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Heather James Fine Art se enorgullece de presentar una selección de las obras más recientes de nuestra galería. Obras maestras de Frida Kahlo, Alfred Sisley y Ansel Adams son sólo algunas de las obras de arte impresionistas, modernas, de posguerra y contemporáneas disponibles en Heather James. póngase en contacto y trabajaremos con usted para completar su colección.

(760) 346-8926
[email protected]

<div>Claude Monet’s <em>Le bassin d’Argenteuil</em> (1875) is a luminous example from one of the most pivotal periods of his career, painted in the late spring or summer of 1875, just one year after the groundbreaking first Impressionist exhibition. Set along the Seine at Argenteuil, the composition captures a quiet basin animated by small boats, figures, and reflections, rendered with loose, expressive brushwork that conveys the fleeting effects of light and atmosphere. The gentle diffusion of water and sky creates a shimmering surface, perfectly suited to Monet’s plein air practice and his desire to record perception in the moment. </div><br><br><div> </div><br><br><div>Argenteuil was central to the crystallization of Impressionism, marking a time when its ideas, subject matter, and collaborative spirit fully coalesced. Between 1871 and 1878, Monet’s presence there drew fellow artists including Renoir, Manet, Sisley, and Caillebotte, fostering an environment of shared experimentation and innovation. </div><br><br><div> </div><br><br><div>The painting’s early provenance further enhances its significance. It was owned by Oscar A. H. Schmitz, the German writer and intellectual known for his writings on Jungian psychology and his discerning collection of 19th-century art. Following Schmitz’s unexpected death in 1933, the collection was sent to the Kunstmuseum Basel. In 1936, the art dealer Wildenstein & Co. took over 62 works from the collection and organized a major exhibition and sale in Paris and New York.<em> Le bassin d’Argenteuil</em> is included in the Daniel Wildenstein catalogue raisonné (1996), vol. II, p. 153, as no. 371, and is published in eight books. </div>

La cuenca de Argenteuil

21 3/4 x 29 1/4 pulgadas.

óleo sobre lienzo

<div><font face=Lato size=3 color=black><em>Booksellers by the Seine</em> (1888) emerges from a pivotal moment in Childe Hassam’s early career, created during his period of study in Paris when he was absorbing the influence of the French Impressionists while already demonstrating the skill of an accomplished academic painter. In this finely observed scene along the banks of the Seine, Hassam turns his attention to everyday urban life, depicting Parisians as they browse the open air bookstalls that have lined the river for generations.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The painting reflects Hassam’s gift for portraying people interacting naturally with their surroundings, a hallmark of his finest works. Here he captures not only the activity of the booksellers but also the shifting atmosphere of the city itself, conveyed through soft dabs of paint that suggest autumn leaves floating gently through the air and settling along the foreground. This delicate blending of human presence, weather, and light reveals Hassam’s deep interest in the transient beauty of urban life and marks <em>Booksellers by the Seine</em> as an evocative example from an essential period in his artistic development.</font></div>

Libreros junto al Sena

28 1/2 x 19 1/4 pulgadas.

óleo sobre lienzo

<div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div>

Étretat, el Cabo de Antifer

10 1/2 x 13 3/8 pulgadas.

pastel sobre papel montado sobre cartón

<div><font face=Lato size=3 color=black><em>The Isle of Shoals</em> reflects one of the most personal and sustained subjects in the career of Childe Hassam, remaining in the artists own collection for twenty years. Hassam first visited the Isles of Shoals in 1884, returning regularly until 1915, and the rugged beauty of this small island group off the Gulf of Maine became a central source of inspiration throughout his life. The shifting light, scattered wildflowers, and crystalline waters offered a constant supply of visual poetry, and the islands became the setting for many of his most luminous and celebrated landscapes and coastal scenes.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Similar views of the Isles of Shoals now reside in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art, and the Dallas Museum of Art, underscoring the importance of the subject within Hassam’s oeuvre. The significance of this body of work was further affirmed in 2016 when the Peabody Essex Museum organized a major exhibition devoted entirely to his Shoals paintings.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>In <em>The Isle of Shoals</em>, Hassam captures the clear northern light and the quiet splendor of the rocky coast, presenting a scene that reflects both the serenity of the islands and the artists deep connection to them.</font></div>

La isla de Shoals

Óleo sobre tabla de madera con bastidor.

