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

Herb Alpert: The Coffee Paintings
CURRENT

Herb Alpert: The Coffee Paintings

December 22, 2020 - March 31, 2023
Max Pellegrini: Silence and Fantasy
CURRENT

Max Pellegrini: Silence and Fantasy

July 30, 2020 - March 31, 2023
Claude Monet: An Impressionist Genius
ARCHIVE

Claude Monet: An Impressionist Genius

August 18 - October 31, 2022
Impressionism at Heather James Fine Art
ARCHIVE

Impressionism at Heather James Fine Art

September 1 - October 31, 2022
Jackson Hole - Top Works
ARCHIVE

Jackson Hole - Top Works

September 15 - October 15, 2022
Picasso - Prints and Works on Paper
ARCHIVE

Picasso - Prints and Works on Paper

September 1 - October 12, 2022
Marc Chagall: The Color of Love
ARCHIVE

Marc Chagall: The Color of Love

September 8 - October 12, 2022
All We Have Seen: Impressionist Landscapes from Monet to Kleitsch
ARCHIVE

All We Have Seen: Impressionist Landscapes from Monet to Kleitsch

August 9, 2021 - September 30, 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
Max Pellegrini: A Retrospective Exhibition
ARCHIVE

Max Pellegrini: A Retrospective Exhibition

November 27, 2015 - March 27, 2016
Earl Cunningham: American Fauve
ARCHIVE

Earl Cunningham: American Fauve

September 8 - October 29, 2011

ARTWORK ON VIEW

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. 
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<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

MEL RAMOS - Dom Perignon - oil on canvas - 60 x 35 7/8 in.

MEL RAMOS

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

NATHAN OLIVEIRA - Figure with Blue Eyes - oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

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

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

JENNIFER BARTLETT

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

IRVING NORMAN

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

ANDY WARHOL

NATHAN OLIVEIRA - Untitled - oil on canvas - 84 X 63 in.

NATHAN OLIVEIRA

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’.  Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.
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<br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’.  Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird.  Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

MARY CORSE

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus. 
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<br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

MAX PELLEGRINI

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

IRVING NORMAN

FIONA RAE - Untitled (yellow, red + brown) - oil on canvas - 72 x 78 in.

FIONA RAE

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.
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<br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

MAX PELLEGRINI

A young man and woman embrace one another, a woman holds a child, a sleeping baby holds a black and red thread, another young woman undresses, and an angel spreads its wings in this collage like composition. Together, these characters create a narrative in which young love, fate, and life are intertwined: the sleeping baby holds a red thread and black thread, reminiscent of the mythological three Fates, who spun life and death on their loom. These threads are physically connected to the young lovers, who embrace each other, wholly unaware of the hold that the infant has on them. A woman holding a child watches over the love of the youthful boy and girl, just as Mary and Jesus watch over and defend mankind. The merging of narratives and symbols is a common element in Pellegrini’s oeuvre, and is masterfully expressed here.

MAX PELLEGRINI

Mirror images of a cloaked figure embrace a bare-chested and bearded man, who is almost child-like in his relative stature. Their embrace mirrors that of Michelangelo’s Pieta, and the many similar depictions of Christ and the Madonna. A dark shade of blue casts a shadow over the composition, assuredly a temporal indicator, but possibly a reference to Picasso’s blue period as well, a major influencer on Pellegrini’s artwork. The wall panels behind the figures depict religious scenes, and remind the viewer of stained glass walls in churches and chapels. Light shines from windows in the city below, also illuminated by a full moon peaking over mountainous scenery.

MAX PELLEGRINI

FERNANDO CANOVAS - Sodom & Gomorrah - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

FERNANDO CANOVAS - Sodom - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

RUSSELL YOUNG - Brando Portrait - screenprint on linen with diamond dust - 62 5/8 x 47 3/4 in.

RUSSELL YOUNG

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne II (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

CONSTANCE MALLINSON - Couple - oil on paper - 95 x 52 1/2 in.

CONSTANCE MALLINSON

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

HERB ALPERT

SAUL KAMINER - La Peluquera - oil on canvas - 63 1/4 x 51 1/4 in.

SAUL KAMINER

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

HERB ALPERT

CONSTANCE MALLINSON - Severed Limbs - oil on paper - 52 1/2 x 60 1/2 in.

CONSTANCE MALLINSON

DEBORAH OROPALLO - Untitled - oil on canvas - 76 x 67 in.

DEBORAH OROPALLO

PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.

PAUL JENKINS

Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

EDGAR SERRANO

LAWRENCE SCHILLER - Bobby Kennedy, Pg 25 - Platinum Print - 24 x 20 in.

LAWRENCE SCHILLER

Tony de los Reyes’ 2006-2011 series Chasing Moby Dick analyzes the intersection of politics and culture through the lens of Herman Melville’s masterpiece (1851). Much like Captain Ahab’s hunt for Moby Dick, de los Reyes invasions America as “highly contentious and monomaniacal,” especially in light of former President George Bush’s singular hunt for Osama bin Laden. According to de los Reyes, "Melville knew that America, being ever-hungry, would not/could not stop at the ocean's edge. Part of the American spirit is to continue expanding, even to our detriment."
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<br>This painting is named after the fictitious whaling ship, imagined by Melville, that Captain Ahab commands and leads on a three-year expedition while chasing Moby Dick. de los Reyes’ method creates a delicate balance between abstraction and realism that makes the ship appear almost ghostly. This quality may be a physical manifestation of the monomaniacal intention of Captain Ahab, and thus America, that cannot end, even after its own destruction.

TONY DE LOS REYES

WILLIAM WEGMAN - Double Portrait - silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

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

PENELOPE GOTTLIEB

LUC BERNARD - Edges no. 14 - oil on canvas - 40 x 40 in.

LUC BERNARD

WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

LUC BERNARD - Edges no. 11 - oil on canvas - 42 x 35 in.

LUC BERNARD

LUC BERNARD - Edges no. 15 - oil on canvas - 36 x 31 in.

LUC BERNARD

Invasive plant found in WY

PENELOPE GOTTLIEB

LAWRENCE SCHILLER - Marilyn Monroe, "Something's Gotta Give" - silver gelatin print - 24 x 20 in.

LAWRENCE SCHILLER

EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Walden Pond - silver gelatin print - 9 x 13 in.

EDWARD STEICHEN

EDWARD STEICHEN - Improvisation: "George Washington" - silver gelatin print - 9 x 7 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Carl Sandburg - black and white photograph - 12 1/2 x 10 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Self Portrait With Photographic Paraphernalia - silver gelatin print - 13 1/4x 8 3/4 in.

EDWARD STEICHEN

LUC BERNARD - Cinergy No. 4 - oil and sumi ink on canvas - 10 x 14 in.

LUC BERNARD

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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FEATURED ART

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

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

Andrew Wyeth & N. C. Wyeth

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

WAYNE THIEBAUD - The Riverhouse - oil on canvas - 18 x 35 3/4 in.

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

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

N.C. WYETH

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

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

ANISH KAPOOR

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.
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<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

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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