纽约 

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Montana Alexander

MONTANA ALEXANDER

合作伙伴
纽约

蒙塔纳-亚历山大是Heather James Fine Art的合伙人，在纽约市和康涅狄格州之间工作。她领导Heather James画廊在世界各地的销售网络，以及管理整个公司的战略，同时继续为她的主要收藏家群体提供咨询。

Montana最近为私人收藏家安排了Ed Ruscha、Claude Monet和Mark Bradford的主要画作。她自2013年以来一直与Heather James合作，并推动我们从两个区域画廊向全球艺术市场的重大扩张。在过去的其他几个主要委托项目中，她从通用电气公司的企业艺术收藏中获得了一大批战后和当代艺术，以及为我们2018年的巡回展览获得了《温斯顿-丘吉尔爵士的画》。Montana在康涅狄格大学获得了艺术史和商业管理的文学士学位，并在纽约完成了苏富比学院的艺术商业研究生课程。

[email protected]

o:203 276 9887

c:917 588 4599

@montanahjfa

茱莉亚-杰克逊

JULIA JACKSON

高级主管
纽约

朱莉娅-杰克逊在纽约和康涅狄格州工作。自从加入Heather James以来，她已经获得了委托，并帮助建立了重要艺术家的著名私人收藏，包括Alexander Calder, Richard Diebenkorn, Camille Pissarro, Alfred Sisley, Robert Motherwell, William Baziotes, Roy Lichtenstein, Andy Warhol, 和Tom Wesselmann。朱莉娅在罗林斯学院获得了她的文学学士学位。她是现代艺术博物馆的初级助理，也是Soho House的成员。

[email protected]

o:203 276 9887

c:917 583 9359

@juliahjfa

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HEATHER JAMES FINE ART - NEW YORK已经成为当地客户的宝贵资源，为广大的财产提供广泛的支持和帮助。在Heather James Fine Art专家的帮助下，如果您有关于买卖的问题，或者希望对您的收藏品进行估价，我们的代表能够帮助您。

我们提供广泛的基于客户的服务,包括房地产和税务规划、收款管理、评估、物流管理、收购和金融服务。

在新闻中

新闻

2023年3月的艺术市场

Heather James Fine Art的联合创始人Jim Carona讨论了艺术市场的复原力，并提供了在金融熊时期投资艺术品的见解。 更多...

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希瑟-詹姆斯借出的梵高作品被列入 "梵高在美国"，吸引了很多人。

2022年10月2日
列入 "梵高在美国 "的希瑟-詹姆斯借出的梵高作品吸引了热情的观众。
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希瑟-詹姆斯向 "凡高在美国 "借出主要的凡高作品

2022年9月30日
希瑟-詹姆斯将梵高在1888年画的 "普罗旺斯的收获 "借给底特律艺术学院的 "梵高在哪里"，这幅画的灵感来自于法国阿尔的风景和色彩。
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新闻

艺术市场的复原力

Heather James Fine Art的联合创始人Jim Carona回顾了艺术市场在以前的经济衰退时期的表现，并对艺术市场为什么被证明是最重要的观察。 更多...

新闻

艺术作为一种投资

艺术品被列为2022年的最佳赌注之一。请看我们对艺术品作为你的投资组合的资产的深入分析。 更多...

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了解Heather James Fine Art

庆祝超过25年，Heather James团队公开了我们的使命对我们意味着什么。 更多...

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庆祝希瑟-詹姆斯美术公司成立25周年

2021年，Heather James Fine Art庆祝了开业25年。在这段时间里，我们已经将6500多件艺术作品交给了收藏家。 更多...

新闻

HJFA值得注意的是。"艺术是地球上最热门的市场之一" WSJ

通过我们的艺术顾问Julia Jackson对《华尔街日报》最近的文章 "艺术是世界上最热门的市场之一 "的注释，可以深入了解艺术世界。 更多...

新闻

希瑟-詹姆斯亚洲

Heather James Fine Art正在寻找美术顾问加入我们的销售团队，并协助我们向亚洲市场扩张。 更多...

