‹ ›

In der wilden Schönheit von Jackson Hole, Wyoming, mit den Nationalparks als atemberaubende Kulisse gelegen, bringt Heather James Jackson seit über einem Jahrzehnt Kunstwerke und Dienstleistungen von höchstem Niveau in das Intermountain West.

Heather James ist bestrebt, eine unvergleichliche Auswahl an Kunstwerken und Dienstleistungen für Einheimische und Besucher anzubieten, die Jackson Hole zu einem unvergleichlichen Ziel für die amerikanische Kultur und die freie Natur machen.

172 Center Street, Suite 101
Postfach 3580
Jackson Hole, WY 83001
(307) 200-6090

Öffnungszeiten: Nur nach Vereinbarung bis 1. Juli 2025

Ausstellungen

ALLE ANSEHEN

Das Vermächtnis des Landes: Georgia O'Keeffe und Emily Kame Kngwarreye

10. Juli 2024 - 31. Januar 2025

Impressionismus bei Heather James Fine Art

1. September - 31. Oktober 2022

Claude Monet: Ein Genie des Impressionismus

18. August - 31. Oktober 2022

Marc Chagall: Die Farbe der Liebe

September 8 - Oktober 12, 2022

Picasso - Drucke und Arbeiten auf Papier

1. September - 12. Oktober 2022

Alles, was wir gesehen haben: Impressionistische Landschaften von Monet bis Kleitsch

9. August 2021 - 30. September 2022

Die Gemälde von Sir Winston Churchill

1. August - 16. September 2018

Norman Rockwell: Der Künstler bei der Arbeit

30. Juni - 30. September 2016

KUNSTWERKE ZUR ANSICHT

ALLE ANSEHEN

<div><font face=Lato> </font><font face=Lato size=3 color=black>Diebenkorn’s path to the “<em>Ocean Park”</em> series was as layered and nuanced as his canvases. Born in Portland, Oregon in 1922, he found his artistic footing in the San Francisco Bay Area, where he absorbed the Abstract Expressionism of figures like Clyfford Still and Willem de Kooning. Yet even in his early abstractions, such as those inspired by the aerial views of the Southwestern landscape during flights to New Mexico, Diebenkorn’s work displayed a grounding in the tangible world. His shift to figuration in the mid-1950s, influenced by Bay Area peers like David Park and Elmer Bischoff, was met with surprise but underscored his belief in continuity rather than rupture. “I was never throwing things away,” he reflected. This ethos carried him back to abstraction in 1967 when the “<em>Ocean Park”</em> series began—a natural and revelatory return.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black><em>“Ocean Park #108”</em> (1978) showcases the spirit of Diebenkorn’s remarkable ability to translate the visual world into a meditative abstraction laden with intellectual rigor and personal resonance. Part of his acclaimed “<em>Ocean Park”</em> series, which spanned over two decades and more than 140 works, this painting captures the essence of Diebenkorn’s artistic philosophy: a fusion of restraint and spontaneity, where light, geometry, and color converge in perfect equipoise. Birthed in his Santa Monica studio overlooking this coastal neighborhood, the vantage point—framed by urban grids, oceanic expanses, and the shimmering Southern California light—shaped the language of these paintings. Yet <em>“Ocean Park #108,”</em> like its siblings, transcends a specific locality; it is less a depiction of a specific place and more a dialogue with the landscape of memory, perception, and art history.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In this work, the coral-hued arch hovers above turquoise, ochre, and alabaster bands, evoking the interplay of horizon and sky. Below, an expansive blue-gray plane is bisected by a diagonal line, lending the composition a quiet dynamism. This scaffold of lines and planes—Diebenkorn’s signature vocabulary—draws on his early admiration for Cezanne’s structured landscapes and Mondrian’s architectonic grids but with a distinct California sensibility. The work’s veiled layers and pentimenti reveal the artist’s process: a cycle of addition and erasure, as though the painting itself is a record of thought in motion. “Indecision, conflict, and tinkering” were, as Diebenkorn once noted, essential to his practice, and here, they coalesce into a harmony that feels earned rather than imposed.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>What distinguishes <em>“Ocean Park #108” </em>within this celebrated series is its quiet confidence, a quality Diebenkorn achieved through rigorous exploration rather than easy fluency. While influenced by Matisse—whose luminous color and spatial tension left an indelible mark on his work—Diebenkorn resisted prettiness, instead striving for what he called “tension beneath calm.” In “<em>Ocean Park #108</em>,” this tension is palpable in the interplay between the precision of its linear framework and the softness of its painted surface. The visible corrections and reworkings imbue the painting with a human quality, a sense that it is not merely an object but an ongoing conversation.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In the context of American abstraction, “<em>Ocean Park #108”</em> is a masterpiece of subtlety and nuance. Its interplay of horizon and sky geometry recalls earlier the desert roads Diebenkorn once photographed from an airplane, while its luminous palette evokes the marine light of the Pacific. But the painting’s emotional resonance—its “breadth of reference,” as one critic noted—elevates it. To stand before “<em>Ocean Park #108” </em>is to be enveloped in a space that feels both constructed and organic, abstract and deeply familiar. It is a testament to Diebenkorn’s lifelong inquiry into what painting could be: not a conclusion, but a possibility, ever unfolding.</font></div>

