Finest Art Selections 2024

ARTISTS

CLAUDE MONET

AGNES MARTIN

WINSTON CHURCHILL

VINCENT VAN GOGH

GERHARD RICHTER

LARRY RIVERS

ANSEL ADAMS

KATHERINA GROSSE

HEDDA STERNE

MAX WEBER

PAUL SIGNAC

ALFRED SISLEY

N.C.WYETH

GEORGIA O'KEEFFE

ALEXANDER CALDER

DIEGO RIVERA

FRANK STELLA

WILLEM DE KOONING

SEAN SCULLY

TOM WESSELMANN

MARC CHAGALL

PIERRE BONNARD

DAMIEN HIRST

ANDREW WYETH

is a global network of galleries and consultancies with over 25 years of history building a network of clients around the globe, exhibiting blue-chip artwork across all genres. Our welcoming team is committed to sharing museum quality works and art investment opportunities with all kinds of collectors, from the well-established to the curious novice.

Since 1996, Heather James Fine Art has expanded into a global network with galleries located in Palm Desert, California and Jackson Hole, Wyoming, along with consultancies in New York, Los Angeles, San Francisco, Montecito, Newport Beach, Palm Beach, London, Basel, and Lake Como. Each year, its galleries present an array of museum-quality exhibitions, exploring historical and contemporary themes, or examining the work of individual influential artists.

Heather James Fine Art is dedicated to bringing exceptional art to private clients and museums globally, while providing the utmost personalized logistical, curatorial, and financial services.

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THE STORY OF HEATHER JAMES FINE ART

Co-founders Heather Sacre and Jim Carona reflect on the gallery's origins and growth.

In 1996, we opened our first gallery, a small space on an elegant street in a resort community. With backgrounds in art, art history, education, and finance, we curated our gallery to feel like a tiny museum, with the finest art and cultural antiquities we could find, while providing education, information, and curated experiences for each of our clients. We wanted every person who came in to our gallery to feel enriched in some way, to have a personal experience with the art, to understand its importance within art history, and to feel a connection to it.

Today we have grown to include galleries in Palm Desert (right down the street from the first Heather James) and Jackson Hole, with art consultancies in New York, Los Angeles, San Francisco, Montecito, Newport Beach, Palm Beach, London, Basel, and Lake Como. We’ve expanded our specialties to showcase important works from a cross section of periods, movements, and genres.

As Heather James has grown, we have maintained the standard of providing top notch customer service, while continuing to make that personal connection between the art and our client. We have always been enchanted by the beauty of the object and intrigued by its history – where it was made, and why, who touched it, owned it and loved it in the past, and sharing these stories with our clients, and seeing them fall in love with a work of art, is both a joy and a reward.

We invite you to come in to one of our galleries and experience what Heather James Fine Art has to offer. We are confident that you, too, will find yourself enriched by the experience.

- Heather Sacre and James Carona

ART SELECTIONS

CLAUDE MONET (1840-1926)

Vétheuil

oil on canvas

22 7/8 x 39 1/8 in.

1880

Painted just months after the coldest and most destructive winter in France’s history, Vétheuil (W. 608) is full of warmth and a scintillating, sunlit brilliance that stands in stark contrast to that powerful ice floe spectacle he painted earlier that same year. A welcomed renewal of his sunnier disposition after the death of his wife, Camille, Vétheuil is also among the first paintings that recall Argenteuil and halcyon days reminiscent of that time and place. Production that spring and summer of 1880 is chockfull of orchards in bloom, fields of wheat and poppies, and flowery banks along the Seine. The paintings are inclusive of another kind of warmth, that of ‘family’, now Mme Hoschedé and her children who joined him in meadow or garden settings, or as in Vétheuil, in an inferred presence boating on the river where the current runs a gentle knot. The painting is not so much a revelation as a reaffirmation of a buoyant and confident Monet applying strokes of color interwoven in rich veils of green, yellow-green, blue-green, blue, and pink with renewed vigor and purpose.