视频

认识朱莉娅-杰克逊

介绍一下茱莉亚-杰克逊，纽约希瑟-詹姆斯美术公司的美术顾问。 更多...

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现代艺术的革命

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目录

Heather James Fine Art - 关于我们

Heather James Fine Art已经经营了超过25年，展示了跨越时间段和流派的重要作品，包括当代、现代、印象派、美国、拉美和古代大师。 更多...

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弗里达·卡洛邀请对女性超现实主义者进行更深入的审视

六月 9， 2019
《福布斯》杂志的查德·斯科特（ChaddScott）讨论了希瑟·詹姆斯·纽约展览《女性凝视》，突出超现实主义女性......
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女性凝视

六月 7， 2019
ArtSheSays.com讨论HJFA纽约展览：女性凝视，美洲和欧洲的女性超现实主义者。
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你让我感觉，强大的超现实：女性凝视希瑟詹姆斯美术，纽约

5 月 23， 2019
eazel.net的亚历山大·德特斯评论希瑟·詹姆斯·纽约展览，《女性凝视：美洲和欧洲的女性超现实主义者》
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目录

受保护的。女性的凝视》展览目录

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受保护：德库宁X德库宁展览目录

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受保护的：德库宁x德库宁--预告视频

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受保护：德库宁x德库宁

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德库宁 x 德库宁 新闻稿

十月 1， 2018
纽约 - 伊莱恩和威廉·德·库宁的绘画和纸作品展览将于11月在纽约希瑟詹姆斯美术展上展出
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卢克斯·马格-沃伊切奇·方戈尔展览在希瑟詹姆斯美术纽约

四月 19， 2018
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目录

受保护的。Wojciech Fangor：60年代早期 - 展览目录

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受保护的。Ideel艺术--重新审视波兰著名艺术家Wojciech Fangor的色域和欧普艺术

四月 13， 2018
没有摘录，因为这是一个受保护的帖子。
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受保护的。艺术市场监测 - 不久的将来，你会知道如何念出Wojciech Fangor的名字

四月 10， 2018
没有摘录，因为这是一个受保护的帖子。
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视频

受保护的。纽约春季大师赛 - 2016

因为这是一个受保护的帖子，所以没有摘录。 更多...

新闻

希瑟·詹姆斯美术精选在梅拉·甘地秀

2017年8月 Meera Gandhi Show采访Heather James美术品销售顾问Montana Beutler 更多...

服务

希瑟詹姆斯美术提供广泛的基于客户的服务，满足您的特定艺术收藏需求。我们的运营团队包括专业的艺术处理人员、完整的注册部门和物流团队，在艺术运输、安装和收藏管理方面拥有丰富的经验。凭借白手套服务和个性化护理，我们的团队竭尽全力确保为客户提供卓越的艺术服务。

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特色艺术

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

GEORGIA O'KEEFFE

迪戈-里韦拉--恩里克塔-G-达维拉的肖像--布面油画--79 1/8 x 48 3/8 英寸。

迪戈·里韦拉

威廉-德-库宁--《划船的女人》--纸上油画，铺在石膏板上--47 1/2 x 36 1/4英寸。

威廉·德库宁

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>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.

托姆·韦塞尔曼

When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br><br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water.<br><br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.<br><br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.

韦恩·蒂博

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

阿尔弗雷德·西斯利

EMIL NOLDE - Sonnenblumen, Abend II - 布面油画 - 26 1/2 x 35 3/8 in.

EMIL NOLDE

ALEXANDER CALDER - 十字架 - 布面油画 - 28 3/4 x 36 1/4 in.