<div><font face=Lato size=3>Painted during John Singer Sargent's trip to the Austrian Tyrol in the summer of 1914, this work captures a moment of profound historical tension as Austria declared war on Serbia that July, placing Sargent at the threshold of the First World War. The painting offers a strikingly intimate and unexpected view of the Alpine landscape, framed from within a sheep pen with the mountain itself largely cropped from sight. This choice of vantage point shifts the viewers focus to the meeting point of the valley and the rising slope, where deep verdant greens anchor the composition and an overcast sky suggests a subtle sense of unease beyond the tranquil pastoral foreground.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3>The work is included in the Sargent catalogue raisonne by Richard Ormond and Elaine Kilmurray, confirming its secure place within the artists documented production. Sargent created several related works during his 1914 stay in the Tyrol across both oil and watercolor, including <em>Tyrolese Interior </em>at The Metropolitan Museum of Art, <em>Woodsheds Tyrol</em> at the Art Institute of Chicago, and <em>Trout Stream</em> <em>in the Tyrol</em> at the de Young Museum. Together these works demonstrate Sargent's sustained engagement with the region and its distinctive light, atmosphere, and rural architecture during this pivotal year.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3>This painting also carries distinguished provenance, having been previously held in the collection of Henry Clay Frick, the American industrialist and founder of the Frick Collection, before being given as a gift to his friend and lawyer Louis Cass Ledyard, who also served as counsel to J P Morgan. Its rarity within Sargents mature Tyrolean subjects is further underscored by the small number of comparable works that have reached the market, with only one closely related painting from this period, A Tyrolese Crucifix from 1915, having appeared at auction in recent decades.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3>Sargents work continues to receive major institutional recognition, including the forthcoming exhibition Sargent Dazzling Paris at the Musee d Orsay in 2025 to 2026, reaffirming the ongoing relevance of his mature European landscapes within the broader narrative of early twentieth century art.</font></div>

JOHN CANTANTE SARGENT

Un redil de montaña en el Tirol

28 1/4 x 36 pulgadas.

óleo sobre lienzo

<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>

Paisaje nº 108

23 1/4 x 29 1/4 pulg.

aceite en el panel

<div><font face=Lato size=3 color=black>Kenneth Noland’s <em>Gray Reflection</em> (1978) comes from the late 1970s, when the artist was deeply engaged with shaped canvases and the refinement of surface and form. The cool slate ground is animated by faint tonal shifts and angled color bands that cut across the polygonal field, creating both balance and quiet momentum.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>This period was far less prolific than his celebrated 1960s circle paintings, making works such as <em>Gray Reflection </em>comparatively rare. While not part of a named series, it resonates with other late-1970s explorations like <em>Burnt Beige </em>at the Cranbrook Art Museum.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Noland, a central figure of post-painterly abstraction alongside Morris Louis and Helen Frankenthaler, is represented in major museum collections including MoMA, Tate, and the National Gallery of Art.</font></div>

66 1/4 x 88 1/2 pulgadas.