AGNES MARTIN (1912-2004)

Untitled No. 7

acrylic, pencil and gesso on canvas 72 x 72 in.

1974

Untitled No. 7 is among the earliest paintings from the second major phase of Martin's career. Intent upon emphasizing a dramatic reorientation emphasizing color rather than the line or tabulated grids of her pre1967 work, a distanced viewing of the pale, luminescent bands allows for an expansive appreciation of subtle, radiant shifts between the color zones. Numerous natural phenomena and elements embedded in the New Mexican desert experience may have inspired these new and expansive ideas. The sheer verticality of its mesas, cliffs, and ravines, or the shafts of light that dramatically stream through gaps in clouds to the desert floor, may have inspired the vertical orientation here. Yet the impact of Untitled No. 7 is most assuredly delivered via her devotion to Buddhist and Daoist ideals that seek beauty from within, not from extraneous points of reference. Martin asks the viewer to think of her repetitive shafts or bands of pale color as a sort of mantra as much as a visual experience. She challenges the capacity of our imagination, encouraging it to run free and consider this work as an object of contemplation, knowing well that her paintings require a degree of commitment.

SIR WINSTON CHURCHILL (1874-1965)

On the Rance, Near St. Malo

oil on canvas

20 x 24 in.

1921

In 1955, Sir John Rothenstein, representing the Trustees of the Tate Museum, approached Winston Churchill about donating one of his paintings "as a gift to the nation." Churchill was flattered, but felt he did not deserve such an honor as an artist. Eventually, Churchill agreed and sent two candidate paintings to the Tate – On the Rance and Loup River. No record exists regarding his own thoughts on the works he submitted, but one can safely say that Churchill thought highly of On the Rance, especially since it was not one of the paintings Rothenstein identified as a strong option. Loup River, which clearly matched Rothenstein's taste, was selected. Not only was On the Rance not returned, but somehow it ended up, without any inventory record, in a basement storeroom at the Tate. In the storeroom it sat for almost a half century, when it was discovered by an intern. The Churchill family was notified and eventually the painting was auctioned in June 2005, where it set a new auction record for Churchill's work, despite the lot notes hardly touching on the Tate’s possible acquisition. In a letter to the buyers, Churchill’s daughter, Lady Soames, summarized what had occurred in somewhat more detail.

VINCENT VAN GOGH (1853-1890)

The New Church and Old Houses in the Hague

oil on canvas on panel

13 5/8 x 9 3/4 in.

1882-1883

As a study in color, The New Church and Old Houses in The Hague is most impressive, a direct and honest work unburdened by any overzealous attention to detail. Its handling reflects the encouragement Mauve gave him to concentrate on watercolor. At the same time, its tonal nature captures the distinctive muted palette and suffused light of a bona fide Hague School painter in oil. Rather than depict the elegant districts of The Hague, his contemporaries portrayed to optimize salability, Van Gogh chose to paint the city from the periphery where the clash of class and era better represented the realities of life. The recognizable features of Nieuwe Kerk (New Church), enveloped in a “fragrant, warm gray” mist, rise above the red-roofed working-class neighborhood. The date of The New Church and Old Houses in The Hague is most often stated as August 1882. In a letter to Theo dated July 26, 1882, Vincent says, “I hope you like the drawing. The vista — the view over the village’s roofs with a small church tower and the dunes — was so attractive. I can’t tell you how much pleasure I felt drawing it.”

GERHARD RICHTER (b. 1932)

Abstraktes Bild 758-2

oil on canvas

24 1/2 x 32 1/4 in.

1992

Widely recognized as one of the most consequential artists of our time, Gerhard Richter's 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 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.

LARRY RIVERS (1923-2002)

The Drummer

oil on canvas

68 x 58 in.

