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הדרכה בגלריה במדבר פאלם – אחרי המלחמה ואמנות עכשווית

מאי 2021

חדשות

לרגל יום השנה ה -25 שלנו, אנו נרגשים להמשיך להציג יצירות אמנות נדירות כחול שבב על ידי אמנים מוערכים כמו איליין דה Kooning, אדולף גוטליב, אגנס מרטין, וג'ואן מירו. במהלך 25 השנים האחרונות, הת'ר ג'יימס פיין ארט התרחבה לרשת גלובלית עם גלריות וייעוץ ברחבי ארה"ב ואירופה. בשנת 2020 לבדה, הת'ר ג'יימס פיין ארט הציבה 382 יצירות אמנות באוספים חדשים ברחבי העולם, ואנו גאים להמשיך לייעץ לאחרים בגידול האוספים שלהם.

דגימה של פוסט מלחמה ויצירות עכשוויות

איי ווייווי

מעגל בעלי חיים/ראשי גלגל המזלות: זהב

ברונזה מצופה זהב ב-12 חלקים

JULIAN SCHNABEL - ללא כותרת - שמן ושעווה על ברזנט - 120 x 96 אינץ'

ג'וליאן שנאבל

ללא כותרת

120 x 96 אינץ'

שמן ושעווה על ברזנט

<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>

פרננדו בוטרו

L'Atelier de Sánchez Cotán

51 1/4 x 57 1/2 אינץ'.

שמן וקולאז' על קנבס

דמיאן הירסט - מחשבות נשכחות - פרפרים וברק ביתי על בד - 48X48 אינץ'

דמיאן הירסט

מחשבות נשכחות

48 x 48 אינץ'.

פרפרים וברק ביתי על בד

MANOLO VALDES - דיוקן אישה - שמן ומחילה על בד - 60X60 אינץ'

מנולו ואלדס

דיוקן אישה

60 x 60 אינץ'.

שמן ו burlap על בד

<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>

הירושי סנג'ו

36 x 46 אינץ'.

פיגמנטים טבעיים ופלטינה על נייר תות יפני המורכב על הסיפון

HERB ALPERT - ראש חץ - ברונזה - 201 x 48 x 48 אינץ'.

הרב אלפרט

201 x 48 x 48 אינץ'.

ANDREW WYETH - רבע וחצי - צבעי מים על נייר - 21 x 29 1/4 אינץ'.

אנדרו וייט

רבע וחצי

21 x 29 1/4 אינץ'.

צבעי מים על נייר

ויליאם קנטרידג' - סדרת פורטר: קארט ל'אירופה (אשת מקלחת) - שטיחי קיר רקומים ממשי ומשי - 98 3/8 x 137 7/8 אינץ'.

ויליאם קנטרידג'

סדרת פורטר: קארט ל'אירופה (אשת מקלחת)

98 3/8 x 137 7/8 אינץ'.

מוהיר ושטיחי קיר רקומים ממשי

מבין טוטמי הרוח הרבים של הרב אלברט מברונזה, בצבע שחור-משיי, למעטים יש את התחושה הגברית המובהקת של Warrior. ומעליו כתר יורד ומשונן שיכול בקלות להתייחס לסמל של ציפור טרף ככיסוי הראש של צ'יף אינדיאני במישורים, התואר "לוחם" הוא תיאור מתאים המתייחס בין היתר לתכונות של כוח, אומץ ורוח בלתי שבירה. בדומה לעבודתו של הנרי מור, אסוציאציות אלה תלויות, בין השאר, בחלל שלילי כדי ליצור את הרושם הדינמי והחזק שהפסל האימתני הזה יוצר.

הרב אלפרט

זוהר וזוהר

161 x 40 x 40 אינץ'.

רוג'ר בראון ידוע בדימוייו האישיים ולעתים קרובות פנטסטיים ובציוריו המסוגננים מאוד עם דמויות וחפצים המשקפים את העניין שלו בחוויות היומיום. Acid Rain בוחן נושאים של החיים המודרניים ופרשנות חברתית המשקפים את תפקידו של האמן בחברה ואת הפוטנציאל של האמנות לחולל שינוי. ברמה האישית יותר, הנושא של גשם חומצי עשוי לסמל מצבים רגשיים או פסיכולוגיים מאכלים, כגון דיכאון, חרדה, או תחושה של להיות מוצף על ידי נסיבות שאינן בשליטתו של האדם. בדיוק כפי שגשם חומצי היה בעיה סביבתית בלתי נראית אך הרסנית, המשבר של מגיפת האיידס המתהווה ככל הנראה הניע את בראון ליצור את העבודה לעיבוד אבל אישי, לבקר את התגובה הלא מספקת של מנהיגים פוליטיים, ולתמוך בחמלה, הבנה ומחקר רפואי.

