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

Open by appointment 

Exhibitions

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 - 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
Earl Cunningham: American Fauve
ARCHIVE

Earl Cunningham: American Fauve

September 8 - October 29, 2011

ARTWORK ON VIEW

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

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

FRIDA KAHLO

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

ALFRED SISLEY

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

WINSLOW HOMER

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

N.C. WYETH

RICHARD PRINCE - Untitled (Cowboy) - dye coupler print - 79 x 59 in.

RICHARD PRINCE

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.
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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

MAX PECHSTEIN - Damenbildnis (Charlotte Pechstein) - oil on canvas - 29 1/2 x 23 1/2 in.

MAX PECHSTEIN

JOSEF ALBERS - Study for Homage to the Square: White Patio - oil on masonite - 23 1/2 x 23 1/2 in.

JOSEF ALBERS

JOSEF ALBERS - Study to Homage to the Square: Juxtaposed - oil on masonite - 23 1/2 x 23 1/2 in.

JOSEF ALBERS

Larry Rivers is considered by many to be the father of the Pop Art movement.  In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself.  
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<br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C.

LARRY RIVERS

Ask someone to name an artist and many may come up with Pablo Picasso. One of the most influential artists of the 20th century, Picasso transformed our culture through his many styles. Paradoxically, Picasso found originality through his ability to synthesize different sources, as we will see in this watercolor.
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<br>Picasso was born in Spain in 1881. With a strong start and training in Barcelona, Picasso moved to Paris in the early 1900s where he developed several periods before transitioning into Cubism. Along with Georges Braque, Picasso cultivated Cubism which upended our understanding of art.
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<br>This piece is from Picasso’s early Cubist period, done only a couple of years after the landmark "Les Demoiselles d’Avignon." Cubism describes a style of art that presented on a single plane, different views of a subject. This results in an image that appears fragmented. Picasso was influenced by Post-Impressionist painter Paul Cezanne whose work often appeared to take into account views with slightly different views. “Poire et Pommes” follows in this same tradition, presenting a still life of pears and apples as if each piece of fruit was viewed from different points. This gives a two dimensional artwork a sense of depth not reliant on perspective. Picasso also utilized “intrinsic completeness”, inspired by Cezanne. The paint does not completely fill the fruit yet we comprehend it as whole.
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<br>“Poire et Pommes” is part of a long tradition of still lifes that go beyond depicting an arrangement of objects. It provides a springboard to investigate deeper questions of perception and temporality.

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

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

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 - Leta and the Hill Myna - oil on canvas - 60 x 52 in.

MEL RAMOS

WINSLOW HOMER - Towing the Boat - watercolor and pencil on paper - 6 1/2 x 11 1/4 in.

WINSLOW HOMER

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

"The Ash Blonde" (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes.  
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<br>Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.

CHILDE HASSAM

OTTO DIX - Liegendes Kind (Vreneli Hassler) - charcoal, sanguine, opaque white and watercolor on cardboard - 22 1/2 x 30 1/2 in.

OTTO DIX

ANDY WARHOL - Diamond Dust Shoes (Black and White) - screenprint with Diamond Dust - 40 x 59 1/2 in.

ANDY WARHOL

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

As a member of the legendary Gutai Art Association that flourished between 1954 and 1972, Sadamasa Motonaga emerged when post-atomic surrealist existentialism was at the forefront of artistic development in Japan. Yet he chose a different path. He turned his back on the destruction wrought by the war and created work that was fresh, jubilant, and playful. “Untitled” from 1969 is in his classic style, which developed concurrently with Morris Louis’ so-called ‘Veil’ paintings. It is a brilliantly successful display of Motonaga’s avant-garde take on traditional Japanese Tarashikomi — the technique that involves tilting the canvas at different angles to allow mixtures of resin and enamel to flow upon one another before the paint is fully dry.

SADAMASA MOTONAGA

Irving Norman was an American painter whose works examined modern civilization and the human condition. Norman conceived his paintings as public works that bore witness to history and systems of power. He was influenced by his experiences as a Polish immigrant, as a defender of the Spanish Republic during the Spanish Civil War, and as an observer of the conflicts in the 20th century. The Palace has been exhibited at the Crocker Art Museum in Sacramento, the Pasadena Museum of California Art, the Nora Eccles Harrison Museum of Art at Utah State University, and Katzen Arts Center at American University in Washington D.C. Heather James is proud to represent the estate of Irving Norman.