1958

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

ANSEL ADAMS (1902-1984)

Moonrise, Hernandez, New Mexico

silver gelatin print

28 x 37 3/4 in.

1941/c. 1964

Known for his rigorous engagement in the darkroom, Ansel Adams created 1,300 prints of Moonrise, Hernandez over 40 years of dodging and burning, creating a longitudinal group of masterworks. Moonrise is a formidable composition that holds us in suspended appreciation for its hauntingly beautiful impression. We do not need to know of Ansel's desperate scramble to set his tripod, find his meter to grasp that transience, or ponder the kismet of capturing that moment. In this 1959 print, all the glorious details are present: the almost, but not quite, full moon with its discernable features and the essential graveyard with its glowing markers and starkly illuminated white crosses caught in the waning moment of daylight's inevitable retreat. INQUIRE MORE INFO

KATHARINA GROSSE (b. 1961)

Untitled

acrylic on canvas

118 x 78 3/4 in.

2016

Katharine Grosse's Untitled of 2016 extends our appreciation of an artist who brings the same energy, boldness, and disregard for convention seen in her monumental architectural installations to the traditional medium of paint on canvas. The color explodes, lifted from a complex, richly layered surface of poured applications of paint that run, drizzle, or splatter, radiant transparent veils, and overlapping straps of color misted to create soft gradient transitions. The result is a fascinating impression of spatial depth and threedimensionality. But it is also a tour de force that reveals Grosse's brilliance in blending chaos and control, spontaneity, and intention. Her range of techniques creates a compelling dialogue between the accidental and the deliberate, a hallmark of her unique style.

HEDDA STERNE (1910-2011)

Untitled

oil, pastel, graphite on canvas

80 x 26 in.

1989

Hedda Sterne was a prolific artist whose long career intersected with some of the most important movements and figures of twentieth-century art. Sterne described her extensive body of work, exhibited early on with the Surrealists and later with the Abstract Expressionists, as a process of exploration and discovery. Her work, she felt, could be seen as a visual diary of her experiences and philosophies as they evolved over time. Sterne’s legacy is a rich and multilayered contribution to the history of twentiethcentury art, at once the record of a personal journey, and the reflection of a progressive approach to artmaking that places the artist ahead of her time.

MAX WEBER (1881-1961)

Parisian Model

oil on canvas

35 1/2 x 19 5/8 in.

1908

Max Weber moved to Paris in 1905 when the city was the epicenter of artistic innovation. His early works demonstrate the contemporaneous influence of Fauvism’s bold color palette and Cubism’s fragmented representation of reality. However, Weber did not merely imitate these styles; he integrated and reinterpreted them to create something his own. Weber’s importance lies not just with his abstract works, but also in his role as a conduit of modernist ideas. Weber played a crucial role in the transatlantic dialogue that helped shape the course of American art in the twentieth century. His depictions of female figures showcase a synthesis of the abstract and the representational, capturing the essence of his subjects while breaking away from traditional figurative works.

PAUL SIGNAC (1863-1935)

Les Andelys. L'Île à Lucas

oil on canvas

25 1/4 x 17 7/8 in.

June-July 1886

Les Andelys. L’île a Lucas shows Signac at the height of his devotion to pointillist technique and dates to a key moment not only in his art, but in the emergence of Neo-Impressionism. It is a lovely, emotionally restrained painting that emphasizes formal precision, yet its gentle luminosity retains the impression of the painter as poet and creator rather than of the scientist. That said, for many, its optical mixture was as startling as it was a revelation that presented an abject challenge to the instinctive art of the Impressionists. Signac arrived at the twin towns of Les Andelys in early June 1886 following two months living with Camille Pissarro at Éragny-sur-Epte. When the second Salon of the Société des Artistes Indépendants opened on August 21, 1886, Signac, serving on the hanging committee, chose Les Andelys. L’île a Lucas as one of four Les Andelys depictions to be included.