רוג'ר בראון

גשם חומצי

48 x 72 x 2 אינץ'

שמן על בד ציור

<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>

דיוקן של ילד

39 3/8 x 31 5/8 אינץ'.

שמן על בד ציור

<div><font face=Lato> </font><font face=Lato size=3 color=black>Diebenkorn’s path to the “<em>Ocean Park”</em> series was as layered and nuanced as his canvases. Born in Portland, Oregon in 1922, he found his artistic footing in the San Francisco Bay Area, where he absorbed the Abstract Expressionism of figures like Clyfford Still and Willem de Kooning. Yet even in his early abstractions, such as those inspired by the aerial views of the Southwestern landscape during flights to New Mexico, Diebenkorn’s work displayed a grounding in the tangible world. His shift to figuration in the mid-1950s, influenced by Bay Area peers like David Park and Elmer Bischoff, was met with surprise but underscored his belief in continuity rather than rupture. “I was never throwing things away,” he reflected. This ethos carried him back to abstraction in 1967 when the “<em>Ocean Park”</em> series began—a natural and revelatory return.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black><em>“Ocean Park #108”</em> (1978) showcases the spirit of Diebenkorn’s remarkable ability to translate the visual world into a meditative abstraction laden with intellectual rigor and personal resonance. Part of his acclaimed “<em>Ocean Park”</em> series, which spanned over two decades and more than 140 works, this painting captures the essence of Diebenkorn’s artistic philosophy: a fusion of restraint and spontaneity, where light, geometry, and color converge in perfect equipoise. Birthed in his Santa Monica studio overlooking this coastal neighborhood, the vantage point—framed by urban grids, oceanic expanses, and the shimmering Southern California light—shaped the language of these paintings. Yet <em>“Ocean Park #108,”</em> like its siblings, transcends a specific locality; it is less a depiction of a specific place and more a dialogue with the landscape of memory, perception, and art history.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In this work, the coral-hued arch hovers above turquoise, ochre, and alabaster bands, evoking the interplay of horizon and sky. Below, an expansive blue-gray plane is bisected by a diagonal line, lending the composition a quiet dynamism. This scaffold of lines and planes—Diebenkorn’s signature vocabulary—draws on his early admiration for Cezanne’s structured landscapes and Mondrian’s architectonic grids but with a distinct California sensibility. The work’s veiled layers and pentimenti reveal the artist’s process: a cycle of addition and erasure, as though the painting itself is a record of thought in motion. “Indecision, conflict, and tinkering” were, as Diebenkorn once noted, essential to his practice, and here, they coalesce into a harmony that feels earned rather than imposed.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>What distinguishes <em>“Ocean Park #108” </em>within this celebrated series is its quiet confidence, a quality Diebenkorn achieved through rigorous exploration rather than easy fluency. While influenced by Matisse—whose luminous color and spatial tension left an indelible mark on his work—Diebenkorn resisted prettiness, instead striving for what he called “tension beneath calm.” In “<em>Ocean Park #108</em>,” this tension is palpable in the interplay between the precision of its linear framework and the softness of its painted surface. The visible corrections and reworkings imbue the painting with a human quality, a sense that it is not merely an object but an ongoing conversation.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In the context of American abstraction, “<em>Ocean Park #108”</em> is a masterpiece of subtlety and nuance. Its interplay of horizon and sky geometry recalls earlier the desert roads Diebenkorn once photographed from an airplane, while its luminous palette evokes the marine light of the Pacific. But the painting’s emotional resonance—its “breadth of reference,” as one critic noted—elevates it. To stand before “<em>Ocean Park #108” </em>is to be enveloped in a space that feels both constructed and organic, abstract and deeply familiar. It is a testament to Diebenkorn’s lifelong inquiry into what painting could be: not a conclusion, but a possibility, ever unfolding.</font></div>

ריצ'רד דיבנקורן

אושן פארק מס' 108

77 3/4 x 62 אינץ'.

