MENU

RECHERCHER

Prix Min:

Prix maximum:

Accueil
environ
Salle de visionnage
Artistes
- Artistes
- Catégories
original
Expositions
Publications
Apprendre
vendre
Nouveaux arrivages
Contact
Avis

Accueil
environ
Salle de visionnage
Artistes
- Artistes
- Catégories
original
Expositions
Publications
Apprendre
vendre
Nouveaux arrivages
Contact
Avis

Navigation postale

← poste précédent

Visite guidée de la galerie Palm Desert - Art d'après-guerre et contemporain

Mai 2021

nouvelles

Pour notre 25e anniversaire, nous sommes ravis de continuer à présenter des œuvres d'art rares et de premier ordre d'artistes estimés tels que Elaine de Kooning, Adolph Gottlieb, Agnes Martin et Joan Miro. Au cours des 25 dernières années, Heather James Fine Art s'est développée en un réseau mondial avec des galeries et des cabinets de conseil à travers les États-Unis et l'Europe. Rien qu'en 2020, Heather James Fine Art a placé 382 œuvres d'art dans de nouvelles collections à travers le monde, et nous sommes fiers de continuer à conseiller d'autres personnes dans le développement de leurs collections.

ÉCHANTILLONNAGE D'ŒUVRES D'APRÈS-GUERRE ET CONTEMPORAINES

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.”

SEAN SCULLY (EN)

huile sur aluminium

TOM WESSELMANN - 1962 Plus 35 Croquis nu II - huile alkyde sur toile - 43 x 58 5/8 po.

1962 Plus 35 Croquis nu II

43 x 58 5/8 pouces

huile alkyde sur toile

<div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div>

LYNNE MAPP DREXLER

Soleil printanier

35 5/8 x 39 3/4 x 1 po.

huile sur toile

MANOLO VALDES - Portrait de femme - huile et toile de jute sur toile - 60 x 60 in.

Portrait de femme

huile et toile de jute sur toile

<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>

KENNETH NOLAND (EN)

Réflexion grise

66 1/4 x 88 1/2 po

acrylique sur toile

<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>

pigments naturels et platine sur papier de mûrier japonais monté sur carton

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 po.

201 x 48 x 48 po.

<div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div>

21 x 29 1/4 in.

aquarelle sur papier

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.<br><br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million. <br><br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

huile, résine, gesso, tissu et cuir sur la toile marine

HERB ALPERT - Sans titre - bronze - 102 x 40 x 20 po.

102 x 40 x 20 po.

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.

Poitrine de chambre à coucher

80 x 76 x 10 po.

huile sur aluminium découpé

<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

Abstraktes Bild 758-2

24 1/2 x 32 1/4 in.

huile sur toile

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.

Chambre brune avec iris

105 3/4 x 164 5/8 in.

huile sur aluminium découpé

$<div><font face=Lato size=3 color=black>Olga de Amaral’s <em>Memento 7</em> exemplifies the Colombian artist’s mastery in transforming textile into a medium of profound sculptural and symbolic resonance. Woven from natural fibers and coated with gesso, metallic leaf, and pigments, the work shimmers between material solidity and optical flux. Its surface glints with gold, refracting light in rhythmic intervals that shift as the viewer moves, evoking both the permanence of memory and its fragility.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The <em>Memento</em> series, from which this piece belongs, explores memory as a layered, luminous presence. By embedding gold leaf within the weave, de Amaral connects her practice to pre-Columbian traditions in which gold was not a mere material but a carrier of spiritual and cultural meaning. In <em>Memento 7</em>, geometric patterning and a richly textured surface create a sense of sacred tapestry, collapsing distinctions between painting, sculpture, and textile.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>De Amaral’s work has been celebrated internationally for expanding the language of fiber art into realms of architecture and abstraction. <em>Memento 7</em> resonates with major institutional holdings of her work, including the Museum of Modern Art (New York), the Metropolitan Museum of Art, the Art Institute of Chicago, and the Musée d’Art Moderne de Paris. Within these collections, her gilded weavings stand as both objects of rare material beauty and meditations on history, place, and the metaphysics of light.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Memento 7</em> thus embodies the artist’s unique synthesis of ancestral craft and modern abstraction, offering a powerful reflection on memory, time, and transformation.</font></div>$

lin, gesso, acrylique et feuille d'or

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>

59 3/8 x 47 1/4 in.

