Join Senior Director, Andrea Rico-Dahlin, as she shares a superb selection of Impressionist works, including Renoir, Sisley, Monet and Caillebotte. Impressionism is a preoccupation at Heather James Fine Art. We focus on sourcing these early Modern masterpieces for clients looking to buy as well as finding the right home for works of collectors looking to sell.

IMPRESSIONISM AT HEATHER JAMES FINE ART

September 1 – October 31, 2022  |  Jackson Hole, WY

Additional Jackson Hole Exhibitions

Claude Monet: An Impressionist Genius

August 18 – October 31, 2022

Marc Chagall: The Color of Love

September 8, 2022 – March 31, 2023

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ARTWORK ON VIEW

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

CLAUDE MONET

GEORGIA O'KEEFFE - Cottonwood Tree (Near Abiquiu), New Mexico - oil on canvas - 36 x 30 in.

GEORGIA O'KEEFFE

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

DIEGO RIVERA

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

WILLEM DE KOONING

GUSTAVE CAILLEBOTTE - Vue du jardin de l’artiste et de la Vallée de I'Yerres - oil on canvas - 19 1/8 x 25 1/2 in.

GUSTAVE CAILLEBOTTE

ALFRED SISLEY - L'Église de Moret, le Soir - oil canvas - 31 1/4 x 39 1/2 in.

ALFRED SISLEY

N.C. WYETH - Summer. "Hush" - oil on canvas - 33 3/4 x 30 1/4 in.

N.C. WYETH

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

WINSLOW HOMER

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

FRIDA KAHLO

SEAN SCULLY - Grey Red - oil on aluminum - 85 x 75 in.

SEAN SCULLY

PIERRE-AUGUSTE RENOIR - Portrait de femme (Gabrielle Renard) - oil on canvas - 20 1/4 x 16 1/4 in.

PIERRE-AUGUSTE RENOIR

MARSDEN HARTLEY - Bach Preludes et Fugues No. 1 (Musical Theme) - oil on canvas laid down on board - 28 1/2 x 21 in.

MARSDEN HARTLEY

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life.
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<br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.

N.C. WYETH

SALVADOR DALI - Saint Georges et le Dragon - ballpoint pen on paper - 22 1/2 x 30 1/4 in.

SALVADOR DALI

MARC CHAGALL - Repos du nu rose à l'éventail - tempera, gouache, pastel and pencil - 25 x 19 in.

MARC CHAGALL

Although linocuts form a relatively small part of Picasso's output as a printmaker (approximately 150 prints from a total exceeding two thousand), Femmes au Miroir, executed in 1956 is among his earliest and most outstanding compositions by this method. The present example is from a group of prints which has come to be known as épreuves rincées (rinsed proofs) produced shortly before he abandoned the linocut process by 1964. Rincées are created by printing the linoleum block in creamy white ink, brushing the printed impression with black China ink, and once dried, rinsed with water. It is an ingenious, unusual technique that replicates the delicate quality of brushed ink drawings and Picasso loved the serendipitous nature it. Whether printed in the traditional manner or as épreuves rincées, the Baer catalogue raisonné records the existence of only a handful of Femmes au Miroir impressions. Based on the citation in Baer and the Galerie Leiris label on verso, this is the fifth of five rincée listed by Baer. The condition is excellent.

PABLO PICASSO

JAN JOSEPHSZOON VAN GOYEN - River Landscape with a Windmill and Chapel - oil on panel - 22 1/2 x 31 3/4 in.

JAN JOSEPHSZOON VAN GOYEN

MARC CHAGALL - Les Amoureux sur le divan - watercolor and pencil on paper - 25 1/2 x 19 1/2 in.

MARC CHAGALL

PABLO PICASSO - Peintre et modèle - pen and India ink on paper - 9 3/8 x 12 5/8 in.

PABLO PICASSO

SALOMON VAN RUYSDAEL - A Dune Landscape with Figures Resting and a Couple on Horseback, a View of Nijmegen Cathedral Beyond - oil on canvas - 26 1/2 x 41 1/2 in.

SALOMON VAN RUYSDAEL

MARC CHAGALL - L'atelier - wax crayon, pastel and sanguine on paper - 20 x 26 1/2 in.

MARC CHAGALL

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. 
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<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

MARC CHAGALL - Soleil multicolore ou esquisse pour "Composition champêtre" - oil and Indian ink on canvas-covered cardboard - 11 3/4 x 9 in.

MARC CHAGALL

MARC CHAGALL - Adam et Eve - ceramic - 12 7/8  x 10 7/8 in.

MARC CHAGALL

MARC CHAGALL - Esquisse pour "L'ange et la fiancée" - gouache and pencil - 14 x 10 1/2 in.

MARC CHAGALL

JOSEPH STELLA - Reclining Nude - oil on canvas - 50 x 52 1/2 in.

JOSEPH STELLA

JOAN MIRO - L'Oiseau - bronze and cinderblock - 23 7/8 x 20 x 16 1/8 in.