שמן על בד ציור

וילם דה KOONING - אישה בסירת משוטים - שמן על נייר הניח על הבונים החופשיים - 47 1/2 x 36 1/4 ב.

וילם דה קונינג

אישה בסירת משוטים

47 1/2 x 36 1/4 אינץ'.

שמן על נייר מונח על הבונים החופשיים

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.

אלכסנדר קלדר

הקדמה לאוכל האדם

59 x 42 x 18 אינץ'

פח, חוט, צבע

<div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>

טום ווסלמן

מעשן מספר 21, אילת

74 1/2 x 67 1/2 אינץ '.

שמן על בד מעוצב

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.

אלכסנדר קלדר

28 3/4 x 36 1/4 אינץ'.

שמן על בד ציור

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.

גרהרד ריכטר

אברקטס בילד 758-2

24 1/2 x 32 1/4 אינץ'

שמן על בד ציור

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.”

הנס הופמן

84 x 47 1/2 אינץ '.

שמן בפאנל

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.

טום ווסלמן

חדר שינה ברונטית עם איריסים

105 3/4 x 164 5/8 אינץ'.

שמן על אלומיניום חתוך

<div> <font face=Aptos size=3 color=black>Kurt Schwitters invented “<em>Merz”</em> in 1919, a term born from the fragmentation of the word "Kommerz" in one of his early collages. At a time of significant social, political, and artistic upheaval, Schwitters embraced modernist movements such as Dada, Expressionism, and Constructivism yet forged his path, developing <em>Merz</em> as his personal artistic approach. This idea of transformation, of elevating refuse into something meaningful, dominated his career and remained central to his creative practice until he died in 1948. <em>Merz</em> was not just a technique; it was a philosophy of creating art from the detritus of the everyday world, giving new meaning to objects independent of their original function.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Created in 1945 during his exile in England after fleeing Nazi persecution, “<em>Untitled, Merz Picture with Shoe Sole” </em>presents as an evocative example of his later <em>Merz</em> compositions. The work features a shoe sole as part of an assemblage whose topography includes two other raised elements: a textured scrap and a round white orb, creating an elevated terrain that brings physical depth to the piece. These elevated elements give the work a sculptural quality, blurring the line between painting and relief. At the same time, the layered textures and muted palette of slate and blue-gray, browns, and ochre underscore Schwitters' ability to draw beauty from what might otherwise be overlooked or discarded.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>The everyday experience, represented by the shoe sole, finds its place in an abstract landscape, much as Schwitters sought to create a sense of order from the disordered fragments of the world around him. The muted colors and rough textures of the assemblage suggest both scarcity—reflecting the limited materials available during wartime—and resilience, as Schwitters continued his artistic practice in the face of adversity.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Through this assemblage, Schwitters reaffirms his belief in the transformative power of “<em>Merz”</em>: the ability to turn the discarded into something new, meaningful, and enduring. “<em>Untitled, Merz Picture with Shoe Sole”</em> is a testament to Schwitters' unyielding vision, where even the most ordinary objects can become art, elevated literally and conceptually.</font></div>

קורט שוויטרס

Ohne Title (Merzbild Mit Schuhsohle)

21 1/4 x 17 3/4 אינץ'.

מכלול שמן ותבליט על דיקט

<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>

הנס הופמן

59 3/8 x 47 1/4 אינץ'.

שמן על בד ציור

<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>

הנס הופמן

תמונה אסטרלית מס' 1

48 x 60 אינץ'.

שמן על בד ציור

Wojciech Fangor is a Polish painter who became one of the nation’s more preeminent artists by experimenting with abstraction in the years following the end of World War II. Born in 1922, Fangor studied and taught art during the early years of his career, producing paintings inspired by various styles of the European avant-garde before shifting his artistic output to poster design and eventually works that relate to both Optical Art and Color Field painting.<br><br>Fangor’s first exhibitions in the United States took place in the 1960s, where he was included in two group exhibitions at the Museum of Modern Art in New York City, including “15 Polish Painters” (1961) and “The Responsive Eye” (1965), the latter of which explored contemporary developments in Optical Art. Fangor received a major solo exhibition at the Guggenheim Museum in 1970, returning to Poland in 1999 where he continued to work until his death in November 2015.<br><br>Maintaining that Contemporary painting should “radiate a force onto literal space which defines a zone of physical activity,” Fangor created captivating works such as “#29” from 1963. Here, the centrifugal force of the spiral prompts one to investigate the formal qualities of the work, actively engaging in what he called “a zone of physical activity” in front of the painting.

