Situated in the wild beauty of Jackson Hole, Wyoming, with National Parks as a stunning backdrop, Heather James Jackson has brought the highest caliber of artworks and services to the Intermountain West for over a decade.

Catering to the unique community that makes Jackson Hole an unparalleled destination for American culture and the outdoors, Heather James strives to provide an unmatched selection of artworks and white glove services for locals and visitors alike.

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

Hours: Monday to Saturday 11am – 6pm 

Exhibitions

Jackson Hole - Top Works
CURRENT

Jackson Hole - Top Works

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

Marc Chagall: The Color of Love

September 8, 2022 - March 31, 2023
Impressionism at Heather James Fine Art
CURRENT

Impressionism at Heather James Fine Art

September 1 - October 31, 2022
Picasso - Prints and Works on Paper
CURRENT

Picasso - Prints and Works on Paper

September 1 - October 15, 2022
Claude Monet: An Impressionist Genius
CURRENT

Claude Monet: An Impressionist Genius

August 18 - October 31, 2022
My Own Skin: Frida Kahlo and Diego Rivera
CURRENT

My Own Skin: Frida Kahlo and Diego Rivera

June 16 - December 31, 2022
All We Have Seen: Impressionist Landscapes from Monet to Kleitsch
CURRENT

All We Have Seen: Impressionist Landscapes from Monet to Kleitsch

August 9, 2021 - September 30, 2022
Herb Alpert: The Coffee Paintings
CURRENT

Herb Alpert: The Coffee Paintings

December 22, 2020 - December 31, 2022
Wonders of Impressionist and Modern Art in America and Europe
ARCHIVE

Wonders of Impressionist and Modern Art in America and Europe

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

Portraits: From the 19th Century to Today

August 26, 2020 - April 30, 2021
Jackson Hole: Highlights from 1900 to Today
ARCHIVE

Jackson Hole: Highlights from 1900 to Today

November 1, 2019 - July 31, 2020
Sam Francis: On View in Jackson Hole
ARCHIVE

Sam Francis: On View in Jackson Hole

July 1 - October 15, 2019
Edward Hopper
ARCHIVE

Edward Hopper

July 1 - September 30, 2019
Andy Warhol
ARCHIVE

Andy Warhol

July 16 - August 31, 2019
David Levinthal
ARCHIVE

David Levinthal

December 1, 2018 - January 31, 2019
Herb Alpert: A Visual Melody
ARCHIVE

Herb Alpert: A Visual Melody

August 1 - September 30, 2018
The Paintings of Sir Winston Churchill
ARCHIVE

The Paintings of Sir Winston Churchill

August 1 - September 16, 2018
Elaine de Kooning
ARCHIVE

Elaine de Kooning

July 1 - August 4, 2018
Norman Rockwell: The Artist at Work
ARCHIVE

Norman Rockwell: The Artist at Work

June 30 - September 30, 2016
Earl Cunningham: American Fauve
ARCHIVE

Earl Cunningham: American Fauve

September 8 - October 29, 2011

ARTWORK ON VIEW

CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.

CLAUDE MONET

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

GUSTAVE CAILLEBOTTE - Vue du jardin de l’artiste et de la Vallée de I'Yerres - oil on canvas - 19 1/8 x 25 1/2 in.

GUSTAVE CAILLEBOTTE

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

ALFRED SISLEY

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

N.C. WYETH

WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.

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

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

SEAN SCULLY

PIERRE-AUGUSTE RENOIR - Portrait de femme (Gabrielle Renard) - oil on canvas - 20 1/4 x 16 1/4 in.

PIERRE-AUGUSTE RENOIR

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

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

SALVADOR DALI - Saint Georges et le Dragon - ballpoint pen on paper - 22 1/2 x 30 1/4 in.

SALVADOR DALI

MARC CHAGALL - Repos du nu rose à l'éventail - tempera, gouache, pastel and pencil - 25 x 19 in.

MARC CHAGALL

Although linocuts form a relatively small part of Picasso's output as a printmaker (approximately 150 prints from a total exceeding two thousand), Femmes au Miroir, executed in 1956 is among his earliest and most outstanding compositions by this method. The present example is from a group of prints which has come to be known as épreuves rincées (rinsed proofs) produced shortly before he abandoned the linocut process by 1964. Rincées are created by printing the linoleum block in creamy white ink, brushing the printed impression with black China ink, and once dried, rinsed with water. It is an ingenious, unusual technique that replicates the delicate quality of brushed ink drawings and Picasso loved the serendipitous nature it. Whether printed in the traditional manner or as épreuves rincées, the Baer catalogue raisonné records the existence of only a handful of Femmes au Miroir impressions. Based on the citation in Baer and the Galerie Leiris label on verso, this is the fifth of five rincée listed by Baer. The condition is excellent.

