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Paseo por la Galería Palm Desert - Arte de posguerra y contemporáneo

Mayo de 2021

Noticias

Con motivo de nuestro 25º aniversario, estamos encantados de seguir presentando obras de arte raras de artistas estimados como Elaine de Kooning, Adolph Gottlieb, Agnes Martin y Joan Miró. A lo largo de los últimos 25 años, Heather James Fine Art se ha expandido hasta convertirse en una red global con galerías y asesorías en Estados Unidos y Europa. Sólo en 2020, Heather James Fine Art colocó 382 obras de arte en nuevas colecciones de todo el mundo, y estamos orgullosos de seguir asesorando a otros en el crecimiento de sus colecciones.

MUESTRA DE OBRAS DE POSGUERRA Y CONTEMPORÁNEAS

Círculo de Animales/Cabezas de Zodíaco: Oro

bronce dorado en 12 partes

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

óleo sobre aluminio

JULIAN SCHNABEL - Sin título - óleo y cera sobre lona - 120 x 96 pulg.

JULIAN SCHNABEL

aceite y cera sobre lona

<div><font face=Calibri size=3 color=black>Fernando Botero's legendary ascension as an international sensation began when Museum of Modern Art curator Dorothy Miller stumbled upon his Greenwich Village studio in 1961 and purchased "<em>Mona Lisa, Age Twelve</em>." His trademark portly figures and playful, lighthearted humor became known as "Boterismo." More importantly, the art leaving his easel revealed an unbridled respect for the Old Masters, the compelling chiaroscuro of a Zurbarán still life, the sfumato of da Vinci, and always the craftsmanship of van Eyck, Dürer, or Rubens. Botero continues that thread of technical mastery with "<em>L'Atelier de Sánchez Cotán</em>" even as he reshapes these classical themes through his unique lens. A mixed media collage and oil on canvas, the work pays homage to the Spanish Baroque still life painter Juan Sánchez Cotán by subverting and modernizing the traditional still life genre. Botero captures Cotán's hyperrealism with a surreal, almost whimsical aesthetic. An oversized apple suspended on a string dominates the composition, a nod to Cotán's meticulously arranged still life paintings, known for the striking suspended effect of fruit or vegetables. Botero's rendition, however, imbues the scene with a sense of playfulness and detachment from reality, as seen in the box-like contraption, resembling a stage or a viewing device containing miniature versions of objects within the painting. The stark, flat backdrop, devoid of Cotán's characteristic chiaroscuro, accentuates the sense of artifice.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Fernando Botero's death on September 15, 2023, was a significant loss for the art world. Although his roots are deeply Colombian, his appeal is global, coupling commercial success with critical acclaim—a balance few artists have achieved. Works such as “<em>L'Atelier de Sánchez Cotán</em>” are not just whimsical or aesthetic; they prompt the viewer to appreciate the enduring dialogue between tradition and innovation, showcasing an artist of great technical finesse and mastery.</font></div>

FERNANDO BOTERO

L'Atelier de Sánchez Cotán

51 1/4 x 57 1/2 pulg.

óleo y collage sobre lienzo

DAMIEN HIRST - Pensamientos olvidados - mariposas y brillo doméstico sobre lienzo - 48 x 48 pulg.

Pensamientos olvidados

mariposas y brillo doméstico sobre lienzo

<div><font face=Calibri size=3 color=black>Born in 1982, French native and Brooklyn-based artist Julie Curtiss is celebrated for her beguiling paintings that reimagine a surrealist's conceptual and aesthetic principles for the contemporary era. Her work draws heavily on the Surrealist fascination with Freudian psychology and the subconscious, themes championed by figures like André Breton and Louis Aragon. By blending these Surrealist influences with the dreamlike, graphic qualities reminiscent of the Chicago Imagists, Curtiss creates a visual language that is both referential and distinctly hers. Her imagery often focuses on deconstructing the female form and symbolically representing stereotypical feminine aesthetics, echoing the work of early 20th-century female Surrealists who used dreamlike settings and humor to explore and critique the female experience.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“D'apres l'Olympia”</em> epitomizes Curtiss's painterly approach to 21st-century sexuality, combining a distinctive yet referential visual lexicon that has earned her international acclaim. By destabilizing the art historical trope of the female nude and reinterpreting Manet's iconic painting of the same name, Curtiss melds elements of French modernism with the graphic sensibilities she developed after moving to Tokyo in 2006, where she honed her signature comic book-like aesthetic. The large red shoes—a striking departure from Manet's original—introduce a sense of humor, simultaneously evoking pop-cultural references while critiquing stereotypical femininity. These oversized, vivid shoes might symbolize the exaggerated expectations placed upon women or serve as a playful nod to the absurdity of societal norms. While her admiration for Manet is evident, it is Curtiss's ability to merge these historical references with contemporary concerns and aesthetics that makes<em> “D'apres l'Olympia”</em> a powerful commentary on the evolving nature of female.</font></div>

