• PD-slider1
  • Montecito-slider1
  • JAC-slider1


Heather James Fine Art presents a rare look into art history’s past and present, offering important works from a cross-section of periods, movements, and genres including Post-War, Contemporary, Impressionist, Modern, American, Latin American, and Old Masters.

In 25 years, Heather James Fine Art has expanded into a global network with galleries located in Palm Desert, California; Montecito, California; Jackson Hole, Wyoming along with consultancies in New York City, Los Angeles, San Francisco, Newport Beach, Austin, New Orleans and Basel, Switzerland. Each year, its galleries present an array of museum-quality exhibitions exploring historical and contemporary themes, or examining the work of individual influential artists.

Heather James Fine Art is dedicated to bringing exceptional art to private clients and museums globally while providing the utmost personalized logistical, curatorial, and financial 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.

  • home-services
  • Services-jessica1
  • Svc_hirst
  • Services-brian1
  • Svc_Warhol
  • Conditioning
  • Svc_kapoor


JEFF KOONS - Smooth Egg with Bow (Magenta/Violet) - mirror-polished stainless steel with transparent color coating - 83 1/2 x 76 5/8 x 62 in.


VINCENT VAN GOGH - La Chaumière et une Paysanne Sous les Arbres - oil on canvas - 19 3/8 x 18 1/4 in.


"Jerusalem Stabile (Intermediate Maquette)" is registered in the archives of the Calder Foundation, New York, under application number A-12794. This piece is a maquette of the much larger Jerusalem Stabile, the last monumental sculpture that Alexander Calder made. The 72-foot-long monumental sculpture was installed on Mt. Herzl in Jerusalem in 1977 and was intended to serve as a symbol of modernity, to improve the quality of life in Jerusalem, and to raise cultural awareness. Scaled versions have been exhibited around the world, including the Huntington Library in San Marino, the 2006 Public Art Fund exhibition entitled, “Alexander Calder in New York,” the University of Pennsylvania, and the Rijksmuseum in Amsterdam.


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


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


"Tête de Femme" is based upon one of Miró’s most utilized themes. He characterized his sculptures as being from the ‘truly phantasmagoric world of living’ which is, undoubtedly, intended as a term of endearment. Yet "Tête de Femme" seems to evince something less monstrous or grotesque and instead presents in more sobering light as a free-standing, monolithic presence suggesting essential nature, if not a monumental one. Its attributions are fixed, intrinsic, and suggestive of its innateness; a strikingly austere design that adheres to Miró’s resistance to a classic bourgeois concept of ideal beauty. While it does not suggest a simple ‘female figure’ designation, there is plenty of referential material in the curves, domed protrusions, and a central depression suggesting a birthing matrix that in sum, evokes a celebration of fecundity and the creation of life. In any event, any tether to representational reality is a tenuous one, yet one that is calculated to stimulate the imagination and evoke unconscious primordial references and long-forgotten mythologies.
<br>Likely, Miro viewed this lustrous surface as fair compensation for its absence of color for which he is so well known. The impression is one that never suggests the sculptures of Miró are in any way derived from his painting, yet nor are they a complete deviation from that form of expression. Ultimately, it provides strong evidence that Miró was as engaged and involved in an intense dialogue with free-standing form as he ever was as a younger man working as a painter. "Tête de Femme" is cast in an edition of four, one of which was installed at the Yorkshire Sculpture Garden 2012 landmark exhibition "Miró: Sculptor."


AGNES MARTIN - Untitled #11 - acrylic and graphite on canvas - 60 x 60 in.


JOAN MIRO - Oiseau, Insecte, Constellation - oil on canvas - 50 3/4 x 38 1/8 in.


FRANCIS PICABIA - Lunis - oil on canvas - 25 1/2 x 20 1/2 in. .


Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols.  Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme.
<br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906. 
<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.


VINCENT VAN GOGH - Uitzicht over Den Haag met de Nieuwe Kerk - watercolor, gouache, and pen and brown ink on
paper - 9 7/8 x 14 1/16 in.


CAMILLE PISSARRO - Le Quai de Pothuis a Pontoise - oil on canvas - 18 1/8 x 21 7/8 in.