PABLO PICASSO

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

MARC CHAGALL - Les Amoureux sur le divan - watercolor and pencil on paper - 25 1/2 x 19 1/2 in.

MARC CHAGALL

PABLO PICASSO - Peintre et modèle - pen and India ink on paper - 9 3/8 x 12 5/8 in.

PABLO PICASSO

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

MARC CHAGALL - L'atelier - wax crayon, pastel and sanguine on paper - 20 x 26 1/2 in.

MARC CHAGALL

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. 
<br>
<br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

MARC CHAGALL - Soleil multicolore ou esquisse pour "Composition champêtre" - oil and Indian ink on canvas-covered cardboard - 11 3/4 x 9 in.

MARC CHAGALL

MARC CHAGALL - Adam et Eve - ceramic - 12 7/8  x 10 7/8 in.

MARC CHAGALL

MARC CHAGALL - Esquisse pour "L'ange et la fiancée" - gouache and pencil - 14 x 10 1/2 in.

MARC CHAGALL

JOSEPH STELLA - Reclining Nude - oil on canvas - 50 x 52 1/2 in.

JOSEPH STELLA

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

JOAN MIRO

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

Picasso immortalized Françoise Gilot, his muse and mother of their children Claude and Paloma in numerous paintings, drawings, and prints. His most iconic work of her is undoubtedly La Femme-Fleur of 1946, the uber-stylized, flora and fauna hybrid painting inspired by Matisse’s remarks that he would paint her with a pale blue body and leaf-green hair. Francoise sur fond gris, the second, more complete version of two lithograph portraits Picasso created of Francoise in November 1950 is undoubtedly among his best efforts to capture the essential woman he called ‘the woman who says no’. With its narrow, arching eyebrows, full lips and youthful visage, the lithograph is a truthful revelation of Francoise as the pensive, stunningly beautiful woman she was in life and story. Impressions were printed on bluish gray paper (perhaps harkening to the blue-toned figure of Françoise in La Femme-Fleur) and affixed to a sturdy cream wove paper during the printing process. Francoise sur fond gris is widely recognized as one of the Picasso’s most successful prints of his seven-decade-long career. It is catalogued in Bloch (681), Mourlot (195), and Reuße (552).

PABLO PICASSO

Between 1895 to 1905, counterproofs of Renoir’s pastels were created by lithographer Auguste Clot at the behest of Parisian art dealer Ambroise Vollard. The process is easy to understand. A damp sheet of tissue-thin Japan paper is applied over a pastel drawing and the two sheets are passed through a lithographic press. The counterproof, a mirror image is softer in tone and of enhanced ethereal qualities. The present example is based on the original pastel study for Renoir’s most celebrated masterpiece, Moulin de la Galette completed by 1876 and now in the collection of Musée d’Orsay in Paris.  When Vollard died in 1939, the collection was acquired by Henri Petiet, subsequently descended through his family, and in 2005, thirty-four of the re-discovered counterproofs were exhibited for the first time in a century in Renoir: The Pastel Counterproofs, held at Adelson Galleries in New York. The original pastel for this counterproof is presently in the National Museum, Belgrade, Serbia and illustrated in its catalogue, The Unknown Degas and Renoir in the National Museum of Belgrade.

PIERRE-AUGUSTE RENOIR

WOJCIECH FANGOR - Green Points - oil on canvas - 52 7/8 x 33 1/2 in.

WOJCIECH FANGOR

ANDY WARHOL - General Custer - screenprint on Lenox Museum Board - 40 x 40 in.

ANDY WARHOL

YVONNE THOMAS - The Tower - oil on linen - 39 3/4 x 51 1/2 in.

YVONNE THOMAS

JENNIFER BARTLETT - Counting Polygon - oil on canvas - 34 1/4 x 46 1/2 x 2 in.

JENNIFER BARTLETT

MARC CHAGALL - Paravent - color lithograph on paper laid on wood (4 panel folding screen) - 57 x 17 1/2 in. ea.

MARC CHAGALL

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

N.C. WYETH

Few painters have a mythology as large or as complicated as Mark Rothko. One of the most important Abstract Expressionist artists and a quintessential Color Field artist, Rothko imbued his canvases with symbolic and spiritual meaning.
<br>
<br>Before this break into complete abstraction, Rothko created expressionistic and figurative works influenced by his friendship with the painter Arshile Gorky. This early work from the 1930s gives a crucial glimpse into the development of Rothko before he transferred the emotion of figuration into the emotion of color. He admired the approach of children to art which he emulated through broad applications of paint and wide brushwork which can be seen in this piece.