D'apres l'Olympia

acrílico y óleo sobre tela

MANOLO VALDES - Retrato de mujer - óleo y arpillera sobre lienzo - 60 x 60 pulg.

Retrato de mujer

óleo y arpillera sobre lienzo

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

pigmentos naturales y platino sobre papel de morera japonesa montado sobre tabla

HERB ALPERT - Punta de flecha - bronce - 201 x 48 x 48 in.

Cabeza de flecha

201 x 48 x 48 pulg.

Genieve Figgis es una figura notable del panorama artístico irlandés contemporáneo, reconocida por sus ingeniosos y críticos retratos de grupo que a menudo se burlan de convenciones sociales de antaño. Recién llegada a la pintura, llamó la atención del artista de la apropiación estadounidense Richard Prince en Twitter, quien adquirió una de sus obras y la introdujo en los círculos influyentes de la comunidad artística neoyorquina. La obra de Figgis critica juguetonamente los hábitos de consumo de la clase media acomodada y los estilos de vida lujosos, inmortalizados por artistas del pasado, y los traslada con firmeza a la actualidad con una mezcla de sátira y retratos crudos y auténticos de la vida. Piense en Figgis como si cruzara las arenas del tiempo hasta Daumier o Hogarth, cuyas obras ofrecían con frecuencia una mirada satírica de la sociedad contemporánea, uniéndose a artistas comprometidos con la sátira social y conocidos por su aguda capacidad de observación.

El Club de Damas

31 1/2 x 39 3/8 pulg.

acrílico sobre lienzo

WILLIAM KENTRIDGE - Serie Porter: Carte L'Europe (Mujer de la ducha) - tapiz bordado en mohair y seda - 98 3/8 x 137 7/8 in.

WILLIAM KENTRIDGE

Serie Porter: Carte L'Europe (Mujer de la ducha)

98 3/8 x 137 7/8 pulg.

tapiz bordado de mohair y seda

De los muchos tótems espirituales de Herb Albert, fundidos en bronce y patinados en negro sedoso, pocos tienen la sensación claramente masculina del Guerrero. Rematado con una corona descendente y dentada que podría referirse tanto a la cresta de un ave de presa como al tocado de un jefe de los indios de las llanuras, el título "Guerrero" es una descripción acertada que se refiere a los atributos de fuerza, valor y espíritu inquebrantable, entre otros. Al igual que la obra de Henry Moore, esas asociaciones dependen, en parte, del espacio negativo para crear la impresión dinámica y fuerte que produce esta formidable escultura.

161 x 40 x 40 pulg.

Roger Brown es conocido por su imaginería personal y a menudo fantástica, y por sus pinturas muy estilizadas con figuras y objetos que reflejan su interés por las experiencias cotidianas. Lluvia ácida explora temas de la vida moderna y comentarios sociales que reflejan el papel del artista en la sociedad y el potencial del arte para instigar el cambio. En un plano más personal, el tema de la lluvia ácida puede simbolizar estados emocionales o psicológicos corrosivos, como la depresión, la ansiedad o la sensación de sentirse abrumado por circunstancias que escapan al propio control. Al igual que la lluvia ácida era un problema medioambiental en gran medida invisible pero devastador, la crisis de la incipiente epidemia de VIH/SIDA probablemente motivó a Brown a crear la obra para procesar el dolor personal, criticar la respuesta inadecuada de los líderes políticos y abogar por la compasión, la comprensión y la investigación médica.

48 x 72 x 2 pulg.

