Jackson Hole

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Situated in the wild beauty of Jackson Hole, Wyoming, with National Parks as a stunning backdrop, Heather James Jackson has brought the highest caliber of artworks and services to the Intermountain West for over a decade.

Catering to the unique community that makes Jackson Hole an unparalleled destination for American culture and the outdoors, Heather James strives to provide an unmatched selection of artworks and white glove services for locals and visitors alike.

172 Center Street, Suite 101
P.O. Box 3580
Jackson Hole, WY 83001
(307) 200-6090

Hours: Monday through Thursday: 10am – 5pm,
Saturday: 10am – 6pm

Exhibitions

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Impressionism at Heather James Fine Art
ARCHIVE

Impressionism at Heather James Fine Art

September 1 - October 31, 2022
Claude Monet: An Impressionist Genius
ARCHIVE

Claude Monet: An Impressionist Genius

August 18 - October 31, 2022
Marc Chagall: The Color of Love
ARCHIVE

Marc Chagall: The Color of Love

September 8 - October 12, 2022
Picasso - Prints and Works on Paper
ARCHIVE

Picasso - Prints and Works on Paper

September 1 - October 12, 2022
All We Have Seen: Impressionist Landscapes from Monet to Kleitsch
ARCHIVE

All We Have Seen: Impressionist Landscapes from Monet to Kleitsch

August 9, 2021 - September 30, 2022
The Paintings of Sir Winston Churchill
ARCHIVE

The Paintings of Sir Winston Churchill

August 1 - September 16, 2018
Norman Rockwell: The Artist at Work
ARCHIVE

Norman Rockwell: The Artist at Work

June 30 - September 30, 2016

ARTWORK ON VIEW

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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.

CHINESE

RICHARD SERRA - Cape Breton Horizontal Reversal No. 16 - litho-crayon on two sheets of handmade paper - 19 3/4 x 55 7/8 in.

RICHARD SERRA

<div><font face=Lato size=3>Andy Warhol’s "Marilyn #30" (1967) is part of the artist’s landmark Marilyn portfolio, one of his most celebrated and sought-after series. From an edition of 250 (this work numbered 138/250, with 26 artist’s proofs), the portfolio is represented in major institutions including the Museum of Modern Art, New York. </font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3>Based on a publicity still from the 1953 film Niagara, Warhol’s Marilyns epitomize his fascination with celebrity, mass media, and the power of the reproduced image. Each print in the series was created with five screens—one carrying the photographic likeness and four for areas of color—deliberately layered with bold hues that are at times slightly off-register. This misalignment heightens the tension between glamour and artifice, echoing the fragile brilliance of Marilyn Monroe’s own persona. </font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3>As one of Warhol’s defining bodies of work, the "Marilyn" prints remain icons of Pop Art, merging Hollywood stardom with silkscreen’s mechanical repetition to create a timeless meditation on fame, desire, and image. </font></div>

ANDY WARHOL

GEORGE RICKEY - Space Churn with Squares - kinetic sculpture in stainless steel - 35 1/2 x 20 x 13 in.

GEORGE RICKEY

Alexander Calder's Rouge Mouille (Wet Red) features a background of red circles, some dispersing like explosions, creating a sense of energetic expansion, and others running downward as if streaming trails of a firework display. This animated backdrop is adorned with numerous opaque round balls, predominantly black, but interspersed with striking blue, red, and subtle yellow spheres. The strategic placement of the colorful spheres against the explosive reds captures the awe and spectacle of a fireworks show, transforming the painting into a visual metaphor for this dazzling and celebratory event. The artwork resonates with excitement and vibrancy, encapsulating its ephemeral beauty in a static medium.

ALEXANDER CALDER

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br> <br>“It was early one morning on a calm sea, off Guatemala, when over my couch — a coil of rope — I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br> <br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better.

ALEXANDER CALDER

"Wigwam rouge et jaune", a captivating gouache painting by Alexander Calder, is a vibrant exploration of design and color. Dominated by a lattice of diagonal lines intersecting near their pinnacle, the composition exudes a dynamic balance. Calder introduces an element of whimsy with red and yellow diamond shapes, infusing the piece with playfulness and creating a festive atmosphere. Red balls at the right-leaning lines' apex evoke a whimsical impression, while smaller gray spheres atop left-leaning lines offer contrast and equilibrium. Calder's masterful fusion of simplicity and vital design elements makes Wigwam rouge et jaune a visual delight.

