Heather James Fine Art

A wood sculpture of the Maitreya from the late Ming Dynasty (1368-1644), China, radiocarbon dated by Rafter Radiocarbon Lab in New Zealand. Maitreya, the “happy Buddha” of the future...

Louise Nevelson's ‘Untitled' (1974) brings the sculptor's signature assemblagist vision to an intimate, collage-based format. At the height of her international reputation in the ear...

John McCracken's ‘Untitled' (conceived 2011, executed 2017) is a major late statement from one of the defining figures of California Minimalism. Conceived in the final year of McCrac...

Norman Rockwell’s "Ticket Seller" (1937) presents one of the artist’s most irresistible visual ironies: a bored, world-weary agent sits slumped behind iron bars, surrounded by a riot...

Olga de Amaral’s Memento 7 exemplifies the Colombian artist’s mastery in transforming textile into a medium of profound sculptural and symbolic resonance. Woven from natural fibers a...

Charles White’s "Patience Y"(1971) is a striking, large-scale work on paper that exemplifies the artist’s profound command of the human figure and his enduring commitment to dignity ...

Charles White’s "Lo I Am Black” (c. 1967) is a powerful, large-scale charcoal drawing that exemplifies the artist’s unwavering commitment to figuration and social consciousness at a ...

“Le guerrier, la femme, et l’enfant” a bronze assemblage sculpture by Spanish artist, Antoni Clave depicts three abstract figures of a warrior, a woman, and a child. The bronze totem...

Georgia O’Keeffe’s Black Place II (1945) belongs to one of the most profound and austere series of her career, inspired by repeated journeys to the Bisti Badlands, a remote, otherworldly area of northwestern New Mexico that she called the Black Place. Deeply compelled by this landscape, O’Keeffe often camped there so she could study its shifting forms and tonal subtleties at different hours of the day. In this work, she reduces the scene to its essentials: two massive hills pressing together, no visible horizon, and a composition defined by gravity, stillness, and quiet monumentality. The sweeping, interlocking forms create a sense of scale that feels both intimate and immense, evoking a landscape experienced as presence rather than panorama. Works from the Black Place series are exceptionally rare. Of the fourteen canvases O’Keeffe painted, only four remain in private hands; the remainder are held by major institutions including The Metropolitan Museum of Art, SFMOMA, and the Art Institute of Chicago. As a result, opportunities to encounter a work from this group outside of museum collections are exceedingly uncommon. Black Place II has an illustrious lineage, from its earliest days in the holdings of Alfred Stieglitz’s famous New York gallery, An American Place, to the noted Philadelphia philanthropist and collector Daniel Dietrich, to the collection of Jan T. and Marica Vilcek. The painting’s legacy is further underscored by its unusually long institutional life. It was shown as early as 1946 at Stieglitz’s An American Place, and has continued to appear in major institutional retrospectives, including exhibitions at the Centre Pompidou and, most recently, the Museum of Fine Arts, Boston. This sustained public and scholarly attention has firmly established the importance of the Black Place paintings within O’Keeffe’s oeuvre. Provenance: An American Place, New York Downtown Gallery, New York Katrina McCormick Barnes, Denver, Colorado Medill McCormick Barnes, acquired by descent in 1971 Washburn Gallery, New York Hirschl & Adler Galleries, New York Daniel Dietrich, Philadelphia, until 1985 Hirschl & Adler Galleries, New York The Owings Gallery, Santa Fe, New Mexico Private Collection, Santa Fe, New Mexico, 2000 The Owings Gallery, Santa Fe, New Mexico Jan T. and Marica Vilcek, New York, 2011–2015 Private Collection, gifted from the above Exhibition: New York, An American Place, Georgia O’Keeffe, February 4 – March 27, 1946, no. 10 New York, Whitney Museum of American Art, Annual Exhibition of Contemporary American Painting, November 13, 1948 – January 2, 1949 Dallas, Texas, Dallas Museum of Fine Arts, An Exhibition of Paintings by Georgia O’Keeffe, February 1 – February 22, 1953, traveled to: Delray Beach, Florida, Mayo Hill Galleries, March 16- April 11, 1953 New York, Hirschl & Adler Galleries, Important Recent Acquisitions: Late 19th and Early 20th Century American Paintings...

Peter Bradley's Elysian Fields II (1975) takes its title from one of antiquity's most potent landscapes: the Elysian Fields of ancient Greek myth, the paradise in the underworld rese...

N.C. Wyeth's Port Clyde Harbor, Maine (c. 1922/1924) captures the coastal village that had become central to his artistic life. Having established a studio in Port Clyde in 1920, Wye...

The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les M...