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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ESTATE AND TAX PLANNING

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Art trusts

Full documentation of the artwork or collection with digital records, photography, and condition reports for Fair Market Value estate planning.

Facilitation of appraisals for insurance purposes and estate tax filing needs.

Museum gifting

Interfacing with museums to facilitate donations, including assistance navigating the necessary tax documents and legal forms.

Obtaining appraisal documents for donation purposes.

COLLECTIONS MANAGEMENT

Collection documentation

Cataloguing your collection with detailed inventory documentation including photography, condition reports, and certificates of insurance organized and maintained in our digital records.

Installation and security
  • Full-service installation for all art types and sizes.
  • Wall-to-wall art handling services: installation and de-installation; custom packing for transport or storage; specialized installation for earthquake mitigation and theft mitigation; consultation on security systems.
  • Home curation: in-house installers and in-house curators to help place and design the collection; advising on lighting and custom display systems such as pedestals and vitrines.
  • Facilitation of conservation, restoration, and preservation.
 
Strategic loans to museums globally

In-house registrar department to oversee logistical planning, necessary paperwork, and documentation for museum loans.

 

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DIVESTITURES

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Interface with auction houses, dealers and private clients

Logistical coordination with auction houses, including packing, pick-up, transport, and installation.

Relationships with dealers and private clients for sourcing artwork.

Assessing artwork condition and quality for purchase consideration; assistance obtaining certificates of authentication from artist foundations or expert scholars.

LOGISTICS MANAGEMENT

Location tracking, packing, storing, delivery

Climatized storage and transportation: secure storage on-site or at external facilities; coordination with trusted partners and fine art shipping companies.

White glove handling to ensure the safety of the artwork at every step of transportation by air, ground, or sea, from crating and packing to unpacking and installation.

Personalized solutions for multimodal art shipping nationally and internationally.

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APPRAISALS

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Updated appraisals and real-time market updates
  • Longstanding partnerships with appraisers for efficient and thorough documentation.
  • Access to market research tools for valuation, including market price index graphs and auction comparables.
  • Complete documentation of artwork information, including provenance, exhibition history, and literature references.
 
Insurance advisory

Certificates of insurance and appraisals for insurance purposes

ADDITIONAL RESOURCES

Framing

Re-framing, re-glazing, and advising on lighting and display.

Conservation and restoration

Facilitating conservation and restoration treatments from beginning to end, through communication with conservators, treatment proposals, secure transport, and treatment documentation.

Lending for purchases and liquidity

Assisting with loans for acquisition or against existing owned art.

Home staging

Consultation visits, artwork selection for key walls and spaces, and installation.

Exchange and installation of artwork that may sell while on display as all works provided for staging remain active gallery inventory.

Negotiations with home buyer who also seeks to purchase the artwork on display.

 

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FINANCIAL

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Framing

Re-framing, re-glazing, and advising on lighting and display.

Conservation and restoration

Facilitating conservation and restoration treatments from beginning to end, through communication with conservators, treatment proposals, secure transport, and treatment documentation.

Lending for purchases and liquidity

Assisting with loans for acquisition or against existing owned art.

Home staging

Consultation visits, artwork selection for key walls and spaces, and installation.

Exchange and installation of artwork that may sell while on display as all works provided for staging remain active gallery inventory.

Negotiations with home buyer who also seeks to purchase the artwork on display.

 

LOCATIONS

CONSULTANCIES

FEATURED ART

AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.

AD REINHARDT

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

CLAUDE MONET

CAMILLE PISSARRO - Le Jardin des Tuileries, Apres-Midi, Soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

Alongside Monet and Renoir, Sisley was a founding member of Impressionism and remained true to the principles of pure color, rendering fleeting moments and capturing the essence of atmosphere throughout his career. Unlike many of his contemporaries who traversed varied subjects of industrial urbanism, rural locals and figures, Sisley was enamored with the French countryside and focused almost entirely on this subject.
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<br>Painting en plein air, directly onto a primed canvas outdoors, Sisley rarely reworked his paintings back in his studio. This mode of painting brings an immediacy to his work, particularly in “Printemps a Veneux.” He painted this piece in April of 1880 in Veneux-Nadon, a small village along the west bank of the Seine river. Sisley had settled in this area three months prior, focusing on painting the snow-covered landscape. As Spring began to bloom, Sisley was charmed by the environment in which he found himself and his paintings took on a renewed sense of exuberance. 
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<br>Cerulean skies with plush white clouds prevail in many of Sisley’s paintings. The crisp Spring air rustling the leaves of the orchard in which Sisley placed his easel shifts the light across the grove, creating delightful patterns of shadow. The atmosphere of “Printemps a Veneux” is palpable. The large scale of the canvas is rare in Sisley oeuvre and enhances the immersive feeling. 
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<br>Two years after Sisley painted this work, Impressionist champion and patron Paul Durand-Ruel acquired the painting from the artist and was so delighted with it that he kept it in his private collection for decades. Three years after Sisley’s death, Durand-Ruel finally exhibited “Printemps a Veneux” in an important 1899 Impressionist exhibition in his Parisian gallery.

ALFRED SISLEY

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

WILLEM DE KOONING

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

WINSLOW HOMER

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

AGNES MARTIN

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

FRIDA KAHLO

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

FRANCIS PICABIA

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

JOAN MIRO

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.
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<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. 
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<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.

FREDERICK FRIESEKE

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.

VINCENT VAN GOGH

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. 
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<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. 
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<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."

ALEXANDER CALDER

"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
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<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.

HENRY MOORE

FERNAND LEGER - Etude Pour La Grande Parade - gouache, watercolor, pencil and ink on paper - 29 1/4 x 35 in.

FERNAND LEGER

An exemplary work from Picasso’s Neo-Classical period, La communiante avec missel belongs to a rare series. Picasso revisited the theme of children receiving communion a few times and in a few styles, from this solemn classic version to the dynamic fragmentation of Cubism. A Neo-Classical example comparable to this piece is in the collection of the Musée Picasso in Paris.
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<br>While this time period after World War I saw many artists looking to tradition, a return to order as a reaction against the destruction of war, Picasso’s Neo-classicism was not so much a refuge, but a vehicle by which he could explore new themes and ideas. In La communiante avec missel, we see certain hallmarks of Picasso: the visual weight that the girl carries and the statuesque features of her face. These elements are softened by the curved lines the artist has used for her body and dress. In Picasso’s hands, the painting is a meditation of youth and religion marking the rites of passage.

PABLO PICASSO

RICHARD PRINCE - Untitled (Cowboy) - c-print - 61 x 91 in.

RICHARD PRINCE

ROBERT RAUSCHENBERG - Shuttle Buttle/ROCI USA (Wax Fire Works) - acrylic, fire wax, enamel, object on mirrored aluminum - 72 x 144 x 19 in.

ROBERT RAUSCHENBERG

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

CAMILLE PISSARRO

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

TAKASHI MURAKAMI - Want to Hold You - acrylic and platinum leaf on canvas mounted on board - 59 x 59  in.

TAKASHI MURAKAMI

By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop.  "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre.  
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<br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.

HENRY MOORE