Heather James Fine Art

‘Le blanc est la reduction de la couleur (White is the Reduction of Color)’ is a mixed media work constructed from corrugated cardboard, wood, and acrylic paint by Venezuelan artist,...

‘Nimbus Levitante’ is a large-scale sculpture of hand-made iron and violet purple lacquer by Venezuelan artist, Rafael Barrios. The artwork is Signed on base, "Rafael Barrios C.65" a...

‘Vibrations Métalliques’ is a mixed media on aluminum, kinetic work by Venezuelan artist, Jesus Rafael Soto. The artwork is signed verso, “Soto” and is a multiple published by Éditio...

‘CV294’ is a cut and shaped high density polymer artwork by Argentinan artist, Abel Ventoso. It is signed verso, "Ventoso 2013” Along with Héctor and Jorge Ventoso (engineers), Abel...

‘Ambivalencia’ is an assemblage made of acrylic painted wood by Venezuelan artist, Jesus Rafael Soto. The artwork is signed verso, "Soto 1981” ‘Ambivalencia’ is one of Soto's best-d...

'Physichromie 1800’ is a limited edition chromography and pigments on PVC by Venezuelan artist, Carlos Cruz-Diez. The artwork is signed and editioned verso, "Cruz-Diez 2/8” Carlos C...

'Color Aditivo Panam Círculos 9’ is a limited edition chromography and pigments on PVC work by Venezuelan artist, Carlos Cruz-Diez. The artwork is signed and editioned on the verso, ...

Cromovela No. 7 is an acrylic lacquer on PVC sculpture by Venezuelan artist, Carlos Cruz-Diez. The artwork is signed and dated on the base "Cruz-Diez / Jun 1995" Carlos Cruz-Diez's ...

‘Physichromie 250’ is an acrylic and plastic elements on wooden panel with wood frame by Venezuelan artist, Carlos Cruz-Diez. The artwork is signed verso, "Cruz-Diez” Carlos Cruz-Di...

'Physichromie 1530’ is a chromography and pigments on PVC work by Venezuelan artist, Carlos Cruz-Diez. The artwork is signed verso, "Cruz-Diez” Carlos Cruz-Diez's 'Physichromie 1530...

'Physichromie Panam 106’ is a chromography and pigments on aluminum Op Art work by Venezuelan art, Carlos Cruz-Diez. The artwork is signed verso, "Cruz-Diez" 'Physichromie Panam 10...

"Water No. 5" is an abstract gouache on howell paper painting by Lee Krasner in 1969. The artwork is 12 1/4 x 9 1/4 inches and is 18 1/4 x 15 1/4 x 1 1/4 inches with the frame, weigh...

In the mid-1920s, Rufino Tamayo embarked on the crucial development phase as a sophisticated, contemporary colorist. In New York, he encountered the groundbreaking works of Picasso, ...

A rare and important painting by Giulio Cesare Procaccini depicting the legendary Judith Beheading Holofernes—a subject that has captivated artists from Caravaggio and Artemisia Gent...

A significant aquatint by Picasso, ‘Femme au Fauteuil’ demonstrates the artist's mastery of a technique pioneered by Goya in his revolutionary printmaking practice. The aquatint medi...

Executed in 1917, during the final years of the First World War, Max Pechstein’s ‘Studio von drei Figuren’ reflects the artist’s movement toward a more introspective form of Expressi...

'Two Sculptured Men’ is an etching on paper by Pablo Picasso from the Vollard Suite. Comprised of 100 etchings produced between 1930 and 1937, the Vollard Suite is the most signific...

‘Putaine' is a work on paper by Spanish artist, Joan Miro. Drawings were among Miro’s most private works. The Fundació Joan Miró holds 5,000 drawings the artist gave personally in 19...

This print is dedicated to Marcel Boudin, who was employed as Picasso's driver from 1931 to 1951. Boudin oversaw Picasso's transportation in his newly acquired luxury Hispano Suiza m...

'Profil d’homme (Man Profile)’ is an etching on laid paper by Pablo Picasso. Picasso’s etching approach prioritized economical, confident line over tonal modeling. He drew directly o...

'Le Collier (The Necklace)' belongs to the Picasso’s larger suite entitled 'La Caisse à remords (The Chest of Remorse),' a collection of etching and drypoint prints created between 1...

Pablo Picasso's ‘Groupe de Trois Femmes’ (1922–1923) emerges from his Neoclassical period, a watershed moment in his career when he pivoted from Cubism toward classical forms and myt...

Chagall was born in 1887 in Vitebsk, Belarus, into a Hasidic Jewish family. Animals were part of daily life — in the yard, the market, the street. They were not symbols then, they we...

In 'L'Homme Guidé par l’Éternel’ (Plate 97), Chagall depicts a figure moving through space, guided by divine light and presence. The etching captures the spiritual journey of man dir...

Created in 1959, ‘Femme regardant par la fenêtre’ belongs to Picasso’s celebrated late period of color linocuts, produced primarily in Vallauris during the 1950s. These works repres...

Picasso developed this composition through a sequence of 18 lithographic states, worked on a single stone. Only the final, 18th state was published, in a signed edition of 50. At eac...

The Carmen portfolio occupies a particular place within this legacy. Based on Prosper Mérimée's 1845 novella, the same source that inspired Bizet's opera, Picasso's Carmen suite dist...

'Onction de Saul (From the Bible Series)’ is an etching on paper by Marc Chagall. Marc Chagall's Bible series comprises 105 etchings and engravings created between 1931 and 1956, p...