IRVING NORMAN

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

ROBERT BATEMAN - By the River - Elephants - acrylic on canvas - 48 x 72 in.

ROBERT BATEMAN

FRED TOMASELLI - Green Spine - hemp leaves, acrylic and resin on wood - 48 x 24 x 2 3/8 in.

FRED TOMASELLI

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

NATHAN OLIVEIRA

ANDY WARHOL - Self-Portrait in Fright Wig - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition. 
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<br>Matter began creating large-scale charcoal on canvas works in the 1970s with the aim of approaching drawing with the same reverence as painting. The charcoal works are less common than her riotously colorful paintings, and they demonstrate Matter's proclivity for complex and dynamic compositions.

MERCEDES MATTER

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

ANDY WARHOL - Ford car - graphite on paper - 11 1/2  x 15 3/4 in.

ANDY WARHOL

THOMAS MORAN - Sunshine and Showers (A View of London from Hampstead Heath) - oil on canvas - 13 1/2 x 19 1/2 in.

THOMAS MORAN

TADASUKE (Tadasky) KUWAYAMA - B-139 - acrylic on canvas - 47 x 47 in.

TADASUKE (Tadasky) KUWAYAMA

Chilean artist Roberto Matta worked for two years in modern architect Le Corbusier’s studio in Paris. There in the city, he formed strong friendships with Salvador Dalí and Andre Breton, officially joining the Surrealists in 1937.
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<br>Matta’s paintings incorporate psychological responses to political and social concerns, influenced by the trauma of World War II. Layered on this is his classical style of overlapping architectural planes. In this way, Matta merges Surrealism, the language of Abstract Expressionism, and political identity.
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<br>This painting shows all the hallmarks of Matta’s style. He layers architectonic features with machinery, a comment on the technological advances emerging during and after WWII. Against a striking background, Matta inhabits the canvas with biomorphic features, providing a contrast of shape and color for an electrifying work that appears to emerge from a dream

ROBERTO MATTA

"Bouquets de Fleurs" (1901) is a glowing Post-Impressionist still life. As the revolutionary wave of Impressionism receded from its apex, artists such as Henri Manguin, Henri Matisse, Kees van Dongen, Louis Valtat, and others emerged as part of the new avant-garde in Europe. These “Fauves,” or roughly translated “wild beasts,” would attack their canvases with a bold and vibrant new palette. This completely new way of painting was not initially celebrated by critics, or the artistic elite, but is today recognized among the most innovative and original artistic movements of the 20th Century.    
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<br>The present work, painted just before the revolution of Fauvism took hold, demonstrates a critical transitionary period in Modern Art. The subject is depicted with a masterful compositional sense and attention to spatial relationships. Manguin’s competency in composition would allow him to experiment freely with color during the first decade of the 20th Century. The slightly later but comparable Manguin still life “Flowers” (1915) is in the permanent collection of the Hermitage Museum, St. Petersburg, Russia.

HENRI MANGUIN

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

WILLIAM WENDT

Ed Moses was a prominent figure in the Los Angeles art scene for nearly 70 years. He first exhibited in 1949 and was part of the original group of artists from the Ferus Gallery in 1957 – fellow Cool School artist Ed Ruscha also had his first solo exhibition there in 1963. The large scale and tryptic formation of “Franco-Del #1 & #3” from 2006 is rare for Moses. The piece is executed in earth tones of browns, grey, black, rust and pine green. Always working with process and experimenting with materials as a painter, Moses has been critically lauded for his bold composition and innovation.

ED MOSES

JOSEPH KLEITSCH - Mission Cloisters, San Juan Capistrano - oil on canvas - 22 1/8 x 27 in.

JOSEPH KLEITSCH

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

ANDY WARHOL

ANDY WARHOL - Consommé (Beef), from Campbell's Soup I - screenprint in colors on woven paper with full margins - 35 x 23 in.