acrílico sobre lienzo

<div><font face=Lato size=3 color=black><em>Afternoon</em> is a rare early painting by George Inness, created when the artist was only twenty one and actively shaping the foundations of his career. Although largely self-taught, Inness was immersed in a transformative period during the mid-eighteen forties, studying at the National Academy of Design in New York where he closely observed the work of Hudson River School painters such as Thomas Cole and Asher Durand. This moment marked his first public exhibitions at the Academy in 1844, followed by the opening of his own studio in 1848, placing <em>Afternoon</em> squarely within the formative years in which his artistic voice began to emerge.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The painting also reflects the subtle influence of French landscaper Regis Francois Gignoux, under whom the young Inness studied before making his first trip to Europe in 1851. This early training helped shape the atmospheric sensitivity and poetic naturalism that would later define his mature style.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Afternoon</em> carries distinguished provenance, having passed through the collections of several important nineteenth and early twentieth century New Yorkers, including politician Cornelius Gardiner, financier and philanthropist Emerson McMillian, and later the philanthropist Agnes Ladson Dana. This lineage, combined with the paintings exceptional early date, makes it an especially significant example from the beginning of Innesss enduring contribution to American landscape painting.</font></div>

34 1/2 x 49 1/4 pulgadas.

óleo sobre lienzo

<div><font face=Lato size=3 color=black><em>Houghton Farms (Girls Strolling in an Orchard)</em> belongs to a pivotal moment in Winslow Homers career, created during the late 1870s as he transitioned from the wartime subjects that first brought him acclaim to the watercolor medium and domestic pastoral themes that would secure his place in the American canon. This period marked Homers sustained engagement with Houghton Farm in Mountainville in the Hudson Valley, where he spent extended time with his childhood friend and patron Lawson Valentine. Over these visits Homer produced approximately fifty watercolors, forming one of the most important bodies of early work in the medium. The significance of this output was later celebrated in the 2009 exhibition at Syracuse Art Galleries, <em>Winslow Homers Empire State: Houghton Farm and Beyond</em>.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>This watercolor is included in the artists catalogue raisonne and relates closely to other early examples from Houghton Farm, including <em>Fresh Air</em> from 1878 in the collection of the Brooklyn Museum. Its serene orchard scene, rendered with a soft and muted palette, reflects the themes of nostalgia, calm, and peace that define Homer's Restoration period. The transparency of the watercolor medium allows Homer to create a delicate, atmospheric impression of a misty morning, animated by touches of bright color in the figures dress patterns, the bow on a hat, a headwrap, and the bluebird perched on a branch.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The continued importance of Homer's watercolor practice is affirmed by the current exhibition at the Museum of Fine Arts Boston, <em>Of Light and Air: Winslow Homer in Watercolor</em>, which underscores the enduring resonance of works from this transformative period. <em>Houghton Farms (Girls Strolling in an Orchard)</em> stands as a beautifully preserved example from the moment when Homer embraced watercolor as his primary mode of expression, illuminating the quiet lyricism that came to define his mature art.</font></div>

Houghton Farms (Chicas paseando por un huerto)

9 1/2 x 13 pulgadas.

acuarela y grafito sobre papel

<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>

22 x 15 pulgadas.

técnica mixta sobre papel

<div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div>

ROY LICHTENSTEIN

serigrafía sobre papel tejido

<div><font face=Lato size=3 color=black><em>Dancing Girl</em> dates from 1881 to 1882, a dynamic and exploratory moment in William Merritt Chase’s career when he was actively engaging with European subjects and broadening the expressive range of American painting. The work is included in the Chase catalogue raisonne and reflects the artists fascination with Spanish themes, which many American painters of the period encountered firsthand while studying the masters in the Prado and absorbing the culture, costume, and movement of Spain. Although the painting was later mislabeled by an early owner as an Italian street scene, Chase was in Spain during the summer when this work was created, firmly situating it within his Spanish period.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The animated single figure captures a woman in motion, a subject that is notably rare within Chases oeuvre and distinct from the more contemplative female figures that dominate his most valuable works. His auction record painting, <em>I Think I Am Ready Now</em> from around 1883, shares the focus on a single female figure from the same period, underscoring the importance of this moment in his artistic development. The present work also relates closely to important institutional examples, including <em>Carmencita</em> from 1885 in the Metropolitan Museum of Art and <em>A Tambourine Player</em> in the Montclair Art Museum, both of which highlight Chases sustained interest in dancers and Spanish costume.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The painting was held on long term loan to the Museum of Fine Arts Boston from 1906 to 1922, affirming its early institutional recognition. Chase’s Spanish works should be viewed in dialogue with those of John Singer Sargent, whom he met in 1881 while Sargent was developing studies for <em>El Jaleo</em>, as both artists looked to Velázquez for inspiration. <em>Dancing Girl</em> stands as a spirited and uncommon example of Chase portraying a woman at play, capturing movement, rhythm, and cultural immediacy at the height of his European engagement.</font></div><br><br><div> </div>

WILLIAM MERRITT CHASE

26 x 15 1/2 pulgadas.