óleo sobre lienzo

<div><font face=Aptos size=3 color=black>Chinese contemporary artist Zhang Xiaogang is renowned for his portraits that explore themes of memory, identity, and the collective experiences shaped by China's socio-political history. When China's art scene shifted toward deeper introspection following the 1989 Tiananmen Square incident, Zhang sought a modern artistic language to express personal and historical narratives. His breakthrough arrived with the era-defining <em>Bloodline: Big Family series</em>, inspired by old family photographs, which became central to his work.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Zhang's portraits, such as "<em>Portrait of a Boy</em>," bear the influence of Gerhard Richter's 1960s photo paintings, particularly in the soft, contour-dissolving technique. Yet, Zhang magnifies this effect by dramatically enlarging his postcard-sized source photographs into monumental works that deepen the emotional resonance of his subjects. The style is hauntingly ethereal, with its softened contours and muted palette evoking emotional distance and suppressed tension, an isolated figure suspended between memory and reality. A faint red discharge emanates from the corner of the mouth, trailing over the chin and neck, symbolizing the inescapable ties of family bloodlines. Given Zhang's personal experiences during the Cultural Revolution, this red mark seems to carry the weight of personal and collective struggle, adding a layer of political commentary to his otherwise introspective work. Through these subtle but poignant symbols, Zhang Xiaogang remains a vital voice in contemporary art, addressing the intersections of personal identity and national trauma.</font></div>

Retrato de un niño

39 3/8 x 31 5/8 pulg.

óleo sobre lienzo

WILLEM DE KOONING - Mujer en un bote de remos - óleo sobre papel colocado sobre masonita - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

Mujer en un bote de remos

47 1/2 x 36 1/4 in.

óleo sobre papel colocado en masonita

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ALEXANDER CALDER

Preludio a la devoradora de hombres

59 x 42 x 18 pulg.

chapa, alambre, pintura

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

ALEXANDER CALDER

28 3/4 x 36 1/4 in.

óleo sobre lienzo

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. <br><br>"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. <br><br>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.

GERHARD RICHTER

Abstraktes Bild 758-2

24 1/2 x 32 1/4 pulg.

óleo sobre lienzo

No artist bridged the gap between European Modernism and American Abstract Expressionism the same way Hans Hofmann did. The reason is simple. He was trained in Parisian academies prior to World War I and was friendly with Henri Matisse, Pablo Picasso, Georges Braque, and, most significantly, Robert and Sonia Delaunay. Conversely, his endeavors as a teacher and later, as a mature artist in full command of his abilities were stimulated — made possible even — by the exhilarating New York milieu that gave rise to Abstract Expressionism. So perhaps it is not surprising that unlike most of the Abstract Expressionists who pursued a single iconographic look — Rothko’s soft-edged rectangles, Franz Klein’s enlarged calligraphic strokes, Clyfford Still’s dark, ragged shapes — Hofmann was constantly reaching for different and contradictory effects. That meant his paintings were wildly varied and that they carved a wide swath toward the most exciting avenues available to contemporary abstraction. Hofmann proved to be a gallant experimenter, refusing to settle on a single style for long.<br><br>The Climb was painted in 1960 at a time when most American painters were pushing abstraction in new directions. Not surprisingly, as an outlier, it does not evoke Hofmann’s usual “push and pull’ technique. But it is very much a painting of its time, marked by a sensuousness and a deft, painterly touch. It suggests what Irving Sandler characterized as Hofmann’s hedonistic touch, an optimistic celebration of the lyrical abstraction that overcame the burning darkness of painting in the 40s and trumped even the lighter palette of Pollock or Pousette-Dart that emerged later. While the passages of The Climb are brushed rather than poured or stained, it reflects the delicate lyricism of his former student, Helen Frankenthaler who, since 1952 had experimented with floating areas of color, absorbed into the canvas with watercolor-like ease. She, in turn, had inspired a generation of Color Field painters including Morris Louis and Kenneth Noland. On the other hand, these short bands and prismatic slurries recall those halcyon days in Paris when Hofmann worked through color theory with his good friend Robert Delaunay and thought a lot about prisms. Hofmann not only retained elements of Synthetic Cubism, but the lessons he learned from the Fauves and the artists who verily invented abstraction, Wassily Kandinsky, Kasimir Malevich, Frantisek Kupka, and Piet Mondrian to name a few of the key players. The Climb is a glorious expression of a painter drawing from both the past and the present, painting in a playful, but not frivolous manner fully informed and prepared to express his abilities as a painter, simply, and with great conviction.<br><br>As New York City became the avant-garde’s global hub in the 1940s, radical, new approaches to art, such as action painting and abstraction, took root among the informally grouped New York School painters. By 1950, Abstract Expressionism was well underway, but the movement was often overlooked by institutions. When the Metropolitan Museum of Art announced its plan to exhibit a survey of contemporary American painting, many of the New York School painters felt there was a bias against more “progressive” art in the museum’s selection process, prompting them to draft an open letter protesting the show.<br><br>The letter garnered attention, and Life magazine published an article on the protest in January 1951, “The Irascible Group of Advanced Artists Led Fight Against Show.” To accompany the article, Nina Lee photographed 15 of the 18 painters who signed the letter, including Hans Hofmann, Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyford Still, Robert Motherwell, Barnett Newman, and Mark Rothko. Today, this article is considered a turning point in the prominence of Abstract Expressionism, and the artists involved are often referred to as the “Irascibles.”