ALFRED SISLEY (1839-1899)

L'Église de Moret, le Soir

oil on canvas

31 1/4 x 39 1/2 in.

1894

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial. Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations.

TOM WESSELMANN (1931-2004)

Smoker #21

oil on shaped canvas

74 1/2 x 67 1/2 in.

1975

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. 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.

MARC CHAGALL (1887-1985)

Les mariés sous le baldaquin

oil and gouache on canvas 23 1/2 x 31 7/8 in.

c. 1978-1980

Marriage and domestic life were some of Chagall's most important themes, drawing on his experiences of Jewish life in Belarus in his youth. As we see in Les mariés, Chagall didn’t merely depict this imagery, he infused it with energy, utilizing otherworldly elements, such as the couple under the canopy, or chuppah, seemingly floating above the scene. Chagall’s chromatic hues are seen in the brilliant red chuppah and pulsating yellow of the scene, almost reminiscent of the gold backgrounds of pre-Renaissance paintings. Chagall’s influence has translated to commercial success with continually strong markets as seen in Christie’s July, 2022 sale dedicated to the artist which saw outstanding performance.

PIERRE BONNARD (1867-1947)

Soleil Couchant

oil on canvas

14 1/2 x 22 1/2 in.

1920

Pierre Bonnard moved on artistically when Les Nabis, the group of artists who ushered Impressionists into the 20th century and modernism disbanded by 1900. Yet the influence of those early years never completely dissipated. Soleil Couchant, painted two decades later, takes us back to a time when Paul Sérusier shared with Bonnard a brightly colored, nearly abstract sketch he had painted under the watchful eye of Paul Gauguin. From 1910 onward, Bonnard spent a great deal of time on the coasts of St. Tropez, Cannes, and Antibes. Soleil Couchant is presumed to have been painted near one of these coastal towns. Rather than work in the open air in the manner of the Impressionists, Bonnard mastered the ability to paint from sketches, photographs, and the power of his imagination. Soleil Couchant is a powerfully impactful painting and not simply because of a collision of sensory overload. Like Mark Rothko who refined techniques for creating complex zones of color using thinned pigment, Bonnard is among the most remarkable colorists in art history.

DAMIEN HIRST (b. 1965)

Forgotten Thoughts

butterflies and household gloss on canvas 68 x 68 in.

2008

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A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst (born 1965 in Bristol, England) became controversial for his dead animal displays and spin paintings. Raised Catholic in Leeds, he had a well-pronounced dark side as a child, when he showed an interest in the gruesome aspects of life. He won the prestigious Turner Prize in 1995. In 2007, he unveiled For the Love of God, a diamondencrusted skull made of platinum. Many critics were less than impressed with this “celebration against death,” as Hirst described. Others marveled at the anticipated selling price of $100 million. Hirst continues to make new work and exhibit around the world.

ANDREW WYETH and N.C. WYETH

Puritan Cod Fishers

oil on canvas

108 1/2 x 157 1/2 in.

1947

In 1939, The Metropolitan Life Company offered Wyeth a commission of a different sort; a series of canvas murals that would rely less on bravado perhaps, but instead, a deep sense of time and place. The fourteen mural panels he agreed to produce would bring the world of Pilgrims to glowing life. According to the catalogue raisonné compiled by The Brandywine River Museum of Art, the preliminary drawing for Puritan Cod Fishers was completed by N. C Wyeth prior to his death in October 1945. The entry records an image of the sketch as well as the artist’s inscriptions and its title, Puritan Cod Fishers, characterized by the catalogue as ‘alternate’. In either case, the large-scale canvas is a unique work that Andrew Wyeth later recalled was painted solely by his hand, a demarcated collaboration of the father’s design and composition brought to fruition by a remarkable son’s execution.

N.C. WYETH (1882-1945)

The Coming of the Mayflower in 1620

oil on canvas

104 1/2 x 158 3/4 in.