ALEXANDER CALDER

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

ALEXANDER CALDER - The Oval Spiral - gouache and ink on paper - 43 1/4 x 29 1/2 in.

ALEXANDER CALDER

HARRY BERTOIA - Willow Sculpture - stainless steel - 61 1/2 x 39 x 39 in.

HARRY BERTOIA

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

HARRY BERTOIA - Untitled (Sounding Sculpture) - beryllium copper and bronze with wood base - 36 1/2 x 8 x 8 in.

HARRY BERTOIA

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div> <br> <br><div> </div> <br> <br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

HARRY BERTOIA

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects. <br> <br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

MARY CORSE

<div><font face=Lato size=3>Andy Warhol’s <em>Mao</em> (1972) is one of the artist’s most iconic and provocative screenprints, reflecting his fascination with the intersection of political power and celebrity culture. This impression, numbered 244/250, comes from the regular edition of 250, in addition to 50 artist’s proofs. Warhol based the image on the widely circulated official portrait of Chairman Mao Zedong, a figure whose likeness was omnipresent in China during the Cultural Revolution. By reimagining the image through his vivid Pop palette, Warhol transformed a symbol of political authority into a mass-produced cultural icon. </font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3>In this version, Mao’s face is rendered in a striking deep blue, offset by a green shirt and set against a turquoise background. The bold chromatic choices infuse the portrait with both drama and irony, destabilizing the original propagandistic authority of the image. Warhol further heightens this tension by juxtaposing flat, mechanical silkscreen layers with painterly flourishes, blurring the line between mass production and individual expression. </font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3>The <em>Mao </em>series marked a new chapter in Warhol’s career in the 1970s, shifting from Hollywood stars to figures of global influence. Today, these works are regarded as essential statements on the nature of power, fame, and the pervasive reach of the image in contemporary culture. </font></div>

ANDY WARHOL

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div>

WAYNE THIEBAUD

KHMER - Male Torso - sandstone - 24 x 9 x 5 in.

KHMER

From the late 1950s until the mid-1960s, Ray Parker's early contributions to Color Field painting stand out remarkably for their vibrant, fresh quality. Parker arranged two or more robust, rough-edged color blocks using a vigorous, brushy technique on large canvases prepped with gesso. These blocks, rendered in saturated yet subtly vibrant colors, exhibit a distinct energy. While Parker's compositions may remind one of Rothko's, how the color is delivered — solidly and forcefully — sets them apart. Maintaining the grand scale and dynamism of the New York School, Parker's work diverges by forgoing the emotional intensity often associated with Abstract Expressionism and embraces a vision of the movement devoid of its typical pathos.

RAY PARKER

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.

SOUTHEAST ASIAN

KHMER - Head of Avalokiteshvara - gray sandstone - 13 x 7 x 7 in.

KHMER

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Breakfast</em>, from an edition of 50, demonstrates the artist’s signature blend of Pop-inflected realism and painterly intimacy. Executed in colored drypoint, the work captures the simple subject of a morning meal with a remarkable freshness: hatching lines soften and blur the composition, creating a pastel-like effect that distinguishes it from the crispness of commercial print design. Though slightly faded, the impression retains the playful chromatic sensibility and softly modeled shadowing that became hallmarks of Thiebaud’s style.</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>Since the early 1960s, Thiebaud has been celebrated for his depictions of food—cakes, pies, gumball machines, and diner counters—rendered not as literal meals but as cultural icons, at once nostalgic and idealized. In <em>Breakfast</em>, the modest meal is transformed into a subject of contemplation and delight, celebrating the pleasures of everyday American life while evoking memory and desire. The combination of precision and informality speaks to Thiebaud’s ability to merge the immediacy of drawing with the enduring resonance of painting.</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>Institutional recognition of the work’s importance is reflected in its inclusion within the National Gallery of Art, Washington, affirming its role within Thiebaud’s larger project of elevating common objects into images of enduring cultural significance.</font></div>

WAYNE THIEBAUD

ELLSWORTH KELLY - Untitled, (from portfolio Eight by Eight to celebrate the Temporary Contemporary) - lithograph on arches paper - 28 3/4 x 40 3/4 in.

ELLSWORTH KELLY

<div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div>

ED RUSCHA

ALEX KATZ - Vivien - silkscreen on museum board - 39 x 41 in.

ALEX KATZ

ELLSWORTH KELLY - Red Curve - color lithograph - 10 x 7 1/2 in.

