wojciech Fangor

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

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
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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

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

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

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