"The Busy Bee" (1875), demonstrates Homer's influential excellence in watercolor. He began working in the medium in 1873, painting scenes of children and the daily lives of everyday people. Homer's prolific work in watercolor helped to establish it as a serious artistic medium.
<br>This piece is from the reconstruction era and depicts a single figure. The boy depicted in "The Busy Bee" is a model that appears repeatedly in Homer's work from this period, including some of the most widely celebrated reconstruction era paintings like "Dressing for the Carnival" (1877) at the Metropolitan Museum of Art. Nearly all of Homer’s works from the reconstruction era south are in museum collections. Another painting of the same model, "Taking Sunflower to Teacher" (1875), is in the Georgia Museum of Art.
<br>This work is available from a private collection where it has stayed for the last 25 years. It has been exhibited widely beginning in 1876 at the National Academy of Design in New York and going on to be exhibited throughout the 20th century at major American museums such as The Metropolitan Museum in New York, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and The Amon Carter Museum of American Art in Fort Worth, Texas.


By the 1970s, when "Cantilever" was created, Alexander Calder was at the height of artistic prowess. He created this piece with an informed eye, having been working for the better part of the century on identifying and expounding upon his unique creative vision. One of the most instantly recognizable artists of his time, Calder was referred to as an "Engineer of Beauty" by his close friend and neighbor Robert Osborn. "Cantilever" is a  bold experiment in balance, form, and color in the third dimension. 
<br>The work was exhibited at the Perls Gallery, Calder's primary dealer. Since that time, the work has remained in the same private collection.  It is registered in the archives of the Calder Foundation, New York, under application number A08148. 
<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."


PABLO PICASSO - La Communiante Avec Missel - oil on canvas - 25 5/8 x 21 1/2 in.


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>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.


James Rosenquist's contributions to Pop Art's development, along with his contemporaries Andy Warhol, Jasper Johns, and Roy Lichtenstein, would leave an indelible mark on art history. Rosenquist's humble beginnings as a billboard painter were a stark contrast to his widely acknowledged status as one of the greatest artists of his generation at the time of his death in 2017.  
<br>"Samba School" (1986) is a billboard-scale work imbued with a sense of movement and color, much like the dance that inspired the painting. Rosenquist's iconic work, "F-111" (1964-65) at the Museum of Modern art in New York, shares a similar sense of scale and visual energy. Rosenquist's developments in the 1960s and 1970s led to a high level of proficiency in working with these large paintings from which a distinct and powerful visual language emerge.
<br>This painting was featured in the 1987 Oliver Stone film "Wall Street" as well as the 2003-2004 exhibition, "James Rosenquist: A Retrospective," which traveled between the Menil Collection and the Museum of Fine Arts Houston, the Guggenheim Museum in Bilbao, and featured prominently at the Guggenheim Museum in the artist's beloved New York City.


TAKASHI MURAKAMI - Want to Hold You - acrylic on canvas - 59 x 59  in.


Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.


American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.


Andy Warhol's portrait of Dorothy Blau highlights the close ties between them and is evidence of how each pushed the other. Blau was a close friend of Andy Warhol and a pillar of the art scene in Miami. She has the rare distinction of being a repeated subject in Warhol's work as he created portraits of her two times, three years apart. This blue canvas presents a younger Blau in her first Warhol portrait in 1983.
<br>Warhol credited Blau as a critical component in his rise to international fame and as a pillar of 20th century art. This 1980s portrait contains all of the hallmarks of Warhol during his last decade, a period in which he found renewed creative impulses and a return to hand painting.


"Purple Tree" from 1936 shows the genesis of the artist's evolution into total abstraction. One of a series of Casein works on panel completed in 1936, the present work is fully documented and recorded in the Hans Hofmann Catalogue Raisonné. "Purple Tree" shows Hoffmann's "push/pull" color theory, where he placed warm and cool colors side by side. Hofmann was an influential instructor for Helen Frankenthaler, Joan Mitchell, Frank Stella, Lee Krasner, and Louise Nevelson (among many others).  
<br>The 2019 exhibition "Hans Hofmann: The Nature of Abstraction" at the University Museum in Berkeley, California, featured 70 works and showed the evolution of Hofmann throughout his career.