ELLSWORTH KELLY

The character shown here is the character for long life, read shou in Chinese and kotobuki in Japanese. The elegance of the characters, especially when depicted in their cursive forms, has made them poplar decorative motifs on textiles, ceramics, lacquer and many other media. Here the character, built up using gold-wrapped threads, is surrounded by chrysanthemums, which are also symbols of long-life because of their health-giving properties. Such a fukusa was likely made as a cover for a birthday gift.

JAPANESE

ELLSWORTH KELLY - Red, Yellow, Blue - color lithograph - 7 1/2 x 7 1/2 in.

ELLSWORTH KELLY

ELLSWORTH KELLY - Red Curve (Black State) - color lithograph - 10 x 7 1/2 in.

ELLSWORTH KELLY

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 10 x 17 1/2 in. right: 6 x 10 1/2 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 x 11 3/4 in. ea.

JOSEF ALBERS

LAWRENCE SCHILLER - End of the Day, Marilyn Monroe, "Something's Got to Give" - silver gelatin print - 20 x 24 in.

LAWRENCE SCHILLER

CONSULTANTS

Andrea-WEB-POST

ANDREA RICO DAHLIN

Senior Vice President
Jackson Hole, Wyoming

[email protected]

c: 913 306 4982

o: 307 200 6090

With over 20 years in the industry, Andrea holds a BA in Art History with a Minor in Fine Art from Binghamton University, Binghamton, NY, and a MA in Modern Art, Connoisseurship, and History of the Art Market from Christie’s Education, New York, NY. She brings expertise from her experience in both museums and auction houses, having worked at the Nelson-Atkins Museum of Art in Kansas City and Christie’s in New York.

Since joining Heather James Fine Art in 2015, Andrea has secured consignments and helped build notable private and museum collections with important artists, which include Claude Monet, Alfred Sisley, Henri Matisse, Edgar Degas, Norman Rockwell, Andrew Wyeth, Elaine de Kooning, Andy Warhol, and Tom Wesselmann.

Sarah 2025

SARAH FISCHEL

Senior-Vice President Heather James and Co-Chairman, Art Advisory
Jackson Hole, Wyoming

[email protected]

c: 847 309 6978

o: 307 200 6090

Sarah has a deep passion for both art and history having grown up surrounded by art. Propelling that early love into over a decade of experience in the art world, she has navigated galleries, auction houses, and museums.

A firm believer in learning and experiencing every aspect of a business, Sarah has worked across the art world in various roles, bringing a holistic approach to the advisory and her work. Since 2015, Sarah has been a key player at Heather James Fine Art, where she has provided top-tier client service, managed the Jackson Hole gallery, curated gallery exhibitions and collectors’ homes, and spearheaded strategic promotional initiatives.

Earning degrees in journalism and art history from New York University, Sarah continued her academic foundation with a master’s degree from Christie’s Art, Law, and Business program in London. Beyond her professional and educational pursuits, Sarah is actively involved with causes close to her, including the United States Holocaust Memorial Museum and as a board member of Jackson Hole Public Art and Teton Adaptive.

As Co-Chairman, Sarah brings her personal experiences and knowledge of art and collecting to every interaction, always seeking out the best solution for her clients’ needs.

IN THE NEWS

VIDEO

Heather James Jackson Hole – Summer 2025 Art Selections with Sarah Fischel

Co-Chairman, Art Advisory and Senior Vice President, Sarah Fischel, shares some of her favorite artworks on view at our Jackson Hole, Wyoming, gallery. More...

VIDEO

Heather James Jackson Hole – Summer 2025 Art Selections with Andrea Rico-Dahlin

Senior Vice President, Andrea Rico-Dahlin, shares some of her favorite artworks on view at our Jackson Hole, Wyoming, gallery. More...

NEWS

Recently Sold Top Works

Heather James Fine Art provides a wide range of client-based services catered to your specific art collection needs. More...

NEWS

Gibson, Dunn & Crutcher Installations

With many years of experience curating museum exhibitions and creating corporate collections, Chip Tom and Heather James Fine Art were the perfect match for the Gibson, Dunn & Crutcher LLP More...

NEWS

Sell Your Blue Chip Works With Heather James

Heather James Fine Art is actively seeking Blue Chip artworks of art across all major genres and mediums. More...

NEWS

Heather James Fine Art Museum Loans

Heather James Fine Art has been honored to facilitate loans of artworks to museum exhibitions globally. More...