RICHARD DIEBENKORN

AGNES MARTIN

WILLEM DE KOONING

WINSLOW HOMER

GERHARD RICHTER

SEAN SCULLY

HANS HOFMANN

$<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>$

HANS HOFMANN

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.<br><br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

CHINESISCH

HANS HOFMANN

MEL RAMOS

CAMILLE PISSARRO

LEE KRASNER

ROLAND PETERSEN

GEORGE RICKEY

<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>

HANS HOFMANN

ANDY WARHOL

RICHARD PRINCE

HARRY BERTOIA

<div><font face=Aptos size=3 color=black>María Blanchard, born in 1881, initially emerged as a committed Cubist painter, heavily influenced by her friendships with Juan Gris and other avant-garde figures. Her work in the 1910s showcased rigorous geometric abstraction, yet by the early 1920s, she began to transition toward a more figurative style. This shift aligned her with the “<em>Retour à l'ordre”</em> movement, in which many artists returned to more classical forms after the upheavals of war and early avant-garde experimentation. Blanchard's increasing focus on emotional depth and human subjects became a defining feature of these later works, culminating in pieces like "<em>Fillette à la pomme</em>."</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's Cubist roots, prominent in the angular treatment of the hands and apple, are softened throughout the girl's modest attire, suggesting a spiritual or religious significance. The model's pious countenance and the muted palette of browns, grays, and blues further reinforce that the painting continues a thread of religious themes, as seen in Picasso's early masterwork, "<em>The First Communion</em>," and Blanchard's own "<em>Girl at her First Communion</em>." The apple held in hand introduces layers of symbolism, often representing knowledge, innocence, or temptation, an association that suggests an emotional transition, bridging childhood and deeper awareness.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's ability to fuse Cubist form with symbolic narrative and emotional complexity makes this painting a poignant reflection of her evolution as an artist. She humanizes the rigid forms of Cubism while imbuing her subjects with depth and inner life.</font></div>

MARIA BLANCHARD

<div><font face=Aptos size=3 color=black>Born in 1881, the same year as fellow Spaniard Pablo Picasso, María Blanchard carved her distinct path within modernist art, blending Cubist influences with emotional depth. <em>"La Comida" </em>demonstrates Blanchard's evolution towards a more figurative style while retaining explicit Cubist references. This shift aligns her work with the “<em>Retour à l'ordre”</em> movement, a tendency many fellow artists embraced at the time. Thematically, “<em>La  Comida</em>” recalls van Gogh's early works, particularly "<em>The Potato Eaters</em>" (1885), in both palette and subject matter. Like van Gogh, Blanchard draws attention to the simplicity of rural life, using muted tones of browns, reds, and ochres to convey the grounded, almost austere nature of the figures around the table.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard’s work after 1921 progressively bridged the gap between the rigid forms of early Cubism and a more emotive, personal representation of her subjects. Geometric rigors are present, but the scene's naturalistic light and volumetric composition echo Cézanne's influence. The sharp brushstrokes and angular figures evoke a sense of protection, reflecting Blanchard's intention to shield the inner spirit of her characters from the gaze of others. Yet, her sensitive portrayal invites viewers to connect emotionally with her work, engendering a sense of intimacy and quiet communion. Despite the somber palette, there is a subtle warmth, with the figures' inner spirit shielded from judgment, much like those in van Gogh's painting. Yet in synthesizing elements of Cubism, Blanchard added emotional complexity to the rural themes van Gogh explored, making her contribution distinct yet reflective of earlier artistic traditions.</font></div>

MARIA BLANCHARD

IRVING NORMAN

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

JACK ROTH

KARL BENJAMIN

KHMER

PAUL JENKINS

ANDY WARHOL

THOMAS NOZKOWSKI

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

SÜDOSTASIATISCH

THEASTER GATES - Stand-Ins für die Wrackzeit 25 - weißer Beton und Porzellan - 48 x 12 x 12 x 12 in.

THEASTER TORE

ROY LICHTENSTEIN

KHMER

ROY LICHTENSTEIN

FRANK STELLA

ALEX KATZ

NATIVE AMERICAN - Socorro Black-on-White Storage Jar - bemalter Tontopf - 16 x 14 x 14 Zoll.

