CHIP TOM

Senior Curator
Palm Desert, Los Angeles

Chip Tom is the Senior Curator for Heather James Fine Art and is based in Los Angeles and Palm Desert. He has curated many acclaimed art and design exhibitions globally, including Ketty La Rocca, and The Other Side: Chinese and Mexican Immigration to America. Chip has worked with museums ranging from Centre D’Art Contemporain, Geneva, to the USC Pacific Asia Museum, Pasadena. Most recent projects include serving as the guest curator for Art Macau 2019. He received his BA from Yale University. Chip lectures extensively with recent groups including the California Desert Art Council, and Yale University Alumni.

HEATHER JAMES FINE ART – LOS ANGELES has become a valuable resource for local clients, providing a wide array of support and assistance for a vast range of properties. With the help of Heather James Fine Art experts, our representatives are able to assist you if you have questions regarding buying or selling, or wish to have an object from your collection valued.

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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

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

Andrew Wyeth & N. C. Wyeth

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

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

SEAN SCULLY

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

TOM WESSELMANN

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

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