‘Deux Nus Assis’ is an etching on paper by Pablo Picasso. Following his transformative 1917 visit to Italy—where Picasso encountered ancient sculpture, Renaissance masterworks, and P...

'Portrait de Mousquetaire vieillissant, au visage couperose (Portrait of an Ageing Musketeer, with a Rosaceous Face)’ from 'La Serie' 347 is an etching on a paper by Pablo Picasso. T...

Pablo Picasso's Jacqueline au Chevalet (1956) belongs to his revolutionary Madoura ceramics period, the two-decade span in Vallauris during which he produced more than 3,500 ceramic ...

Pablo Picasso's Vase deux anses hautes (1953) belongs to his celebrated Madoura ceramics period, when he transformed everyday pottery forms into vessels for a new kind of sculptural ...

Robert Rauschenberg's ‘Ground Rules’ series, produced in 1999 in collaboration with the renowned print workshop Universal Limited Art Editions (ULAE), represents one of the most ambi...

'Mother and Child’ is a charcoal on paper by American pop artist, Andy Warhol. Works on paper such as this functioned as a laboratory for experimentation, allowing Warhol to explore ...

The Carmen portfolio occupies a particular place within this legacy. Based on Prosper Mérimée's 1845 novella, the same source that inspired Bizet's opera, Picasso's Carmen suite dist...

'Tête de femme à la couronne de fleurs’ reflects the Picasso’s transformation of traditional ceramics into a medium of modern sculptural expression. In Picasso’s celebrated Vallauris...

Richard Serra's 'Cape Breton Horizontal Reversal No. 16' (2014) exemplifies the radical approach to works on paper that has run in parallel with his celebrated sculptural practice th...

Vincent van Gogh's 'The New Church and Old Houses in the Hague' (1882–1883) stands among his earliest oils, painted just weeks after he resumed working in the medium in August 1882. ...

"Porter Series: Carte L'Europe (Shower Woman)" is a tapestry by South African artist William Kentridge. It is edition 1 of 5 (plus 2 APs) and signed verso "W. Kentridge". William Kentridge is a South African graphic artist, filmmaker, and theatre arts activist especially noted for a sequence of hand-drawn animated films he produced during the 1990s. The pungent humanism he revealed in these and other works echoed a larger European tradition of artists such as Honoré Daumier, Francisco de Goya, and William Hogarth. Kentridge, whose father was a noted antiapartheid lawyer, attended the University of Witwatersrand in Johannesburg (1973–76) and the now-defunct Johannesburg Art Foundation (1976–78). At various times in the 1970s and ’80s, he worked as an actor, playwright, set designer, and theatrical director, and he studied mime and theatre in Paris in the early 1980s. In 1992 he began an ongoing collaboration involving multimedia performances with Handspring Puppet Theatre (founded 1981) in Cape Town. As is clear from both his early training and his later artistic output, Kentridge’s interest in the visual arts was rooted in its connection with the theatrical arts. The narrative structure and character development in his films reflect this connection. While Kentridge pursued several avenues as an artist, at the centre of his work was a sequence of short animated films. To produce them, he made a rough charcoal drawing, photographed it, altered the drawing slightly, photographed it again, and so on. Kentridge’s original drawings are often completely effaced by their successors. Many of these films—including Johannesburg, 2nd Greatest City After Paris (1989) and Felix in Exile (1994)—follow the fortunes of the greedy capitalist Soho Eckstein and his alter ego, the sensitive and artistic Felix Teitelbaum. They present modern South Africa as reflective of the spiritual, ecological, and emotional crises of late capitalism. Kentridge later established himself as a consummate figure in the performing arts, particularly for his innovative stagings of the operas The Nose (2010) and Lulu (2015) at New York’s Metropolitan Opera and Wozzeck (2017) at the Salzburg Festival...

"Grey Red" is an oil painting on aluminum by Sean Scully. It is signed verso, " Gray Red, Sean Scully 1 12". The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience. Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” Provenance: Timothy Taylor...

Jan van Goyen's 'River Scene with Cottages' (1638) dates to the year he was elected hoofdman of The Hague's Guild of Saint Luke, an honor he held again in 1640. By 1638 he had entere...

Jan van Goyen's 'Landscape with Figures by a Barn' (1637) was painted the year before he was elected hoofdman of The Hague's Guild of Saint Luke, an office that recognized a landscap...

Jean-Michel Basquiat, Andy Warhol, and Francesco Clemente's 'Horizontal Painting (1984)’ is one of only fifteen paintings produced in their celebrated three-way collaboration. Concei...

Jesús Rafael Soto's Negro y Color (Black and Color) (1995) extends the principles of his Ambivalencias series into the artist's mature late work. Begun in the late 1970s as an evolut...

“Marilyn No. 30” is a screenprint by American Pop artist, Andy Warhol from 1967. The work is edition 138/250 and is signed verso, "Andy Warhol" Andy Warhol's "Marilyn #30" (1967) i...

'Tijuca #10' (1978) is an exceptional large-scale relief painting that marks a pivotal moment in Frank Stella’s evolution from Minimalist restraint to the bold, three-dimensional max...

Rendered with the soft luminosity and intimate charm that define Pierre-Auguste Renoir’s late portraiture, 'Buste de femme au corsage vert' depicts Gabrielle Renard — the artist’s be...

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...

Robert Rauschenberg’s Urn (Spread) (1979) belongs to the celebrated Spread series (1975–1983), widely regarded as among his strongest mature bodies of work and the natural successor ...