וויצ'ך פאנגור

39 1/2 x 39 1/2 אינץ'.

שמן על בד ציור

<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>

הנס הופמן

נוף מס' 108

23 1/4 x 29 1/4 אינץ'.

שמן בפאנל

$<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>$

הנס הופמן

קערת פירות מס' 1

29 1/2 x 37 1/2 אינץ'.

שמן על בד ציור

הנס הופמן

גן החיות

21 3/8 x 24 1/2 אינץ'.

שמן בפאנל

ז'אן-מישל בסקיאט - ללא כותרת (אנטומיה של יונים) - שמן, גרפיט וגיר על נייר - 22X30 אינץ'.

ז'אן מישל בסקיאט

ללא כותרת (אנטומיה של יונים)

22 x 30 אינץ'.

שמן, גרפיט וגיר על נייר

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.

איליין דה קונינג

ללא כותרת (עמוד טוטם)

97 x 12 3/8 x 12 3/8 אינץ'.

שמן על בד נמתח על צילינדרים מקרטון

HANS HOFMANN - ללא כותרת - שמן על בד - 25X30 1/4 אינץ'

הנס הופמן

ללא כותרת

25 x 30 1/4 אינץ'

שמן על בד ציור

פרנץ קליין - ללא כותרת, מס '7246 - שמן על נייר מונח על לוח - 18 1/8 x 23 1/4 אינץ '.

פרנץ קליין

ללא כותרת, מס' 7246

18 1/8 x 23 1/4 אינץ'

שמן על נייר מונח על הסיפון

דיוויד סמית ' - ללא כותרת - שמן על בד - 12 x 16 אינץ '.

דייוויד סמית'

ללא כותרת

12 x 16 אינץ'.

שמן על בד ציור

דיוויד סמית ' - ללא כותרת - שמן על בד - 12 x 15 3/4 אינץ '.

דייוויד סמית'

ללא כותרת

12 x 15 3/4 אינץ'.

שמן על בד ציור

RICHARD SERRA - Cape Breton Horizontal Reversal No.

ריצ'רד סרה

קייפ ברטון היפוך אופקי מס' 16

19 3/4 x 55 7/8 אינץ'.

עפרון ליטוש על שני גיליונות נייר בעבודת יד

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.

מל ראמוס

לטה והגבעה מיינה

60 x 52 אינץ'.

שמן על בד ציור

<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>

הארי ברטויה

ללא כותרת (פסל נשמע)

103 x 16 x 16 אינץ'

ב"עירום יורד במדרגות מס' 2", מל ראמוס שוזר בשובבות את מורשת יצירת המופת המודרניסטית של מרסל דושאן עם האסתטיקה התוססת של הפופ ארט, ויוצר פרשנות מחודשת חכמה ומעוררת ויזואלית. על ידי שיוך התנועה המופשטת של דושאן עם סגנון הפין-אפ האופייני לו, ראמוס יוצר דיאלוג דינמי בין המסורות הנערצות של האמנות היפה לבין האיכויות הגרפיות הנועזות של דימויים מסחריים. עבודה זו מדגימה את מיומנותו של ראמוס לנווט בתולדות האמנות ובתרבות העכשווית, תוך שימוש בפיתוי של עירום נשי כדי לחקור ולעשות סאטירה על אובססיות חברתיות ליופי, תשוקה וסחורה. בכך הופכת יצירתו של ראמוס לרקיחה מובהקת של פופ ארט, המתענגת על הקשר המשעשע שלה עם דושאן ובה בעת מבקרת וחוגגת את התרבות החזותית של זמנה.

מל ראמוס

עירום יורד בגרם מדרגות מס' 2

70 x 52 1/8 אינץ'

שמן על בד ציור

<div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div>

לי קרסנר

12 1/4 x 9 1/4 אינץ'.

גואש על נייר האוול

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

אלכסנדר קלדר

אישה עם מטריה מרובעת

19 x 6 x 6 אינץ'.