óleo sobre lienzo

CHARLES JOSEPH FREDERIC SOULACROIX - Té de la tarde - óleo sobre lienzo - 86,4 x 65,4 cm.

Charles Joseph Frederic Soulacroix

Té de la tarde

34 x 25 3/4 pulgadas.

óleo sobre lienzo

<div><font face=Lato size=3>Leon Polk Smith’s "Constellation Blue Violet Green Red" (1968) is a striking example of the artist’s radical exploration of form and color in postwar abstraction. Executed in acrylic on canvas, the work consists of four rounded-square panels arranged in a diamond formation. Each panel bears a crisp division of color: black at the outer edge, paired with one of four luminous hues—blue, violet, green, and red—creating a rhythmic interplay of symmetry and variation. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Smith was a central figure in the development of hard-edge painting and geometric abstraction, aligned with contemporaries such as Ellsworth Kelly and Carmen Herrera. His "Constellation" series, begun in the 1960s, was groundbreaking for its use of multiple shaped canvases installed directly on the wall, eschewing traditional frames in favor of compositions that expand dynamically into surrounding space. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>While Smith was highly prolific in both works on paper and monumental single-panel paintings, multi-panel "Constellation" works remain less common within his oeuvre. Today, his paintings are represented in major institutions including The Museum of Modern Art, the Whitney Museum of American Art, and the Brooklyn Museum. In "Constellation Blue Violet Green Red", the clarity of Smith’s vision is on full display—color and geometry united in a constellation that feels both precise and expansive, disciplined yet alive with visual energy. </font></div>

LEON POLK SMITH

Constelación Azul Violeta Verde Rojo

36 x 36 1/4 pulg.

acrílico sobre lienzo

FRANK WESTON BENSON

Chica de blanco (figura sentada)

óleo sobre lienzo

HARRY BERTOIA - Sin título (Escultura sonora) - cobre berilio y bronce con base de madera - 36 1/2 x 8 x 8 in.

Sin título (Escultura sonora)

36 1/2 x 8 x 8 pulg.

cobre berilio y bronce con base de madera

HARRY BERTOIA - Escultura Sauce - acero inoxidable - 61 1/2 x 39 x 39 in.

Escultura de sauce

61 1/2 x 39 x 39 pulg.

acero inoxidable

WALEAD BESHTY - Los Caballos en la Conquista - Ceramica Suro slip cast remnants, glaze, and firing plate - 9 1/2 x 32 1/4 x 21 1/2 in.

Los Caballos en la Conquista

9 1/2 x 32 1/4 x 21 1/2 pulg.

Restos de colada, esmalte y placa de cocción de Ceramica Suro

WILLIAM MERRITT CHASE - Retrato del artista Albert Beck Wenzell - óleo sobre lienzo - 50,8 x 40,6 cm.

WILLIAM MERRITT CHASE

Retrato del artista Albert Beck Wenzell

óleo sobre lienzo

ALFRED THOMPSON BRICHER - Esopus Creek - óleo sobre lienzo - 50,8 x 101,6 cm.

ALFRED THOMPSON BRICHER

20 x 40 pulgadas.

óleo sobre lienzo

LEON AUGUSTIN LHERMITTE - La lechera - óleo sobre lienzo - 71 x 84,5 cm.

LEÓN AUGUSTÍN LHERMITTE

28 x 33 1/4 pulgadas.

