Debra Force Fine Art, Inc.

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