ANDY WARHOL

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

PAUL JENKINS

Signed, titled and dated ‘81 verso
<br>JR-198-81

JACK ROTH

JAMES ROSENQUIST - Drawing Study - oil pastel and pencil on paper - 35 x 22 1/2 in.

JAMES ROSENQUIST

ANDY WARHOL - Farrah Fawcett - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Self-Portrait - Polaroid - 4 1/4 x 4 1/2 in.

ANDY WARHOL

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

ROBERTO MATTA

“[Godwin's paintings] have the muscularity of Kline and Hofmann, as well as the color wingspan of Helen Frankenthaler, the jagged-edged voids of Clifford Still and the stately architectonics of Robert Motherwell.” (Walter Robinson, Artnet Magazine, December 13, 2010)
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<br>Along with Helen Frankenthaler, Joan Mitchell, Lee Krasner, Elaine de Kooning, and Grace Hartigan, Godwin is one of the golden twelve painters identified and included in the important “Women of Abstract Expression” traveling exhibition that opened at the Denver Art Museum during 2016-17. That show spotlighted and elevated an awareness of Godwin’s work along with that of Mary Abbott, Perle Fine, Deborah Remington and others who deserved renewed attention. At the time of exhibition in 2016-17, Godwin was one of only three still living. Her work is included in almost fifty American museums and is represented in the collection of Musée d’Art Classic de Mougins near Cannes and Antibes, South of France.   
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<br>This painting, "Rocks" demonstrates her ability to reach an agreeable balance between pure abstraction and architectonic references that suggest the landscape. This canvas is of a scale that showcases her strengths as an abstract, gestural artist yet is of a size well adapted to home settings.

JUDITH GODWIN

ANDY WARHOL - Self Portrait in Drag - unique Polacolor ER print - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Self-Portrait with Camera (diptych) - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

Robert Rauschenberg, along with Jasper Johns, Andy Warhol, and Roy Lichtenstein, started the revolution of Pop Art in the 1960s. Rauschenberg's later career was a time for the artist to work on experimental and innovative projects, including the 1993 "Prime Pump from ROCI USA (Wax Fire Works Series)." This series comes from the artist's philanthropic project, "ROCI USA," demonstrating "Rauschenberg's belief in the power of art as a catalyst for positive social change."  The reference to "wax fire" in the title is Rauschenberg's term for encaustic - hot wax with colored pigments - which he used in other works from the series. 
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<br>Executed in a small edition of just 17 examples, this piece incorporates printmaking, a medium to which he often returned to explore new modes for layering imagery. Rauschenberg worked on editions since the early 1960s when he was a fixture at the ULAE and Gemini G.E.L. printshops.  Rauschenberg's printmaking and editioned works were an extension of the creative act for the artist; he could achieve sculptural and 3D effects through his editions.

ROBERT RAUSCHENBERG

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 4 1/2 x 3 3/8 in.

ANDY WARHOL

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

ANDY WARHOL

ANDY WARHOL - The Shadow (from Myths) - color screenprint with diamond dust on paper - 37 1/2 x 37 1/2 in.

ANDY WARHOL

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971).  Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. 
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<br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.
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<br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

JESSIE ARMS BOTKE

DONALD SULTAN - Yellow Tulip #18 - oil and tar on paper - 20 x 20 in.

DONALD SULTAN

ANDY WARHOL - Self Portrait at 'Flowers' Exhibition - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

LEON AUGUSTIN L'HERMITTE - Etude de vieille femme - pastel and crayon on cardboard - 25 1/2 x 20 1/4 in.

LEON AUGUSTIN L'HERMITTE

ANDY WARHOL - Dennis Hopper - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Self Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - David Hockney and Andy Warhol - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Ryan O'Neal - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

JAE KON PARK - Untitled - oil on canvas - 35 1/2 x 45 1/2 in.

JAE KON PARK

ANDY WARHOL - Warhol with Corn Flakes - Polaroid, Polacolor - 3 3/8 x 4 1/2 in.

ANDY WARHOL

ANDY WARHOL - Arnold Schwarzenegger - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 3 3/8 x 4 1/2 in.

ANDY WARHOL

ANDY WARHOL - Andy Painting - Polaroid, Polacolor - 4 1/4 x 4 1/2 in.