huile sur toile

<div><font face=Lato size=3 color=black>Hans Hofmann's "<em>Astral Image #1"</em> of 1947 captures a pivotal moment in his artistic evolution as he wrestled with the competing forces of linearity and painterly abstraction. Exhibited in the same year at Betty Parsons Gallery in New York—Hofmann's first show with Parsons — the painting represents a phase of intense experimentation in which Cubist-inspired linear elements took center stage. Lines arc and stretch across the canvas, creating a dynamic framework that opens into areas filled with flatly applied alizarin crimson. These contrasting forces give the work a sense of tension and vitality.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>During this period, Hofmann's reliance on linearity provided a departure from the more fluid, painterly dynamism of his earlier works. From 1944 to 1951, this linear impulse permeated his practice, signaling a prolonged exploration of modes of expression in which he grappled with reconciling abstraction and structure. While some viewed this phase as a retreat from the energetic breakthroughs that defined American art's rise to global prominence, others recognized the distinctiveness of these paintings. <em>Astral Image #1</em> challenged the framework of Hofmann's singular vision, blending Cubist discipline with the vibrant, unruly energy that remained a hallmark of his oeuvre.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work's flat planes of bright alizarin crimson, contrasted with the angular momentum of the lines, evoke a cosmos of restless energy, hinting at the celestial themes suggested by its title. This painting reflects Hofmann's deliberate explorations during the late 1940s that underscore his unique ability to create works that resist easy categorization, standing apart as deeply personal explorations of form and color.</font></div><br><br><div> </div>

Image astrale n° 1

huile sur toile

<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>

Paysage n° 108

23 1/4 x 29 1/4 in.

huile sur panneau

21 3/8 x 24 1/2 in.

huile sur panneau

<div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div>

LYNNE MAPP DREXLER

Printemps sporadique

40 x 29 1/2 in.

huile sur toile

JIM DINE - Pieds et mains - bronze peint - 83 x 32 x 32 pouces

83 x 32 x 32 pouces

DAVID SMITH - Sans titre - huile sur toile - 12 x 16 in.

DAVID SMITH (EN)

huile sur toile

DAVID SMITH - Sans titre - huile sur toile - 12 x 15 3/4 in.

DAVID SMITH (EN)

12 x 15 3/4 in.

huile sur toile

<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>

Sans titre (Sculpture sonore)

103 x 16 x 16 pouces

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 et la colline Myna

60 x 52 pouces.

huile sur toile

RICHARD SERRA - Cape Breton Horizontal Reversal No. 16 - litho-crayon sur deux feuilles de papier fait à la main - 19 3/4 x 55 7/8 in.

Renversement horizontal du Cap-Breton n° 16

19 3/4 x 55 7/8 in.

litho-crayon sur deux feuilles de papier fait main

<div><font face=Lato size=3>Andy Warhol’s <em>Grace Kelly</em> (1984) is a dazzling screenprint that immortalizes one of Hollywood’s most iconic stars, who later became Princess of Monaco. This impression, one of 30 artist’s proofs aside from the regular edition of 225, depicts Kelly with radiant canary yellow hair set against a turquoise ground. Her face, rendered through Warhol’s crisp silkscreened contours, is at once immediately recognizable and transformed into a bold graphic emblem. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The image is based on a film still from<em> Fourteen Hours</em> (1951), Kelly’s screen debut, which Warhol reimagines through his signature Pop sensibility. By isolating and intensifying her features with vibrant color contrasts, he heightens both the glamour of the actress and the constructed nature of celebrity imagery. The turquoise background vibrates against Kelly’s luminous hair, underscoring Warhol’s mastery of color as a tool of both allure and abstraction. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Created during a period when Warhol was revisiting the great icons of his earlier career, <em>Grace Kelly</em> encapsulates his fascination with beauty, fame, and cultural mythmaking. The work distills Kelly’s presence into a timeless symbol—simultaneously a celebration of her cinematic allure and a meditation on the transformation of star into legend. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3> </font></div>

