HJFA has operated internationally since founding 25 years ago. Our London consultancy, led by Emma Barnes, represents an exciting new chapter that allows us to serve clients more directly in one of the world’s most active and influential art markets.

– James Carona, Co-Founder and Co-Owner of Heather James Fine Art



Fine Art Consultant
London, England

Emma leads Heather James Fine Art’s London consultancy following three years at the company’s Palm Desert, California, headquarters where she still divides time. She has also worked with Heather James New York and San Francisco. Emma has been instrumental in major deals including works by Vincent Van Gogh; Claude Monet; Diego Rivera; Edward Hopper; Georgia O’Keeffe; and Ed Ruscha. Her expertise spans blue-chip art across genres. 

Emma previously spent six years working in Washington, DC. She graduated cum laude from the University of Pennsylvania and with distinction from King’s College London, and was raised in Berkshire, England.

My earliest memories involve arts and culture in London. I’m thrilled to be back in the city and look forward to deepening relationships with private collectors and industry partners alike.
– Emma Barnes

HEATHER JAMES FINE ART – LONDON will be 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.

We provide a wide range of client-based services including estate and tax planning, collections management, appraisals, logistics management, acquisitions, 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.

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BARNETT NEWMAN - Galaxy - oil on canvas - 24 x 20 in.


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


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


DIEGO RIVERA - Portrait of Enriqueta G. Dávila - oil on canvas - 79 1/8 x 48 3/8 in.


CAMILLE PISSARRO - Le Jardin des Tuileries, apres-midi, soleil - oil on canvas - 26 x 36 1/2 in.


ALEXANDER CALDER - Jerusalem Stabile (Intermediate Maquette) - painted steel - 45 x 112 3/4 x 45 in.


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.
<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. 
<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. 
<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.
<br>There are only 884 oil paintings by Sisley in existence, and many are in permanent museum collections, leaving few excellent large-scale examples that could become available for private sale.


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


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


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


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.


JOAN MIRO - Tête de femme (déesse) - bronze with black patina - 66 x 36 1/2 x 30 in.


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."


"...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
<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.


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.


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


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.  
<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.


ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.