MARK ROTHKO

NATHAN OLIVEIRA - Nude Stepping from the Carpet - oil on canvas - 52 x 48 in.

NATHAN OLIVEIRA

IRVING NORMAN - Chairman of the Board - oil on canvas - 90 x 48 in.

IRVING NORMAN

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

IRVING NORMAN

WILLIAM WENDT - Laguna Hills - oil on canvas - 25 x 30 in.

WILLIAM WENDT

ANDY WARHOL - Pepper Pot from Campbell's Soup - screenprint in colors - 35 x 23 in.

ANDY WARHOL

PAUL JENKINS - Phenomena Rainbow Rush - acrylic on canvas - 58 x 82 in.

PAUL JENKINS

IRVING NORMAN - Frosted Window - oil on canvas - 36 x 90 in.

IRVING NORMAN

ROBERTO MATTA - L'epreuve - oil on canvas - 29 1/2 x 25 1/2 in.

ROBERTO MATTA

ANDY WARHOL - Myths: Santa Claus - screenprint in colors with diamond dust, on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

ANDY WARHOL - Northwest Coast Mask - screenprint in colors on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

MARC CHAGALL - Le Cirque M.505 - lithograph - 16 3/4 x 12 3/4 in.

MARC CHAGALL

HERB ALPERT - Three Feathers - bronze - 38 x 20 x 9 in.

HERB ALPERT

HERB ALPERT - Eagle Falls - bronze - 41 1/2 x 10 x 10 in.

HERB ALPERT

UTAGAWA HIROSHIGE - Okabe: Utsu Mountain - color woodblock print; oban - 9 1/2 x 14 1/4 in.

UTAGAWA HIROSHIGE

PENELOPE GOTTLIEB - Diosorea Bulbifera - acrylic and ink over Audubon print - 38 x 26 in.

PENELOPE GOTTLIEB

Invasive plant found in WY

PENELOPE GOTTLIEB

SENIOR DIRECTOR

Andrea-WEB-POST

ANDREA RICO DAHLIN

Senior Director
Jackson Hole, Wyoming

Approaching 20 years in the industry, Andrea holds a BA in Art History with a Minor in Fine Art from Binghamton University, Binghamton, NY, and a MA in Modern Art, Connoisseurship, and History of the Art Market from Christie’s Education, New York, NY. She brings expertise from her experience in both museums and auction houses, having worked at the Nelson-Atkins Museum of Art in Kansas City and Christie’s in New York.

Since joining Heather James Fine Art in 2015, Andrea has secured consignments and helped build notable private and museum collections with important artists, which include Claude Monet, Alfred Sisley, Henri Matisse, Edgar Degas, Norman Rockwell, Andrew Wyeth, Elaine de Kooning, Andy Warhol, and Tom Wesselmann.

IN THE NEWS

SERVICES

Heather James Fine Art provides a wide range of client-based services catered to your specific art collecting needs. Our Operations team includes professional art handlers, a full registrar department and logistical team with extensive experience in art transportation, installation, and collection management. With white glove service and personalized care, our team goes the extra mile to ensure exceptional art services for our clients.

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GET TO KNOW US

FEATURED ART

CLAUDE MONET - Coup de vent - oil on canvas - 32 1/8 x 25 5/8 in.

CLAUDE MONET

CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.

CLAUDE MONET

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

CAMILLE PISSARRO - Le Jardin des Tuileries, apres-midi, soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

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

WILLEM DE KOONING

GUSTAVE CAILLEBOTTE - Vue du jardin de l’artiste et de la Vallée de I'Yerres - oil on canvas - 19 1/8 x 25 1/2 in.

GUSTAVE CAILLEBOTTE

Andrew Wyeth & N. C. Wyeth - Puritan Cod Fishers - oil on canvas - 108 1/2 x 157 1/2 in.

Andrew Wyeth & N. C. Wyeth

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

ALFRED SISLEY

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

ALEXANDER CALDER

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

ANISH KAPOOR

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

N.C. WYETH

WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.

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

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

TOM WESSELMANN

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

SEAN SCULLY

JAMES ROSENQUIST - Television or the Cat's Cradle Supports Electronic Picture - acrylic on canvas over panel - 66 x 240 in.

JAMES ROSENQUIST

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

JOSEF ALBERS - Homage to the Square: "In and Out" - oil on masonite - 40 x 40 in.

JOSEF ALBERS

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

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

FRANK STELLA

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

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

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

JOAN MIRO

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