ANDY WARHOL (EN)

sérigraphie couleur

Expositions dignes d'intérêt

8 novembre 2018 - 28 février 2019New York, NY

DE KOONING X DE KOONING

8 novembre 2018 - 28 février 2019 New York, NY

26 août 2020 - 28 février 2021Jackson Hole, WY

MERVEILLES DE L'ART IMPRESSIONNISTE ET MODERNE EN AMÉRIQUE ET EN EUROPE

26 août 2020 - 28 février 2021 Jackson Hole, WY

16 mars 2020 - 28 février 2021Palm Desert, CA

LA COLLECTION GLORIA LURIA

16 mars 2020 - 28 février 2021 Désert de Palm, CA

25 mars 2020 - 28 février 2021New York, NY

ALEXANDER CALDER : DES GOUACHES AUDACIEUSES

25 mars 2020 - 28 février 2021 New York, NY

Artistes sélectionnés que nous avons placés auprès des collectionneurs en 2020

Claude Monet

Alexandre Calder

Edouard Hopper

Helen Frankenthaler

Camille Pissarro

Tracey Emin

Fernand Léger

Pablo Picasso

David Hockney

Andrew Wyeth

Grace Hartigan

Salvador Dali

Anish Kapoor

Condo 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 (en)

Ai Weiwei

Carlos Cruz-Diez

CLAUDE MONET

CLAUDE MONET

SALVADOR DALI

SALVADOR DALI

ALEXANDRE CALDER

ALEXANDRE CALDER

VENDRE AVEC NOUS

Contactez-nous

Contactez-nous

nom *

Intérêt pour l'art *

email *

numéro de téléphone

Message *

Captcha

Si vous êtes humain, laissez ce champ vide.

Navigation postale

← poste précédent

demander

Rejoindre la liste Du formulaire court

Si vous êtes humain, laissez ce champ vide.

RACCORDER

Retour en haut de la page

© Copyright 2026 Heather James. Tous droits réservés.

Politique de confidentialité
Conditions générales

Merci de nous avoir contactés !

Vous souhaitez personnaliser vos préférences en matière d'art ?

Aller à Préférences de communication

L'éducation

L'éducation est de la plus haute importance chez Heather James Art Advisory. Que vous soyez un collectionneur chevronné ou débutant, nous visons à évoluer avec nos clients et nous croyons fermement à la fourniture d'informations et de conseils pour aider nos clients à apprendre et à cultiver leurs intérêts en matière d'art.

Curation

Heather James Art Advisory met à profit des décennies d'expérience en matière de conservation, grâce aux conseils de notre équipe de conservateurs principaux qui ont organisé des expositions dans le monde entier, dans des musées, des galeries et des résidences privées. En associant des éléments esthétiques et historiques de l'art, nous aiderons votre collection et votre maison à refléter vos intérêts artistiques.

Logistique

HJ Art Advisory fournit une logistique complète lors de la manipulation, du transport et de la supervision des œuvres d'art de nos clients. Notre surveillance porte sur tous les aspects de l'entretien de l'œuvre d'art. Nous supervisons chaque étape du processus de transport, d'installation et de stockage des œuvres d'art. Nous conseillons et facilitons la conception de l'encadrement, l'éclairage, les exigences en matière de sécurité, la conservation et l'évaluation de l'état des œuvres.

Documentation

Lors de l'achat d'œuvres d'art, HJ Art Advisory recherche la provenance de l'œuvre et demande au vendeur de lui fournir des déclarations et des garanties selon lesquelles le vendeur détient un titre de propriété valable et que l'objet est libre de tout privilège, de toute réclamation et de toute charge.
HJ Art Advisory demandera une indemnisation pour le remboursement intégral de l'œuvre d'art en cas de violation de la garantie (éventuellement inclure cette ligne ???).
Ventes privées et processus d'enchères : Les informations essentielles à saisir sont les suivantes : Artiste, titre de l'œuvre, date, support, dimensions, prix, image, entité de l'offre, provenance, certificats, facture (si possible), rapport d'état, privilèges, litiges, titre de propriété.