ארוחת הצהריים של אמן אזור המפרץ רולנד פיטרסן היא שמן על בד משנת 1961, שנה קריטית לסדרת הפיקניק הידועה ביותר שלו. עבודתו מתקופה זו מאופיינת באימפסטו סמיך ובצבע עשיר. בהשפעת מחקרים עם הנס הופמן, פיטרסן התנסה בהפשטה, כאן מיזוג סגנונות מופשטים ופיגורטיביים. צויר כאשר פיטרסן היה בן 35, Luncheon טמון בתוך מסגרת זמן הכוללת את המופע שלו נמכרו איש אחד בשנת 1962 בגלריה Staempfli, ניו יורק, תערוכת היחיד שלו אסתר רובלס בלוס אנג'לס, ואת מלגת גוגנהיים שהעניק את ההזדמנות ללמוד בפריז.

רולנד פיטרסן

ארוחת צהריים

70 x 68 אינץ'.

שמן על בד ציור

<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>

הנס הופמן

22 x 15 אינץ'.

מדיה מעורבת על נייר

תערוכות ראויות לציון

8 בנובמבר 2018 - 28 בפברואר 2019ניו יורק, ניו יורק

דה קונינג X דה קונינג

8 בנובמבר 2018 - 28 בפברואר 2019 ניו יורק, ניו יורק

26 באוגוסט 2020 - 28 בפברואר 2021 חור ג'קסון, WY

פלאי האמנות האימפרסיוניסטית והמודרנית באמריקה ובאירופה

26 באוגוסט 2020 - 28 בפברואר 2021 ג'קסון הול, WY

16 במרץ 2020 - 28 בפברואר 2021 במדבר פאלם, קליפורניה

אוסף גלוריה לוריא

16 במרץ 2020 - 28 בפברואר 2021 פאלם דזרט, קליפורניה

25 במרץ 2020 - 28 בפברואר 2021New York, ניו יורק

אלכסנדר קלדר: גואצ'ים נועזים

25 במרץ 2020 - 28 בפברואר 2021 ניו יורק, ניו יורק

אמנים נבחרים הצבנו עם אספנים בשנת 2020

קלוד מונה

אלכסנדר קלדר

אדוארד הופר

הלן פרנקנטלר

קמיל פיסארו

טרייסי אמין

פרננד לגר

פבלו פיקאסו

דייוויד הוקני

אנדרו וייט

גרייס הרטיגן

סלבדור דאלי

אניש קאפור

ג'ורג' קונדו

ז'אן ארפ

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© זכויות יוצרים 2025 הת'ר ג'יימס. כֹּל הַזְכוּיוֹת שְׁמוּרוֹת.

מדיניות פרטיות
תנאים והתניות

תודה שיצרת איתנו קשר!

האם ברצונך להתאים אישית את העדפות האמנות שלך?

עבור אל העדפות תקשורת

חינוך

חינוך הוא בעל חשיבות עליונה בייעוץ לאמנות הת'ר ג'יימס. בין אם אתה אספן מנוסה או רק מתחיל, אנו שואפים לצמוח עם לקוחותינו ומאמינים באופן מלא במתן מידע ותובנות כדי לעזור ללקוחותינו ללמוד ולטפח את תחומי האמנות שלהם.

אוצרות

Heather James Art Advisory מביאה עשרות שנות ניסיון אוצרותי בהדרכת צוות האוצרות הבכיר שלנו שארגן תערוכות ברחבי העולם במוזיאונים, גלריות ובבתים פרטיים. בשילוב אלמנטים היסטוריים אסתטיים ואמנותיים, נעזור לאוסף ולבית שלך לשקף את תחומי העניין האמנותיים שלך.

לוגיסטיקה

HJ Art Advisory מספקת לוגיסטיקה מלאה בעת טיפול, שינוע ופיקוח על יצירות האמנות של לקוחותינו. הפיקוח שלנו כולל כל היבט של טיפול ביצירות האמנות. אנו מפקחים על כל שלב בתהליך עם הובלה, התקנה ואחסון של יצירות אמנות. אנו מייעצים ומסייעים בעיצוב מסגור, תאורה, דרישות אבטחה, שימור והערכת מצב.

תיעוד

בעת רכישת יצירות אמנות, HJ Art Advisory חוקרת את מקור יצירת האמנות ותבקש מצגים ואחריות מהמוכר, כי למוכר יש בעלות תקפה וכי החפץ נקי מכל שעבודים, תביעות ושעבודים.
HJ Art Advisory תבקש שיפוי עבור החזר מלא עבור יצירת האמנות במקרה של הפרת אחריות (ייתכן שתכלול שורה זו???) .
תהליך מכירה פרטית ומכירה פומבית: מידע קריטי ללכידה כולל: אמן, כותרת יצירה, תאריך, מדיום, מידות, מחיר, תמונה, ישות מציעה, מקור, אישורים, חשבונית (במידת האפשר), דוח מצב, שעבודים, ליטיגציה, כותרת בעלות.

