Debra Force Fine Art, Inc.

William Merritt Chase (1849-1916) Shinnecock Landscape, circa 1895 oil on panel 11 7/8 x 18 3/8 in.

Hugh Henry Breckenridge (1870-1937) The Lake, 1916 oil on canvas 37 3/16 x 43 3/8 in.

Reginald Marsh (1898-1954) Modeling Furs on Union Square, 1940 mixed media on illustration board 26 7/8 x 40 ¼ inches

Dale Nichols (1904-1995) Farm in Winter, 1966 oil on canvas 30 x 40 inches

Featuring seventeen works, most of which have not been exhibited in over fifty years, the show includes examples of the artist’s Magic Realist and genre scenes from the 1950s, his nuanced depictions of Black female nudes in the early 1960s, and works dedicated to Martin Luther King Jr. and John F. Kennedy from 1963, among others.

Debra Force Fine Art is pleased to present the gallery’s third exhibition of works from the artist’s estate spanning Herman Maril’s (1908 – 1986) over fifty-year career. The exhibition features 34 paintings, works on paper, and a tapestry beginning with the artist's early still lifes and progressing to views of his native Baltimore and summers spent in Provincetown from 1948 until his death. Views of the Berkshires, the coast of Maine, and the landscape of the Southwest are also included.

Featuring works by Milton Avery, Thomas Hart Benton, Rae Sloan Bredin, Charles Burchfield, Ralston Crawford, Lockwood de Forest, Charles Demuth, Robert Gwathmey, Robert Henri, Robert Laurent, Doris Lee, Jonas Lie, Herman Maril, Reginald Marsh, Charles Sprague Pearce, Maurice Prendergast, Jane Peterson, Charles Ramsey, John Singer Sargent, Max Weber, Julian Alden Weir, and Andrew Wyeth, among others.

Featuring other works by Milton Avery, Thomas Hart Benton, Rae Sloan Bredin, Charles Burchfield, Ralston Crawford, Lockwood de Forest, Charles Demuth, Robert Henri, Leon Kroll, Robert Laurent, Doris Lee, Jonas Lie, Herman Maril, Reginald Marsh, Charles Sprague Pearce, Guy Pene du Bois, Maurice Prendergast, Mary Elizabeth Price, Jane Peterson, John Singer Sargent, John Henry Twachtman, Max Weber, Julian Alden Weir, and Andrew Wyeth, among others.

Milton Avery (1885-1965) Burned Hill by the Sea, 1938 watercolor and gouache on paper 22 ½ x 30 ¾ in.

Thomas Sully (1783-1872) Dr. Leonard Koecker, 1818 oil on canvas 35 ⅜ x 27 ¾ inches

Milton Avery (1885-1965) Sketcher and Watcher, 1944 gouache and pencil on paper 22 ½ x 30 ½ inches

Emil Bisttram (1895-1976) Moon Magic, 1950 oil on canvas 32 x 36 inches

Featuring works by Gifford Beal, George Biddle, William Merritt Chase, Charles Demuth, William Glackens, Robert Henri, Charles Peale Polk, Maurice Prendergast, Louis Ritman, Queena Stovall, and Julian Alden Weir, among others.

George Henry Durrie (1820 – 1863) Gathering Wood, circa 1859 oil on canvas 18 1/8 x 24 inches

George Tooker (1920-2011) Window VIII, 1966 egg tempera on gessoed board 24 x 20 inches

The exhibition features oil paintings, works on paper, and jewelry by the artist from the 1930s through the 1970s.The paintings and works on paper focus primarily on the artist’s Geometric Abstractions executed from the 1930s to the 1960s. In the 1960s, the artist turned to creating jewelry in the American Modernist tradition, working primarily with silver and agates. His pieces were constructed freely without sketches as they evolved in his mind, and each one was a unique sculptural entity. Most of the works in this exhibition were acquired directly from the artist by a private collector in Massachusetts; this is the first time they are being shown publicly.

Wolf Kahn (1917-2020), Summer House II, 1972, oil on canvas 52 ½ x 72 ¼ in.

Julian Alden Weir (1852-1919) Anna by Lamplight, late 1880s oil on canvas 16 x 20 in.

Colin Campbell Cooper (1856-1937) Chatham Square, 1919 oil on canvas 40 x 50 inches

James McNeill Whistler (1834–1903) Campanile at Lido, 1879 pastel and charcoal on brown paper 8 x 11 ⅞ in.

Over 25 paintings, works on paper, and sculpture by American Ashcan and Modernist artists from a New York private collection

The gallery's fall exhibition features a variety of paintings exploring the American landscape from the Northeast, Mid-Atlantic, and Midwest regions of the country.

Werner Drewes (1899-1985) Heavy Burden, 1985 oil on canvas 34 ⅛ x 42 ⅛ inches

The paintings of self-taught artist Queena Stovall are deeply personal reflections of her life and experiences as a self-professed “country woman” in rural Virginia. They document the hard-ships of endless, life-sustaining farm chores as well as the joys of family and community rituals without sentimentality or idealization. The Baptising signed Queena Stovall and dated March 1951, lower right oil on canvas 24 ¼ x 32 ¼ inches