óleo sobre lienzo

M. EVELYN MCCORMICK - El Hotel Washington - óleo sobre lienzo - 76,2 x 101,6 cm.

M. Evelyn McCormick

El Hotel Washington

óleo sobre lienzo

<div>Maurice de Vlaminck’s<em> Fleurs dans un vase</em> (1910-11) is a prime-period still life that channels the artist’s Fauvist sensibilites into an image of exuberant, painterly force. A dynamic spray of blooms in vibrant reds, yellows, and whites flourishes from a dark vase, in a stark contrast of forms and color, creating an almost sculptural effect. With vigorous, directional brushstrokes, Vlaminck animates petals and foliage into a rhythmic surge, turning a traditional tabletop motif into a study of movement, texture, and intensity.</div><br><br><div> </div><br><br><div>As one of the core founders of Fauvism, Vlaminck was celebrated for his radical, non-naturalistic use of color, and this work retains that avant-garde approach. Cool blues and greys against saturated oranges, and the faceted planes of the backgroud heighten contrast and create a dynamic composition.  The paint surface remains boldly worked, emphasizing the physicality of oil on canvas and the immediacy of the artist’s hand.</div><br><br><div> </div><br><br><div>The painting is accompanied by a certificate of authenticity by the Wildenstein Institute for the catalogue of Maurice de Vlaminck’s works. Renewed international attention to Vlaminck’s achievements, including a recent retrospective at Museum Barberini in Potsdam - the first in nearly a century -has reaffirmed his vital role in the development of modern painting.<em> Fleurs dans un vase </em>captures that legacy: unapologetically modern and powered by color as expression. </div>

MAURICE DE VLAMINCK

Flores en un jarrón

21 1/4 x 15 pulgadas.

óleo sobre lienzo

MAXIMILIEN LUCE - La Couture au Jardin, Gisors 1897 - óleo sobre tabla - 32,4 x 41,4 cm.

MAXIMILIEN LUCE

La Couture au Jardin, Gisors, 1897

12 3/4 x 16 1/4 pulgadas.

aceite en el panel

Elvis Hotel del Corazón Roto

63 x 94 pulgadas.

acrílico, tinta al óleo y serigrafía con polvo de diamante sobre lino

CHUCK CLOSE - Kate - impresión en pigmento de archivo - 32 x 24 in.

CIERRE DE CHUCK

impresión de pigmentos de archivo

JEAN-FRANCOIS RAFFAELLI - Paisaje - pastel sobre cartón - 44,9 x 59,7 cm.

JEAN-FRANÇOIS RAFFAELLI

17 5/8 x 23 1/2 pulgadas.

pastel sobre cartón

<div><font face=Lato size=3 color="#191919">Robert Indiana’s <em>Heliotherapy</em> reimagines his iconic <em>LOVE</em> motif through a vision of renewal and optimism. Created in 1995, the title refers to sunlight as a source of healing, reflecting Indiana’s desire late in life to revisit his 1960s antiwar symbol with a message of hope and compassion. He enriched the original reds, greens, and blues with radiant bands of yellow, transforming his emblem of love into one of light, warmth, and restoration.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">The composition echoes Indiana’s celebrated 1965 <em>LOVE</em> Christmas card for the Museum of Modern Art, the image that made him a household name. With its vivid palette and spiritual depth, <em>Heliotherapy</em> stands as a late reflection on love as both universal and curative. Comparable works are held in the collections of the Museum of Modern Art and the Smithsonian American Art Museum, underscoring the enduring legacy of Indiana’s most iconic image.</font></div>

Helioterapia Amor

37 x 37 1/2 pulgadas.

serigrafía en colores

JEAN BERAUD - La Parisienne - óleo sobre lienzo - 35 x 24,5 cm.

13 3/4 x 9 5/8 pulgadas.

óleo sobre lienzo

GEORGES LEMMEN - Madame Lemmen y sus hijos en un jardín, 1900 - óleo sobre papel y pastel sobre tabla - 22,8 x 30,4 cm.