NEWS

Claude Monet Recently Sold Works

Monet and his works are a specialty for us at Heather James Fine Art, having sold dozens of his paintings over the years. More...

NEWS

The Art Market March 2023

Heather James Fine Art co-founder Jim Carona discusses the art market resilience and offers insights into investing in art during bear financial times. More...

PRESS

Heather James loaned Van Gogh included in “Van Gogh in America” draws crowd

October 2, 2022
Heather James loaned Van Gogh included in "Van Gogh in America" draws enthusiastic crowd.
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PRESS

Heather James loans major Van Gogh to “Van Gogh in America”

September 30, 2022
Heather James loans "Harvest in Provence," which Van Gogh painted in 1888, inspired by the landscape and colors of Arles, France, to Detroit Institute of Art for "Van Gogh in
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PRESS

Jackson Hole News & Guide Highlights Heather James Four Centuries of Art

September 7, 2022
Jackson Hole News & Guide Highlights Heather James Four Centuries of Art - including Monet, O'keeffe, Kahlo, Warhol, Chagall and more.
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NEWS

Art Market Resilience

Heather James Fine Art co-founder Jim Carona reviews the art market’s performance during previous recessionary periods and offers key observations as to why the art market has proven to be More...

PRESS

Jackson Hole News & Guide Features Heather James New Works

August 10, 2022
Jackson Hole News & Guide features Heather James new works including Monet, Picasso, Warhol and more.
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NEWS

Art as an Investment

Fine Art is listed among the best bets for 2022. See our in depth analysis of art as an asset in your portfolio. More...

VIDEO

Getting to Know Heather James Fine Art

Celebrating over 25 years, the Heather James team opens up about what our mission means to us. More...

NEWS

Celebrating 25 Years of Heather James Fine Art

In 2021, Heather James Fine Art celebrated 25 years in business. In that time, we have placed over 6,500 works of art with collectors More...

NEWS

Heather James Opens London Consultancy

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 More...

PRESS

Jackson Hole News & Guide reports Heather James gives collectors rare finds

Sep 8, 2021
Jackson Hole News & Guide reports Heather James gives collectors rare finds
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VIDEO

Women Artists with Andrea Rico-Dahlin

Andrea Rico-Dahlin, Senior Director, Heather James Fine Art speaks about pioneering women artists on view at our Jackson Hole gallery More...

VIDEO

De Kooning with Andrea Rico-Dahlin

Andrea Rico-Dahlin, Senior Director, Heather James Fine Art speaks about Elaine and Willem de Kooning on view at our Jackson Hole gallery More...

NEWS

Jackson Hole Gallery Walkthrough – Summer 2021

Join us for a video tour of our Jackson Hole, Wyoming gallery location featuring art by Claude Monet, Camille Pissarro, Frida Kahlo, and Elaine de Kooning, among many others More...

CATALOGS

Revolutions in Modern Art

In Revolutions in Modern Art, we hope to shed light on how Modern art’s greatest names have changed the course of art history. More...

CATALOGS

Heather James Fine Art – About Us

Heather James Fine Art has been in business for over 25 years, presenting important works spanning time periods and genres including Contemporary, Modern, Impressionist, American, Latin American, and Old Masters. More...

VIDEO

Edward Hopper Exhibition

Our exhibition of work by Edward Hopper in Jackson Hole, Wyoming, presents a personal look at the artistic history of the quintessential American artist. The paintings and works on paper More...