亚历山大·卡尔德

19世纪70年代初，温斯洛-霍默经常在位于纽约州哈德逊河和卡茨基尔山之间的一个小农庄附近绘制乡村生活场景，该小农庄因其出色的麦田而世代闻名。今天，赫尔利因激发了荷马最伟大的作品之一--1872年夏天绘制的《鞭子的Snap》而更为著名。在其他许多受该地区启发的画作中，《站在麦田里的女孩》感情丰富，但没有过度感伤。它与1866年在法国画的一幅题为《在麦田里》的研究报告以及次年他回到美国后画的另一幅报告直接相关。但荷马无疑会对这幅作品感到最自豪。这是一幅肖像画，一幅服装研究画，一幅具有欧洲田园画伟大传统的风俗画，也是一幅戏剧性的逆光、大气的巡回画，浸透在迅速消逝的阴暗时刻的光线中，并带有羊脂玉般的花香和麦穗的点缀。1874年，荷马送了四幅画给国家设计学院的展览。其中一幅名为 "女孩"。难道不是这一幅吗？

温斯洛荷马

FRIDA KAHLO - 锤子和镰刀（和未出生的婴儿） - 干石膏和混合媒体 - 16 1/4 x 13 x 6 in.

弗里达·卡洛

N.C. WYETH - 夏天。"Hush" - 布面油画 - 33 3/4 x 30 1/4 in.

北卡罗来纳州

SEAN SCULLY - 灰色的红色 - 铝制油画 - 85 x 75 英寸。

塞恩·斯卡利

马克-夏加尔的世界不能被我们附加在它身上的标签所包含或限制。它是一个由图像和意义组成的世界，形成了自己绚丽的神秘话语。Les Mariés sous le baldaquin（《天幕下的新郎和新娘》）是在艺术家进入90岁时开始的，这个人经历了悲剧和争斗，但他从未忘记生命中的狂欢时刻。在这里，一个俄罗斯乡村婚礼的梦幻般的乐趣，以及其安排好的与会者，以如此快乐的机智和欢快的纯真带给我们，让人无法抗拒其魅力。使用油彩和不透明的水性水粉相结合的金色调乳剂，夏加尔一贯的积极主义的温暖、幸福和乐观被包裹在发光的光芒中，暗示着金箔宗教圣像或文艺复兴早期绘画的影响，试图传递神圣的光或精神启蒙的印象。使用油画和水粉画的组合可能是一种挑战。但在这里，在《Les Mariés sous le baldaquin》中，夏加尔用它来赋予这个场景一种超凡脱俗的品质，几乎就像它刚刚从他的脑海中显现出来。它的纹理细腻，给人的印象是光是从作品本身发出来的，并给漂浮在空中的人物带来一种幽灵般的品质。

马克·查加尔

ANISH KAPOOR - Halo - 不锈钢 - 120 x 120 x 27 in.

阿尼什·卡普尔

TOM WESSELMANN - 卧室里的黑发女郎与鸢尾花 - 油画在镂空铝板上 - 105 3/4 x 164 5/8 英寸。

托姆·韦塞尔曼

MARSDEN HARTLEY - 巴赫前奏曲和赋格曲第1号（音乐主题）--布面油画，铺在木板上--28 1/2 x 21英寸。

马斯登-哈特利

Pablo Picasso was not only the greatest painter and most innovative sculptor of the twentieth century, but he was also its foremost printmaker. He produced a staggering number of prints in every conceivable medium. Yet Picasso’s crowning printmaking achievement may be the linocut, a relief print of such a low technical barrier that it is accessible to almost anyone. If you have ever made a block print and experienced the carving and removing of portions so that a succession of colors can be preserved on the resulting print, it is a thrill to feel in your hand how Picasso created the image.<br><br>Buste de Femme au Chapeau was created in 1962 when Picasso was eighty years of age. Boldly designed and simply conceived, it remains today as a testament to his ever-restless nature and genius for expanding his repertoire. Printed in five vibrant opaque colors – yellow, blue, green, red – and black assembled on the strength of his unmatched graphic skill, it is a portrait inspired by his wife Jacqueline Roque. The assertive layering of color carries a visual impact similar to his paintings in oil. Considered by many collectors as his most important linocut, it was printed and published in an edition of 50. The colors of this particular print — an artist’s proof — are exceptionally fresh and strong.