Prêts aux musées

Heather James a eu l'honneur de faciliter les prêts aux plus grands musées du monde, notamment le MoMA, le Centre Pompidou et bien d'autres encore. HJ Art Advisory s'occupe de toutes les formalités administratives et logistiques nécessaires pour nos collectionneurs qui décident de prêter une œuvre d'art à une exposition muséale.

Ventes et acquisitions

HJ Art Advisory se concentre sur la recherche d'œuvres d'art pour des acquisitions potentielles à partir de ventes privées, de maisons de vente aux enchères et de commandes d'artistes. HJ Art Advisory surveille en permanence le marché privé et public à la recherche d'œuvres d'art importantes qui intéressent nos clients et qui enrichiront leurs collections. Nous négocions la vente ou le prix de vente au nom d'un collectionneur afin d'obtenir la meilleure transaction possible pour nos clients.

Finances

HJ Art Advisory assiste ses clients dans le cadre de prêts garantis par des actifs, de l'achat d'œuvres d'art pour des trusts et de la planification successorale. Nous offrons notre expertise sur le marché de l'art afin de positionner au mieux nos clients lorsqu'ils prennent des décisions pour leur collection. Nous travaillons avec les successions, les équipes juridiques et les conseillers financiers pour soutenir au mieux nos clients et leurs objectifs.
Heather James Fine Art n'est pas un conseiller agréé en matière d'investissement, de droit ou de fiscalité. Toutes les opinions financières et d'investissement exprimées par Heather James Fine Art sont des opinions basées sur des recherches personnelles. Les performances passées ne constituent pas une garantie de rendement futur et ne sont pas nécessairement indicatives des performances futures.

Valeur et assurance

Le groupe HJ Art Advisory évalue les collections d'œuvres d'art en vue de leur évaluation par les assurances, de leur acquisition et de leur cession. Cela implique des recherches approfondies sur l'analyse du marché de l'art privé et public afin de déterminer la valeur.

Authentification

HJ Art Advisory applique les normes les plus strictes en matière de diligence raisonnable par le biais d'enquêtes, de recherches et de vérifications de la provenance des objets avant leur acquisition, afin de s'assurer qu'un titre de propriété clair peut être obtenu. Ces recherches comprennent, sans s'y limiter, la détermination des éléments suivants

Historique de la propriété de l'objet
Pays dans lesquels l'objet a été localisé et quand.
Historique de l'exposition de l'objet
Historique de la publication de l'objet
Toute revendication de propriété, si elle a été faite
Bases de données d'objets volés en rapport avec l'objet
Les circonstances dans lesquelles l'objet est offert
Sources de recherche pertinentes, y compris Le registre des pertes d'œuvres d'art ou d'autres bases de données.
Garantie et déclaration d'indemnisation du vendeur, assurant que le vendeur possède un titre de propriété valide et que l'objet est libre de tout privilège, réclamation ou charge.
Recherche et documentation sur l'époque nazie et la Seconde Guerre mondiale, conformément aux lignes directrices relatives à l'acquisition d'objets susceptibles d'avoir séjourné dans l'Europe occupée par les Allemands entre 1933 et 1945.

Connaissance

HJ Art Advisory travaille avec et pour le compte de clients qui développent de nouvelles collections ou qui possèdent des collections bien établies, en leur fournissant des conseils et une offre de services approfondie. Nos connaissances et notre expérience approfondies, ainsi que nos nombreuses années d'expérience dans le secteur de l'art, permettent à notre personnel hautement qualifié et expérimenté de fournir des conseils et des orientations à de multiples niveaux.

Vous voulez en savoir plus sur cette ou ces œuvres ? Envoyez-nous un message pour nous faire part de votre intérêt.

Demande de renseignements - Art Single

nom *

Inventaire

email *

numéro de téléphone

Message *

Captcha

Si vous êtes humain, laissez ce champ vide.

Français

English
日本語
中文 (简体)
Deutsch
Español
עברית
العربية‏