CATALOGS

Edward Hopper exhibition catalog

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VIDEO

The Paintings of Sir Winston Churchill – Jackson Hole exhibition

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VIDEO

Heather James Fine Art – Jackson Hole Gallery 2016

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VIDEO

Heather James Fine Art – Jackson Gallery

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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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<div><font face=Lato size=3 color=black>Clyfford Still occupies a monumental position in the history of modern art, often heralded as the earliest pure abstract painter to work on an expansive scale. By the early 1940s, Still had already arrived at a radically abstract visual language that transcended the aesthetic frameworks of his peers, rejecting representational imagery and producing canvases that were immense in size and conceptual ambition. Pollock famously confessed that “Still makes the rest of us look academic,” and Rothko once kept a Still painting in his bedroom as a guiding inspiration. His work was, as critic Clement Greenberg remarked, “estranging and upsetting” in its genuine originality, a raw and elemental confrontation of form and color that defied conventional expectations.<br> <br></font></div> <br> <br><div><font face=Lato size=3 color=black>For viewers familiar with Still’s oeuvre, his paintings typically evoke a powerful physicality: vast canvases covered in richly textured layers of pigment—earthy blacks, ochres, siennas, and cadmiums—applied with a trowel-like rigor that recalls weathered geological formations. These thickly encrusted surfaces often alternate with more thinly painted passages, all juxtaposed against large swaths of bare canvas that lend his compositions a sense of immense scale and open-ended possibility. This aesthetic, rooted in the grandeur of raw and elemental presence, often manifests as jagged, opaque forms whose stark contrasts convey a primal energy.<br> <br></font></div> <br> <br><div><font face=Lato size=3 color=black><em>“PH-589”,</em> on the other hand, marks a transition in Still’s career, where his already profound engagement with abstraction began to evolve toward greater spareness and a deeper exploration of the expressive potential of voids and open space. Painted in 1959, the expected density of his earlier surfaces gives way to a lighter touch and a more restrained use of paint. Against largely unpainted ground, two jagged shapes of continental significance hang suspended, their edges torn and irregular, as if wrested from the canvas itself. The bare canvas, which had served as a compositional counterpoint in Still’s earlier works, now asserts itself as a dominant feature, heightening the power of the painted forms while introducing an ethereal sense of light and space.<br> <br></font></div> <br> <br><div><font face=Lato size=3 color=black>This shift was both aesthetic and philosophical. By the late 1950s, Still had grown increasingly disenchanted with the art world, distancing himself from its commercial and critical structures<em>. “PH-589”</em> is an anticipatory event before his move to rural Maryland in 1961 that coincided with a period of introspection and formal refinement when Still began to strip his compositions down to their essential elements. As Still explained, he sought to fuse color, texture, and form into “a living spirit,” transcending their materiality to evoke the human capacity for transcendence.</font></div> <br> <br><div><font face=Lato size=3 color=black><br> <br>This painting signals the burgeoning openness of Still’s later works, where the interplay of painted forms and unpainted ground would become a defining characteristic. By the 1960s and 1970s, Still’s palette grew lighter, his gestures sparser, and his use of emptiness more deliberate, creating compositions that were at once monumental and ephemeral. Yet the seeds of that evolution are already present here in the restrained yet powerful interplay of color and space. His revolutionary approach to abstraction—both in scale and in spirit—provided a foundation upon which the Abstract Expressionists built their legacy. At the same time, his work resists easy interpretation, demanding instead an unmediated confrontation with its raw, elemental presence. With its terse eloquence and rhythmic vitality, this painting is both a culmination of Still’s early achievements and a momentous portent of his later innovations.</font></div>

CLYFFORD STILL

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers. <br> <br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form. <br> <br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology. <br> <br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

GEORGIA O'KEEFFE

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial. <br> <br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

ALFRED SISLEY

<div>When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved.   </div> <br> <br><div> </div> <br> <br><div>Viewed from the perspective of a bird or a plane, "The Riverhouse" is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water. "The Riverhouse" is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, "The Riverhouse" is a heady concoction of vibrant pigment and rich impasto, one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.  As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” </div> <br> <br><div> </div> <br> <br><div>Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as "The Riverhouse" rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.</div>

WAYNE THIEBAUD

During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip painted the summer of 1872. Among the many other paintings inspired by the region, Girl Standing in the Wheatfield is rich in sentiment, but not over sentimentalized. It directly relates to an 1866 study painted in France entitled, In the Wheatfields, and another, painted the following year after he returned to America. But Homer would have undoubtedly been most proud of this one. It is a portrait, a costume study, a genre painting in the great tradition of European pastoral painting, and a dramatically backlit, atmospheric tour de force steeped in the quickly fading gloaming hour light buoyed with lambent, flowery notes and wheat spike touches. In 1874, Homer sent four paintings to the National Academy of Design exhibition. One was titled, “Girl”. Might it not be this one?