84 x 47 1/2 pulg.

aceite en el panel

KENNETH NOLAND - Pasaje - acrílico sobre lienzo - 69 1/2 x 140 1/2 pulg.

69 1/2 x 140 1/2 pulg.

acrílico sobre lienzo

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.

Dormitorio moreno con lirios

105 3/4 x 164 5/8 pulg.

aceite en aluminio recortado

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period. <br><br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side. <br><br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

óleo sobre lienzo

JEAN-MICHEL BASQUIAT - Sin título (Anatomía de una paloma) - óleo, grafito y tiza sobre papel - 22 x 30 pulg.

JEAN-MICHEL BASQUIAT

Sin título (Anatomía de la paloma)

óleo, grafito y tiza sobre papel

HANS HOFMANN - Canción de amor - óleo sobre lienzo - 36 1/4 x 48 1/4 pulg.

Canción de amor

36 1/4 x 48 1/4 pulg.

óleo sobre lienzo

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

Sin título (Totem Pole)

97 x 12 3/8 x 12 3/8 pulg.

óleo sobre lienzo estirado sobre cilindros de cartón

HANS HOFMANN - Sin título - óleo sobre lienzo - 25 x 30 1/4 pulg.

25 x 30 1/4 pulg.

óleo sobre lienzo

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

Leta y la colina Myna

óleo sobre lienzo

DAVID SMITH - Sin título - óleo sobre lienzo - 12 x 15 3/4 pulg.

12 x 15 3/4 pulg.

óleo sobre lienzo

DAVID SMITH - Sin título - óleo sobre lienzo - 12 x 16 pulgadas.

óleo sobre lienzo

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

Sin título (Escultura sonora)

103 x 16 x 16 pulg.

JOHN CHAMBERLAIN - ASARABACA - papel de aluminio de peso industrial con laca acrílica y resina de poliéster - 20 x 23 x 22 in.

JOHN CHAMBERLAIN

20 x 23 x 22 pulg.

papel de aluminio de peso industrial con laca acrílica y resina de poliéster

En "Desnudo bajando una escalera nº 2", Mel Ramos entrelaza juguetonamente el legado de la obra maestra modernista de Marcel Duchamp con la estética vibrante del Pop Art, creando una reinterpretación inteligente y visualmente estimulante. Al asociar el movimiento abstracto de Duchamp con su característico estilo pin-up, Ramos crea un diálogo dinámico entre las veneradas tradiciones de las bellas artes y las cualidades audaces y gráficas de las imágenes comerciales. Esta obra ejemplifica la habilidad de Ramos para navegar por la historia del arte y la cultura contemporánea, utilizando el encanto de la desnudez femenina para explorar y satirizar las obsesiones sociales con la belleza, el deseo y la mercantilización. Al hacerlo, la pieza de Ramos se convierte en una mezcla de arte pop por excelencia, deleitándose en su asociación lúdica con Duchamp y, al mismo tiempo, criticando y celebrando la cultura visual de su tiempo.