毕加索

Théo van Rysselberghe的《Sylvie Lacombe肖像》画于1906年，是他那个时代最精致、最稳定的肖像画家之一的经典杰作。色彩和谐，笔触有力，适合其材料任务，她的身体和面容真实而露骨。坐着的人是他的好朋友，画家乔治-拉孔布的女儿，他与高更有着密切的联系，并且是Les Nabis的成员，与艺术家博纳尔、丹尼斯和维雅等人一起。我们现在知道了Sylvie Lacombe，因为Van Rysselberghe非常擅长渲染微妙的面部表情，通过仔细观察和关注细节，提供了对她内心世界的见解。他选择了一种直接的凝视，她的眼睛对着你的眼睛，无论我们与画作的物理关系如何，主体和观众之间都有一种不可避免的盟约。在画这幅肖像时，范-赖斯伯格已经基本放弃了点彩画法。但他继续运用色彩理论准则，用红色的色调--粉色和淡紫色--来衬托绿色，创造出一个和谐的互补色调，他在其中加入了一个强烈的点睛之笔--一个强烈饱和的红色蝴蝶结，不对称地放在她的头边。

泰奥-范-雷塞尔贝格

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

北卡罗来纳州

不难理解罗伯特-印第安纳的四个字母的辉煌的两行排列是如何在1960年代帮助赋予一个运动的。它的起源来自于对宗教的深刻感受以及朋友和导师埃尔斯沃斯-凯利，他的硬朗风格和感性的、不加修饰的色彩给人留下了深刻的印象。但正如印第安纳所感叹的那样，这是一个偶然的时刻，当 "爱咬了我！"设计来到他面前，敏锐而集中。当然，印第安纳把这个设计放在了许多地方，然后这个标志就开始到处出现了。这个信息，最好是用雕塑来传达，矗立在世界各地的城市，并被翻译成多种语言，其中最重要的是它的意大利语版本，"Amor"，其偶然的 "O "也向右倾斜。但是，这个版本没有被 "L "的脚踢到，而是给上面的 "A "带来了一种漂亮的舞台摇摆效果。它给人一种新的，但同样深刻的，关于爱和它的情绪化的印象。 无论是哪种情况，"爱 "的倾斜 "O "都给原本稳定的设计带来了不稳定性，这是印第安纳对 "与这个词相关的往往是空洞的感伤，隐喻着不求回报的渴望和失望，而不是神圣的感情"（Robert Indiana's Best: A Mini Retrospective, New York Times, May 24, 2018）的深刻的投射。当然，重复有一个讨厌的习惯，就是削弱我们对简单和开创性设计的天才的欣赏。印第安纳在晚年感叹道："这是一个了不起的想法，但也是一个可怕的错误。它变得太流行了。而有些人并不喜欢流行"。但是我们，这个充满分歧和陷入动荡的世界的居民，感谢你。"爱》和它的许多版本强烈地提醒我们爱的能力，而这是我们对更美好的未来最好的永恒的希望。

罗伯特·印第安纳

ADOLPH GOTTLIEB - Azimuth - 油画 - 95 3/4 x 144 1/4 in.

阿道夫·戈特利布

FRANK STELLA - 火枪 - 铝制混合媒体 - 74 1/2 x 77 1/2 x 33 in.

弗兰克·斯特拉

SALOMON VAN RUYSDAEL - 沙丘风景与休息的人物和骑马的夫妇，奈梅亨大教堂的景色在外面 - 布面油画 - 26 1/2 x 41 1/2英寸。

萨洛蒙-范-赖斯达尔

JAN JOSEPHSZOON VAN GOYEN - 有风车和小教堂的河流景观 - 油画板上 - 22 1/2 x 31 3/4英寸。

JAN JOSEFSZON VAN GOYEN

JOAN MIRO - L'Oiseau - 青铜和煤渣 - 23 7/8 x 20 x 16 1/8 in.

琼·米罗