Madame Lemmen y sus hijos en un jardín, 1900

Óleo sobre papel y pastel sobre cartón.

ALFRED STEVENS - El conocedor - óleo sobre tabla - 22,5 x 17,5 cm.

22,5 x 17,5 cm.

aceite en el panel

EDGAR ALWIN PAYNE - Montañas de Sierra Nevada - óleo sobre lienzo - 24,8 x 34,3 cm.

EDGAR ALWIN PAYNE

Montañas de Sierra Nevada

9 3/4 x 13 1/2 pulgadas.

óleo sobre lienzo

FELIPE CASTANEDA - Mujer con Guitarra - mármol - 16 1/2 x 10 1/2 x 10 1/2 x 10 in.

FELIPE CASTANEDA

Mujer con Guitarra

16 1/2 x 10 1/2 x 10 pulg.

JASPER JOHNS - Voz 2 - litografía en siete colores sobre papel hecho a mano Fred Stiegenthaler - 17 x 23 in.

litografía en siete colores sobre papel hecho a mano Fred Stiegenthaler

CAMILLE PISSARRO - Dos trabajadores en el campo - lápiz sobre papel - 15,9 x 28,6 cm.

CAMILLE PISSARRO

Dos trabajadores en el campo de trabajo

6 1/4 x 11 1/4 pulgadas.

lápiz sobre papel

FELIPE CASTANEDA - Mujer Hincada - ónix negro - 15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA

15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA - Mujer Peinandose - bronce - 16 1/4 x 11 3/4 x 11 in.

FELIPE CASTANEDA

Mujer Peinandose

16 1/4 x 11 3/4 x 11 pulg.

FELIPE CASTANEDA - Pensando - mármol - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

11 1/2 x 7 x 7 pulg.

JORGE PARDO - Sin título - Impresión Mixografía® en papel hecho a mano, oro de 22 quilates - 130 x 141 x 11,5 cm.

51 1/4 x 55 3/4 x 4 1/2 pulgadas.

Mixografía® díptico impreso en papel artesanal, oro de 22 quilates.

LOUIS VALTAT - Allée d'arbres (Avenida arbolada) - óleo sobre lienzo - 19,4 x 24,1 cm.

Avenida arbolada

7 5/8 x 9 1/2 in.

óleo sobre lienzo

JEAN BERAUD - Le Dimanche près de St Philippe du Rouleprès de StPhilippe duRoule - tinta sobre papel - 27,3 x 39,7 cm.

El domingo cerca de St Philippe du Roule cerca de St Philippe du Roule

10 3/4 x 15 5/8 pulgadas.

tinta sobre papel

JAMES MCDOUGAL HART - Paisaje 1884 - óleo sobre lienzo - 43,2 x 61 cm

JAMES MCDOUGAL HART

17 x 24 1/8 pulgadas.

óleo sobre lienzo

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Educación

La educación es de suma importancia en Heather James Art Advisory. Tanto si eres un coleccionista experimentado como si acabas de empezar, nuestro objetivo es crecer con nuestros clientes y creemos plenamente en proporcionar información y conocimientos para ayudar a nuestros clientes a aprender y cultivar sus intereses artísticos.

Curación

Heather James Art Advisory aporta décadas de experiencia curatorial con la orientación de nuestro personal curatorial senior que ha organizado exposiciones a nivel mundial en museos, galerías y residencias privadas. Aunando elementos estéticos e históricos del arte, ayudaremos a que su colección y su hogar reflejen sus intereses artísticos.

Logística

HJ Art Advisory proporciona una logística completa a la hora de manipular, transportar y supervisar las obras de arte de nuestros clientes. Nuestra supervisión abarca todos los aspectos del cuidado de las obras de arte. Supervisamos cada paso del proceso de transporte, instalación y almacenamiento de las obras de arte. Asesoramos y facilitamos el diseño del marco, la iluminación, los requisitos de seguridad, la conservación y la evaluación del estado.