WINSLOW HOMER

<div><font face=Lato size=3>Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show,  "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York.    "Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier.    Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.</font></div>

GERHARD RICHTER

<div>In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, Braque, and Giorgio de Chirico, along with the enduring impact of Cubism. Exploring painterly and plastic values through subjects sourced from street scenes, popular culture, and the fabric of daily life, his unique approach to color and form began to take shape. It was a pivotal shift toward cosmopolitan aesthetics, setting him apart from the nationalist fervor championed by the politically charged narratives of the Mexican Muralist movement.  By focusing on the vitality of popular culture, he captured the essential Mexican identity that prioritized universal artistic values over explicit social and political commentary. The approach underscored his commitment to redefining Mexican art on the global stage and highlighted his innovative contributions to the modernist dialogue. </div> <br> <br><div> </div> <br> <br><div>Like Cézanne, Tamayo elevated the still life genre to some of its most beautifully simple expressions. Yet high sophistication underlies the ease with which Tamayo melds vibrant Mexican motifs with the avant-garde influences of the School of Paris. As "Naturaleza Muerta" of 1935 reveals, Tamayo refused to lapse into the mere decoration that often characterizes the contemporary School of Paris art with which his work draws comparisons. Instead, his arrangement of watermelons, bottles, a coffee pot, and sundry items staged within a sobering, earthbound tonality and indeterminant, shallow space recalls Tamayo's early interest in Surrealism. An overlayed square matrix underscores the contrast between the organic subjects of the painting and the abstract, intellectualized structure imposed upon them, deepening the interpretation of the artist's exploration of visual perception and representation. In this way, the grid serves to navigate between the visible world and the underlying structures that inform our understanding of it, inviting viewers to consider the interplay between reality and abstraction, sensation and analysis.</div>

RUFINO TAMAYO

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.” <br> <br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’ <br> <br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.” <br> <br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

TOM WESSELMANN

<div><font face=Lato size=3 color=black>Irving Norman conceived and created <em>The Human Condition</em> at a time when he must have reflected deeply on the totality of his life. Given its grand scale and cinematic treatment, it impresses as a profound culmination of his artistic journey, synthesizing decades of themes, insights, and experiences into a single monumental work. A man of great humility and an artist of uncommon skill, he translated a horrendous war experience into impactful allegories of unforgettable, often visceral imagery. He worked in solitude with relentless forbearance in a veritable vacuum without fame or financial security. Looking to the past, acutely aware of present trends, he knew, given the human predicament, he was forecasting the future. As one New York Times reviewer mused in 2008, "In light of current circumstances, Mr. Norman's dystopian vision may strike some…as eerily pertinent," an observation that recalled recent events.<br> <br></font></div> <br> <br><div><font face=Lato size=3 color=black>Irving Norman's figures, manipulated by their environment and physical space, are of a style that exaggerates the malleability of the human form to underscore their vulnerability and subjugation. This literal and symbolic elasticity suggests that these figures are stretched, compressed, or twisted by the forces of their environment, emphasizing their lack of autonomy and the oppressive systems that govern their existence. While these figures reflect vulnerability, Norman's structural choice in <em>The Human Condition</em> creates a stark juxtaposition that shifts attention toward the central tableau. A commanding female figure, rising above the calamitous failures and atrocities of the past, is joined by a man, forming a symbolic "couple,” suggesting the unity and shared responsibility of a new vision. Their hands, magnified and upturned, present these children as a vision offering hope and renewal for the future. The gesture, combined with the futuristic clothing of the diminutive figures, reinforces the idea of an alternative path—a brighter, forward-looking humanity. The central tableau acts as a metaphorical offering, inviting the viewer to consider a future untouched by the weight of darkness from which these figures emerge.<br> <br></font></div> <br> <br><div><font face=Lato size=3 color=black>Here, Norman underscores a hopeful, if not optimistic, vision for generations ahead. The structural decision suggests a deliberate shift in focus: the darker scenes relegated to the sides represent the burdens, past and present. At the same time, the central figures embody the potential for a future shaped by resilience and renewal. This juxtaposition distinguishes <em>The Human Condition</em> as a reflection of Norman's later years, where a tempered hope emerges to claim the high ground over the war-mongering, abject corruption, frantic pleasure-seeking, and the dehumanizing effects of modern society.<br> <br></font></div> <br> <br><div><font face=Lato size=3 color=black>Throughout his long career, Norman stood tall in his convictions; he turned, faced the large, empty canvases, and designed and painted complex, densely populated scenes. As for recognition, he rationalized the situation—fame or fortune risked the unsullied nature of an artist's quest. Ultimately, <em>The Human Condition</em> is a summation of Norman's life and work and a call to action, urging us to examine our complicity in the systems he so vividly depicted. Through meticulous craftsmanship and allegorical intensity, it is a museum-worthy masterwork that continues to resonate, its themes as pertinent today as they were when Norman painstakingly brought his vision to life.</font></div>

IRVING NORMAN

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