JOAN MIRO

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

Picasso immortalized Françoise Gilot, his muse and mother of their children Claude and Paloma in numerous paintings, drawings, and prints. His most iconic work of her is undoubtedly La Femme-Fleur of 1946, the uber-stylized, flora and fauna hybrid painting inspired by Matisse’s remarks that he would paint her with a pale blue body and leaf-green hair. Francoise sur fond gris, the second, more complete version of two lithograph portraits Picasso created of Francoise in November 1950 is undoubtedly among his best efforts to capture the essential woman he called ‘the woman who says no’. With its narrow, arching eyebrows, full lips and youthful visage, the lithograph is a truthful revelation of Francoise as the pensive, stunningly beautiful woman she was in life and story. Impressions were printed on bluish gray paper (perhaps harkening to the blue-toned figure of Françoise in La Femme-Fleur) and affixed to a sturdy cream wove paper during the printing process. Francoise sur fond gris is widely recognized as one of the Picasso’s most successful prints of his seven-decade-long career. It is catalogued in Bloch (681), Mourlot (195), and Reuße (552).

PABLO PICASSO

Between 1895 to 1905, counterproofs of Renoir’s pastels were created by lithographer Auguste Clot at the behest of Parisian art dealer Ambroise Vollard. The process is easy to understand. A damp sheet of tissue-thin Japan paper is applied over a pastel drawing and the two sheets are passed through a lithographic press. The counterproof, a mirror image is softer in tone and of enhanced ethereal qualities. The present example is based on the original pastel study for Renoir’s most celebrated masterpiece, Moulin de la Galette completed by 1876 and now in the collection of Musée d’Orsay in Paris.  When Vollard died in 1939, the collection was acquired by Henri Petiet, subsequently descended through his family, and in 2005, thirty-four of the re-discovered counterproofs were exhibited for the first time in a century in Renoir: The Pastel Counterproofs, held at Adelson Galleries in New York. The original pastel for this counterproof is presently in the National Museum, Belgrade, Serbia and illustrated in its catalogue, The Unknown Degas and Renoir in the National Museum of Belgrade.

PIERRE-AUGUSTE RENOIR

WOJCIECH FANGOR - Green Points - oil on canvas - 52 7/8 x 33 1/2 in.

WOJCIECH FANGOR

ANDY WARHOL - General Custer - screenprint on Lenox Museum Board - 40 x 40 in.

ANDY WARHOL

YVONNE THOMAS - The Tower - oil on linen - 39 3/4 x 51 1/2 in.

YVONNE THOMAS

JENNIFER BARTLETT - Counting Polygon - oil on canvas - 34 1/4 x 46 1/2 x 2 in.

JENNIFER BARTLETT

MARC CHAGALL - Paravent - color lithograph on paper laid on wood (4 panel folding screen) - 57 x 17 1/2 in. ea.

MARC CHAGALL

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

N.C. WYETH

Few painters have a mythology as large or as complicated as Mark Rothko. One of the most important Abstract Expressionist artists and a quintessential Color Field artist, Rothko imbued his canvases with symbolic and spiritual meaning.
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<br>Before this break into complete abstraction, Rothko created expressionistic and figurative works influenced by his friendship with the painter Arshile Gorky. This early work from the 1930s gives a crucial glimpse into the development of Rothko before he transferred the emotion of figuration into the emotion of color. He admired the approach of children to art which he emulated through broad applications of paint and wide brushwork which can be seen in this piece.

MARK ROTHKO

NATHAN OLIVEIRA - Nude Stepping from the Carpet - oil on canvas - 52 x 48 in.

NATHAN OLIVEIRA

IRVING NORMAN - Chairman of the Board - oil on canvas - 90 x 48 in.

IRVING NORMAN

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

IRVING NORMAN

WILLIAM WENDT - Laguna Hills - oil on canvas - 25 x 30 in.

WILLIAM WENDT

ANDY WARHOL - Pepper Pot from Campbell's Soup - screenprint in colors - 35 x 23 in.

ANDY WARHOL

PAUL JENKINS - Phenomena Rainbow Rush - acrylic on canvas - 58 x 82 in.

PAUL JENKINS

IRVING NORMAN - Frosted Window - oil on canvas - 36 x 90 in.

IRVING NORMAN

ROBERTO MATTA - L'epreuve - oil on canvas - 29 1/2 x 25 1/2 in.

ROBERTO MATTA

ANDY WARHOL - Myths: Santa Claus - screenprint in colors with diamond dust, on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

ANDY WARHOL - Northwest Coast Mask - screenprint in colors on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

MARC CHAGALL - Le Cirque M.505 - lithograph - 16 3/4 x 12 3/4 in.

MARC CHAGALL

HERB ALPERT - Three Feathers - bronze - 38 x 20 x 9 in.

HERB ALPERT

HERB ALPERT - Eagle Falls - bronze - 41 1/2 x 10 x 10 in.

HERB ALPERT

UTAGAWA HIROSHIGE - Okabe: Utsu Mountain - color woodblock print; oban - 9 1/2 x 14 1/4 in.

UTAGAWA HIROSHIGE

PENELOPE GOTTLIEB - Diosorea Bulbifera - acrylic and ink over Audubon print - 38 x 26 in.

PENELOPE GOTTLIEB

Invasive plant found in WY

PENELOPE GOTTLIEB