ANDY WARHOL

ALEX KATZ - 5:30 PM, Late May #2 - oil on board - 3 7/8 x 11 5/8 in.

ALEX KATZ

KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.

KEITH HARING

DEWITT PARSHALL - Hermit Creek Canyon, Grand Canyon - oil on canvas - 40 3/4 x 50 in.

DEWITT PARSHALL

TONY DE LOS REYES - The Needle - oil on linen - 89 x 119 x 6 in.

TONY DE LOS REYES

SAM FRANCIS - Untitled (Black and White Composition) - acrylic on paper - 23 3/4 x 17 3/4 in.

SAM FRANCIS

DENNIS OPPENHEIM - Launching Station #1 - color pencil and pigment on paper - 76 x 50 in.

DENNIS OPPENHEIM

MERION ESTES - Solo Samba - acrylic on canvas - 70 1/4 x 71 1/2 in.

MERION ESTES

ANDY WARHOL - Georgia O'Keeffe - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

ANDY WARHOL

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

ANDY WARHOL - Woman in a Pink Hat - ink and tempera on paper - 10 5/8 x 8 in.

ANDY WARHOL

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

HERB ALPERT

ANDY WARHOL - Jane Fonda - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Jane Fonda - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Man Ray - Polaroid Polacolor Type 108 print - 4 1/4 x 3 1/2 in.

ANDY WARHOL

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

ANDY WARHOL - Knives - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Japanese Toy (Panda with Drum) - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Alba Clemente - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

ANDY WARHOL

ANDY WARHOL - Cheryl Tiegs - Polaroid - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - OJ Simpson - Polaroid, Polacolor - 3 3/8 x 4 1/4 in.

ANDY WARHOL

ANDY WARHOL - Miguel Bose - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Robert Rauschenberg - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Shoe - Polaroid, Polacolor - 3 3/8 x 4 1/4 in.

ANDY WARHOL

ANDY WARHOL - Jon Gould and Andy Warhol - silver gelatin print - 8 x 10 in.

ANDY WARHOL

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

EDGAR SERRANO

ANDY WARHOL - Gun - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Farrah Fawcett Photo Shoot - silver gelatin print - 8 x 10 in. ea.

ANDY WARHOL

ANDY WARHOL - Cabbage Patch Doll - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Donna Jordan - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Dental Molds - Polaroid, Polacolor - 3 3/8 x 4 1/4 in.

ANDY WARHOL

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

PENELOPE GOTTLIEB - Rosa Rugosa - acrylic and ink over Audubon print - 38 x 26 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Tupha latifolia - acrylic and ink over Audubon print - 37 x 25 in.

PENELOPE GOTTLIEB

KAORU MANSOUR - Eucalyptus #200 - mixed media on canvas - 48 x 42 in.

KAORU MANSOUR

KAORU MANSOUR - Ran #105 - mixed media on canvas - 48 x 24 in.

KAORU MANSOUR

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 9 1/2 x 11 in. right: 12 1/2 x 13 3/8 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 5/8 x 12 3/4 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 10 x 17 1/2 in. right: 6 x 10 1/2 in.

JOSEF ALBERS

KAORU MANSOUR - Succulent (dedlow) #102 - collage, acrylic and 22k gold leaf on canvas - 40 x 20 1/2 in.

KAORU MANSOUR

ELIOT PORTER - Coyote Gulch, Escalante River, Glen Canyon, Utah - dye-transfer print - 15 3/4 x 12 1/4 in.

ELIOT PORTER

Invasive plant found in WY

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Cattleya schilleriana (EW) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Cypripedium anethinum (VU) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Cyrtopodium punctatum (EN) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Elaeagnus Umbellata - digital print on Epson Archival 100% cotton - 37 1/2 x 24 3/4 in.

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.

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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

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

GEORGIA O'KEEFFE

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

CLAUDE MONET

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

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 - The Departure of the Mayflower for England in 1621 - oil on canvas - 103 x 160 x 2 1/4 in.

N.C. WYETH

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

ALFRED SISLEY

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

WINSLOW HOMER

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

RICHARD PRINCE - Untitled (Cowboy) - dye coupler print - 79 x 59 in.

RICHARD PRINCE

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

TOM WESSELMANN

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.
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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

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