Documentación

A la hora de comprar obras de arte, HJ Art Advisory investiga la procedencia de la obra y solicita declaraciones y garantías al vendedor de que éste posee un título válido y de que el objeto está libre de cargas, reclamaciones y gravámenes.
HJ Art Advisory solicitará una indemnización por el reembolso íntegro de la obra de arte en caso de incumplimiento de la garantía (¿es posible incluir esta línea?).
Ventas privadas y proceso de subasta: La información crítica a capturar incluye: Artista, Título de la obra, Fecha, Medio, Dimensiones, Precio, Imagen, Entidad oferente, Procedencia, Certificados, Factura (cuando sea posible), Informe de estado, Gravámenes, Litigios, Título de propiedad.

Préstamos para museos

Heather James ha tenido el honor de facilitar préstamos a los mejores museos de todo el mundo, como el MoMA o el Centro Pompidou, entre otros. HJ Art Advisory se encarga de todo el papeleo y la logística necesarios para nuestros coleccionistas que deciden prestar una obra de arte para una exposición en un museo.

Ventas y adquisiciones

HJ Art Advisory se centra en la búsqueda de obras de arte para posibles adquisiciones en ventas privadas, casas de subastas y encargos de artistas. HJ Art Advisory supervisa continuamente el mercado privado y público en busca de obras de arte significativas que pertenezcan a los intereses de nuestros clientes y que puedan enriquecer sus colecciones. Negociamos la venta o el precio de venta en nombre de un coleccionista con el fin de lograr el mejor acuerdo posible para nuestros clientes.

Finanzas

HJ Art Advisory ayuda a sus clientes con préstamos respaldados por activos, adquisición de obras de arte para fideicomisos y planificación patrimonial. Ofrecemos nuestra experiencia en el mercado del arte para posicionar mejor a nuestros clientes a la hora de tomar decisiones para su colección. Trabajamos con patrimonios, equipos jurídicos y asesores financieros para apoyar mejor a nuestros clientes y sus objetivos.
Heather James Fine Art no es un asesor registrado de inversiones, legal o fiscal. Todas las opiniones financieras y de inversión expresadas por Heather James Fine Art son opiniones basadas en investigaciones personales. Rentabilidades pasadas no garantizan rentabilidades futuras, ni son necesariamente indicativas de rentabilidades futuras.

Valor y seguro

El grupo HJ Art Advisory evalúa y valora colecciones de arte para su tasación en seguros, adquisición y cesión. Esto implica una investigación en profundidad del análisis del mercado del arte privado y público para determinar el valor.

Autenticación

HJ Art Advisory mantiene los más altos estándares de diligencia debida a través de la indagación, la investigación y la procedencia de los objetos antes de la adquisición para determinar que se puede obtener un título claro. Dicha investigación incluye, pero no se limita a, determinar:

Historial de propiedad del objeto
Países en los que se ha localizado el objeto y cuándo.
Historia de la exposición del objeto
Historial de publicación del objeto
Cualquier reclamación objeto de propiedad si se han hecho
Bases de datos de objetos robados relevantes para el objeto
Las circunstancias en las que se ofrece el objeto
Fuentes de investigación pertinentes, entre ellas El Registro ArtLoss u otras bases de datos.
Declaraciones de garantía e indemnización del vendedor, asegurando que el vendedor tiene un título válido y que el objeto está libre de cargas, reclamaciones y gravámenes.
Investigación y documentación sobre la época nazi y la Segunda Guerra Mundial siguiendo las directrices relativas a la adquisición de objetos que puedan haber estado en la Europa ocupada por Alemania entre 1933 y 1945.

Conocimientos

HJ Art Advisory trabaja con, y en nombre de, clientes que están desarrollando nuevas colecciones o con colecciones bien establecidas, proporcionándoles asesoramiento y una oferta de servicios en profundidad. Nuestros amplios conocimientos y experiencia, junto con muchos años en el negocio del arte, sitúan a nuestro personal altamente cualificado y experimentado para proporcionar orientación y dirección en múltiples niveles.

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