AMERIKANISCHER UREINWOHNER

Das hier abgebildete Zeichen ist das Zeichen für langes Leben, das auf Chinesisch shou und auf Japanisch kotobuki heißt. Die Eleganz der Schriftzeichen, vor allem in ihrer kursiven Form, hat sie zu beliebten dekorativen Motiven auf Textilien, Keramik, Lack und vielen anderen Medien gemacht. Hier ist das mit Goldfäden aufgebaute Zeichen von Chrysanthemen umgeben, die aufgrund ihrer gesundheitsfördernden Eigenschaften auch als Symbol für ein langes Leben gelten. Eine solche Fukusa wurde wahrscheinlich als Umschlag für ein Geburtstagsgeschenk hergestellt.

JAPANISCHE

CONSULTANTS

ANDREA RICO DAHLIN

Leitender Vizepräsident
Jackson Hole, Wyoming

[email protected]

c: 913 306 4982

o: 307 200 6090

Andrea ist seit über 20 Jahren in der Branche tätig und hat einen BA in Kunstgeschichte mit einem Nebenfach in Bildender Kunst von der Binghamton University, Binghamton, NY, und einen MA in Moderner Kunst, Kennerschaft und Geschichte des Kunstmarktes von Christie's Education, New York, NY. Sie bringt ihr Fachwissen aus ihrer Erfahrung in Museen und Auktionshäusern mit, da sie am Nelson-Atkins Museum of Art in Kansas City und bei Christie's in New York gearbeitet hat.

Seit ihrem Eintritt bei Heather James Fine Art im Jahr 2015 hat Andrea Einlieferungen gesichert und beim Aufbau bemerkenswerter Privat- und Museumssammlungen mit wichtigen Künstlern geholfen, zu denen Claude Monet, Alfred Sisley, Henri Matisse, Edgar Degas, Norman Rockwell, Andrew Wyeth, Elaine de Kooning, Andy Warhol und Tom Wesselmann gehören.

SARAH FISCHEL

Ko-Vorsitzender, Beratung
Jackson Hole, Wyoming

[email protected]

c: 847 309 6978

o: 307 200 6090

Sarah hat eine tiefe Leidenschaft für Kunst und Geschichte, denn sie wuchs inmitten von Kunst auf. Diese frühe Liebe führte zu mehr als einem Jahrzehnt Erfahrung in der Kunstwelt. Sie hat sich in Galerien, Auktionshäusern und Museen umgesehen.

Sarah glaubt fest daran, dass es wichtig ist, alle Aspekte eines Unternehmens kennenzulernen und zu erfahren. Sie hat in der gesamten Kunstwelt in verschiedenen Funktionen gearbeitet und bringt einen ganzheitlichen Ansatz in die Beratung und ihre Arbeit ein. Seit 2015 ist Sarah eine Schlüsselfigur bei Heather James Fine Art, wo sie einen erstklassigen Kundenservice bietet, die Galerie in Jackson Hole leitet, Galerieausstellungen und Sammlerwohnungen kuratiert und strategische Werbeinitiativen anführt.

Nach ihrem Abschluss in Journalismus und Kunstgeschichte an der New York University setzte Sarah ihre akademische Ausbildung mit einem Master-Abschluss des Christie's Art, Law, and Business Program in London fort. Neben ihren beruflichen und schulischen Aktivitäten engagiert sich Sarah aktiv für Dinge, die ihr am Herzen liegen, darunter Jackson Hole Public Art als Vorstandsmitglied und das United States Holocaust Memorial Museum.

Als Co-Vorsitzende bringt Sarah ihre persönlichen Erfahrungen und ihr Wissen über Kunst und Sammeln in jede Interaktion ein und sucht stets nach der besten Lösung für die Bedürfnisse ihrer Kunden.

IN DEN NACHRICHTEN

DIENSTLEISTUNGEN

Heather James Fine Art bietet eine breite Palette von kundenorientierten Dienstleistungen, die auf Ihre spezifischen Bedürfnisse zugeschnitten sind. Unser Operations-Team besteht aus professionellen Kunsthändlern, einer kompletten Registrierungsabteilung und einem Logistikteam mit umfangreicher Erfahrung im Bereich Kunsttransport, Installation und Sammlungsmanagement. Mit einem weißen Handschuhservice und einer persönlichen Betreuung geht unser Team noch einen Schritt weiter, um unseren Kunden außergewöhnliche Kunstleistungen zu bieten.

NACHLASS- UND STEUERPLANUNG

KOLLEKTIONSMANAGEMENT

ZUSÄTZLICHE RESSOURCEN