הלוואות למוזיאונים

הת'ר ג'יימס זכתה לכבוד להקל על הלוואות למוזיאונים מובילים ברחבי העולם, כולל MoMA, מרכז פומפידו ועוד. HJ Art Advisory דואגת לכל הניירת והלוגיסטיקה הדרושים לאספנים שלנו שמחליטים להשאיל יצירת אמנות לתערוכה במוזיאון.

אימות

HJ Art Advisory שומרת על הסטנדרטים הגבוהים ביותר של בדיקת נאותות באמצעות חקירה, מחקר ומקור של חפצים לפני הרכישה כדי לקבוע שניתן להשיג כותרת ברורה. מחקר כזה כולל, אך אינו מוגבל לקביעה:

היסטוריית הבעלות על האובייקט
מדינות שבהן נמצא האובייקט ומתי.
תולדות התערוכה של האובייקט
היסטוריית הפרסום של האובייקט
כל תביעה מתנגדת לבעלות אם הוגשה
מאגרי מידע של חפצים גנובים הרלוונטיים לחפץ
הנסיבות שבהן מוצע החפץ
מקורות מחקר רלוונטיים, כולל: ArtLoss Register או מאגרי מידע אחרים.
מצגי אחריות ושיפוי מהמוכר, המבטיחים שלמוכר יש בעלות תקפה, והחפץ נקי מכל שעבודים, תביעות ושעבודים
מחקר ותיעוד מתקופת הנאצים/מלחמת העולם השנייה בעקבות הנחיות הנוגעות לרכישת חפצים שסביר להניח שהיו באירופה הכבושה על ידי גרמניה בין השנים 1933 ו-1945

מימון

HJ Art Advisory מסייעת ללקוחות בהלוואות מגובות נכסים, רכישת אמנות לנאמנויות, תכנון עיזבונות. אנו מציעים את המומחיות שלנו בתובנות שוק האמנות כדי למצב את לקוחותינו בצורה הטובה ביותר בעת קבלת החלטות עבור האוסף שלהם. אנו עובדים עם עזבונות, צוותים משפטיים ויועצים פיננסיים כדי לתמוך בצורה הטובה ביותר בלקוחותינו ובמטרותיהם.
הת'ר ג'יימס פיין ארט אינה יועצת השקעות, משפטית או מס רשומה. כל ההשקעות והדעות הפיננסיות המובעות על ידי הת'ר ג'יימס פיין ארט הן דעות המבוססות על מחקר אישי. ביצועי העבר אינם ערובה לתשואה עתידית, ואינם מעידים בהכרח על ביצועים עתידיים.

מכירות ורכישות

HJ Art Advisory מתמקדת במיקור יצירות אמנות לרכישות פוטנציאליות ממכירות פרטיות, בתי מכירות פומביות ועמלות אמנים. HJ Art Advisory עוקבת ללא הרף אחר השוק הפרטי והציבורי אחר יצירות אמנות משמעותיות הנוגעות לאינטרסים של לקוחותינו שישפרו את האוספים שלהם. אנו מנהלים משא ומתן על מחיר המכירה או המכירה בשם אספן על מנת להשיג את העסקה הטובה ביותר האפשרית עבור לקוחותינו.

ערך וביטוח

קבוצת HJ Art Advisory מעריכה ומעריכה אוספי אמנות לצורך הערכת שווי ביטוח, רכישה וביטול גישה. זה כרוך במחקר מעמיק של ניתוח שוק האמנות הפרטי והציבורי כאחד כדי לקבוע ערך.

אנינות טעם

HJ Art Advisory עובדת עם, ובשמם, של לקוחות המפתחים אוספים חדשים או עם אוספים מבוססים, ומספקת ייעוץ והיצע מעמיק של שירותים. הידע והניסיון הרב שלנו יחד עם שנים רבות בעסקי האמנות מציבים את הצוות המיומן והמנוסה שלנו לספק הדרכה והכוונה במספר מישורים.

רוצה לדעת יותר על זה / עבודות אלה? שלח לנו הודעה כדי ליידע אותנו על העניין שלך.

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