1941

The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor. The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.

GEORGIA O'KEEFFE (1887-1986)

Cottonwood Tree (Near Abiquiu), New Mexico

oil on canvas

36 x 30 in.

1943

Cottonwood Tree (Near Abiquiu), New Mexico by celebrated American artist Georgia O’Keeffe is exemplary of the airer, 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.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 aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

ALEXANDER CALDER (1898-1976)

The Cross

oil on canvas

28 3/4 x 36 1/4 in.

1948

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Alexander 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. Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. 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.

DIEGO RIVERA (1886-1957)

Portrait of Enriqueta G. Dávila

oil on canvas

79 1/8 x 48 3/8 in.

1952

This portrait depicts Enriqueta Dávila, a descendent of the prominent Goldbaum family, who was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. She found the request unconventional and relented on the condition that Rivera also paint her daughter, Enriqueta “Quetita”. The use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity, though both bromeliads and roselles have complex symbolism, hinting at the foreign root of the sitter’s family. The shawl’s intricate and thus costly nature creates a strain between humble Mexican origins and her economic status. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. In this powerful and layered portrait, Rivera showcases his technical skill along with his viewpoint, capturing the spirit of Mexico within a socio-political context.

FRANK STELLA (b. 1936)

The Musket

mixed media on aluminum

74 1/2 x 77 1/2 x 33 in.

1990

Constructed and painted in 1990 and modeled on a computer, The Musket is a construct of cut, trimmed, bent, and torqued honeycomb aluminum incised and painted in a wide range of fluorescent, metallic and acid colors that explode into low and medium relief. Cubism and its tenets dominated twentieth-century art, but here Stella seems to have reached in a bag of confetti and tossed handfuls of it in the air in a sweeping gesture, celebrating freedom from that discipline. Its title is borrowed from chapter 123, one of two climactic scenes in Moby Dick that underscore Melville’s profound and intellectual commentary on human nature. Moby Dick and Melville provided Stella inspiration for one of the most significant phases of his career. The Musket is one of over 130 aluminum wall-reliefs inspired by the chapters of that classic American novel — several of which were included in the highly successful retrospective at the Whitney Museum in 2015 through 2016.

WILLEM DE KOONING (1904-1997)

Woman in a Rowboat

oil on paper laid on masonite

47 1/2 x 36 1/4 in.

1964

By 1950, Willem de Kooning was already an established member of the downtown New York avant-garde and a widely respected Abstract Expressionist by critics and fellow artists. De Kooning abandoned one of the first paintings in what would become his Woman series in early 1952. He only resumed after Meyer Shapiro visited his studio and offered words of encouragement about the piece. Altogether, he would paint six Woman works. In 1953, Rauschenberg approached de Kooning for a drawing from the series, which he would erase for the seminal Erased De Kooning Drawing (1953). The second Woman series began when de Kooning began painting on doors discarded during the construction of a studio in Long Island. Aiming to capture a water surrounded environment, de Kooning used an increasingly fluid paint mixture, mixing different oils such as safflower cooking oil, water, and a solvent. As was his practice, once the paint had dried de Kooning would frequently scrape part or all of the surface down. As a result, the work we see is only the last stage in a process that was deeply iterative. INQUIRE

SEAN SCULLY (b. 1945)

Grey Red

oil on aluminum

85 x 75 in.

2012

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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. 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.

GALLERIES and CONSULTANCIES

In our nearly thirty years, Heather James Fine Art has expanded from our original location in Palm Desert, California, to a global network with two galleries around the United States and eight consultancy offices internationally. In 2020, we celebrated the ten-year anniversary of our gallery in Jackson Hole, Wyoming, the second Heather James location to open its doors. Our Fine Art Consultants are dedicated to bringing exceptional artworks and services at our consultancy locations in New York, Los Angeles, San Francisco, Montecito, Newport Beach, London, Basel, and Lake Como.

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