Desnudo bajando una escalera nº 2

70 x 52 1/8 pulg.

óleo sobre lienzo

RICHARD SERRA - Cape Breton Horizontal Reversal No. 16 - litho-crayon sobre dos hojas de papel hecho a mano - 19 3/4 x 55 7/8 in.

Cabo Bretón Inversión Horizontal nº 16

19 3/4 x 55 7/8 pulg.

litografía sobre dos hojas de papel hecho a mano

Jim Dine era un artista pop americano cuyo trabajo meditaba sobre objetos con un atractivo infantil para encontrar un lenguaje universal y nostálgico. Las túnicas de Dine se encuentran entre las imágenes más reconocibles que han surgido de su larga e ilustre carrera. Se exhibieron por primera vez en la galería Sidney Janis en el otoño de 1964 - este es un ejemplo de ello. Double Silver Point Robes es un conjunto de medios mixtos a gran escala. La obra se ejecuta en punta de plata - una técnica que utiliza una pieza de plata como instrumento de dibujo sobre un terreno especialmente preparado por el cual se oxida durante un período de meses para crear un tono marrón cálido. Las dos telas unidas presentan bloques de madera en el lugar donde deben estar las cabezas y un elemento de madera colgante que se mueve en respuesta a las corrientes de aire.

Doble túnica de punta plateada

53 1/2 x 96 pulg.

punta de plata y acrílico sobre 2 lienzos unidos, madera, cuchillo y cuerda en el marco del artista

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

Mujer con paraguas cuadrado

El almuerzo del artista del Área de la Bahía Roland Petersen es un óleo sobre lienzo de 1961, un año crítico para su serie de Picnic más conocida. Su obra de este período se caracteriza por su espeso impasto y su rico colorido. Profundamente influenciado por estudios con Hans Hoffman, Petersen experimentó con la abstracción, mezclando aquí estilos abstractos y figurativos. Pintado cuando Petersen tenía 35 años, Luncheon se encuentra dentro de un marco de tiempo que incluye su exposición individual agotada en 1962 en la Staempfli Gallery de Nueva York, su exposición individual en Esther-Robles en Los Ángeles, y la beca Guggenheim Fellowship que le dio la oportunidad de estudiar en París.

ROLAND PETERSEN

óleo sobre lienzo

Exposiciones destacadas

8 de noviembre de 2018 - 28 de febrero de 2019Nueva York, NY

DE KOONING X DE KOONING

8 de noviembre de 2018 - 28 de febrero de 2019 Nueva York, NY

26 de agosto de 2020 - 28 de febrero de 2021Jackson Hole, WY

MARAVILLAS DEL ARTE IMPRESIONISTA Y MODERNO EN AMÉRICA Y EUROPA

26 de agosto de 2020 - 28 de febrero de 2021 Jackson Hole, WY

16 de marzo de 2020 - 28 de febrero de 2021Palm Desert, CA

LA COLECCIÓN GLORIA LURIA

16 de marzo de 2020 - 28 de febrero de 2021 Palm Desert, CA

25 de marzo de 2020 - 28 de febrero de 2021Nueva York, NY

ALEXANDER CALDER: GOUACHES AUDACES

25 de marzo de 2020 - 28 de febrero de 2021 Nueva York, NY

Artistas seleccionados que hemos colocado con coleccionistas en 2020

Claude Monet

Alexander Calder

Edward Hopper

Helen Frankenthaler

Camille Pissarro

Tracey Emin

Fernand Leger

Pablo Picasso

David Hockney

Andrew Wyeth

Grace Hartigan

Salvador Dalí

Anish Kapoor

Condominio George

Jean Arp

Vincent van Gogh

Andy Warhol

Robert Motherwell

Marc Chagall

Deborah Butterfield

Pat Steir

Raoul Dufy

Georgia O'Keeffe

Ed Ruscha

Elaine de Kooning

Mark Bradford

Ansel Adams

Norman Rockwell

Ai Weiwei

Carlos Cruz-Diez

CLAUDE MONET
SALVADOR DALI
ALEXANDER CALDER

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Préstamos para museos

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Autenticación

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Historial de propiedad del objeto
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Historia de la exposición del objeto
Historial de publicación del objeto
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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.

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.
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Ventas y adquisiciones

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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.

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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