Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Lucano, a small town in the southern Apennines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals.
Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp.
Stella was 19 when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133).
(Biography provided by Hirschl & Adler)
Antique Oil Painting of Serene Landscape, Signed, Circa 19th Century
By Joseph Stella
Located in Bryn Mawr, PA
White Lilies Watercolor, gouache, crayon, and silverpoint on paper 11 1/4 x 16 7/16 inches 28.6 x 41.8 cm Framed dimensions 19 1/2 x 25 1/2 inches Provenance The artist; By bequest ...
Paper, Crayon, Watercolor, Gouache
$27,200Sale Price|20% Off
Thistles Mixed Media Still-Life, Pastel on Paper, Signed 1938
By Joseph Stella
Located in Miami, FL
The present Joseph Stella work is a sensitive study of a botanical arrangement of thistles in a vase resting atop a Corinthian pedestal that sits on a tabletop. Signed, dated lower r...
Pastel
$41,250Sale Price|25% Off
Still Life of Books and Chinese Lanterns in Vibrant Colors
By Joseph Stella
Located in Miami, FL
Joseph Stella creates a beautiful and colorful still life rendered in lush expressive bright colors and quick spontaneous bravura brushstrokes.. Signed Lower Right Joseph Stella Fra...
Pastel
Flowers in a Vase
By Joseph Stella
Located in Bryn Mawr, PA
Provenance The artist; By bequest to his nephew, Sergio Stella, 1946; By descent in the family, until the present Exhibitions Richard York Gallery, New York, 1994, Joseph Stella's N...
Oil
$17,500
Pink Flower
By Joseph Stella
Located in Bryn Mawr, PA
Born in Italy, Joseph Stella immigrated to New York City at the age of nineteen and went on to become one of America’s foremost modernist painters. He remained deeply loyal to his It...
Oil
Blue Waterlily
By Joseph Stella
Located in Bryn Mawr, PA
Born in Italy, Joseph Stella immigrated to New York City at the age of nineteen and went on to become one of America’s foremost modernist painters. He remained deeply loyal to his It...
Oil
$68,000Sale Price|20% Off
Water Lily and Woodchuck, Futurist Gouache on Paper, Signed, 1910s
By Joseph Stella
Located in Miami, FL
Powerful visual done at Stella's peak period of creativity in Barbados. Signed lower right. Provenance: Doyle, New York Elegantly framed.
Paper, Gouache
$232
H 11.82 in W 7.88 in D 0.04 in
Clover. Small gouache floral painting. Gift . Framed
By Nadezda Stupina
Located in Oslo, NO
Vibrant blooms erupt from a translucent vessel. This artwork captures a moment of natural exuberance. Deep magenta petals contrast against cool, muted greens. The brushwork is confid...
Paper, Gouache, Crayon
$4,950
H 34 in W 42 in D 2 in
“Still Life, 1936” by Katharine "Kitty" Duff Church British Modern Oil Signed
Located in Yardley, PA
“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...
Canvas, Oil
$1,450
H 20 in W 16 in D 0.25 in
"California Poppy" Original Vintage Oil Painting
Located in Soquel, CA
"California Poppy" Original Vintage Oil Painting Like a scientific illustration, Edith Bruning (American, 1899-1961) depicts California Poppies in budding and flowering stages. Brig...
Paper, Oil
Red Flowers on Turquoise
Located in Zofingen, AG
Acrylic painting on canvas Size: 70 × 90 × 2 cm (unframed) This artwork is sold unstretched, but I can arrange for it to be stretched upon request. The artwork comes with the a Certificate of Authenticity. Artworks are shipped rolled in a secure tube. This is a safe and reliable packaging method that ensures your artwork arrives in perfect condition while keeping shipping costs affordable. This minimalist painting features vibrant red flowers in a white vase, set against a calming turquoise background. Inspired by the styles of David Hockney and Henri Matisse, the artwork combines abstract shapes with bold brush strokes, creating a modern, eye-catching piece for your home. Painted with acrylic on canvas, it brings a playful yet elegant touch to any room. Ideal for lovers of contemporary art, this piece is perfect for brightening up living spaces, bedrooms, or offices. Add a pop of color and sophistication to your wall with this striking floral painting Minimalist red flowers in white vase with turquoise background, abstract acrylic painting inspired by David Hockney and Henri Matisse red flowers painting, minimalist art, abstract floral, turquoise background, white vase artwork, Hockney inspired, Matisse style, modern wall art, acrylic flower painting...
Paper, Oil Pastel
$163Sale Price|20% Off
H 13 in W 19 in D 1 in
Mid Century French Illustration Sketches Of Bright Flower Types
By Josine Vignon
Located in Cirencester, Gloucestershire
Flower Sketches by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 13 x 19 inches good condition provenance: from...
Oil Pastel, Watercolor
$34,500
H 63 in W 75 in
Still Life with Table and Pheasant & Owl, Blue Exterior & Interior tablescape
By Joseph O'Sickey
Located in Beachwood, OH
Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Still Life with Pheasant and Owl Oil and pastel on canvas Signed...
Pastel, Oil
$2,600
H 18.25 in W 17.25 in
Still Life Oil Painting Betsy Podlach American Post Feminist Modernist Art
By Betsy Podlach
Located in Surfside, FL
Betsy Podlach (American, born 1964.) Still life with Tin Cup, 1996 17.5 X 16.5 inches. Framed it measures 18.25 X 17.25 Betsy Podlach graduated from Harvard, cum laude, (she studied...
Canvas, Oil
$45,000
H 40 in W 40 in
"Cattleya Orchids" Jane Peterson, Modernist Bright Flowers, Female Impressionist
By Jane Peterson
Located in New York, NY
Jane Peterson Cattleya Orchids, circa 1940s Signed lower right Oil on canvas 32 x 32 inches Provenance Estate of the artist Artist’s estate sale, Ipswich, Massachusetts, 1960s Priva...
Canvas, Oil
$520Sale Price|20% Off
H 12 in W 15 in D 1.5 in
Still Life of Two Pears in Acrylic on Archival Paper
Located in Soquel, CA
Still Life of Two Pears in Acrylic on Archival Paper Vibrant still life by California artist Christine Cohen (American, b. 1943). This piece is a close-up still life of two pears, a...
Acrylic, Archival Paper
$2,200Sale Price|20% Off
H 19.75 in W 24 in
20th Century Interior Still Life with Chair and Flowers pastel & oil painting
By Joseph O'Sickey
Located in Beachwood, OH
Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Interior Still Life with Chair and Flowers Pastel and oil on gre...
Pastel, Oil
$520Sale Price|20% Off
H 15 in W 12 in D 1.5 in
Still Life of a Cup of Coffee in Acrylic on Archival Paper
Located in Soquel, CA
Still Life of an Cup of Coffee in Acrylic on Archival Paper Vibrant still life by California artist Christine Cohen (American, b. 1943). This piece is a close-up, single subject sti...
Acrylic, Archival Paper
$928
H 27.17 in W 38.59 in D 0.79 in
Vase of Flowers-Painting by Karl Albrecht Buschbaum - Early 20th century
Located in Roma, IT
Vase of flowers is an original modern artwork realized by Karl Albrecht Buschbaum in the early 20th Century. Mixed colored oil on canvas. Hand signed on the lower margin K. Albrech...
Oil
Sold
H 15 in W 16 in
"Lemon and Eggplant Still Life" Joseph Stella, American Modernism, Colorful
By Joseph Stella
Located in New York, NY
Joseph Stella Lemon and Eggplant Still Life, circa 1929 Signed lower center; signed on the stretcher and reverse and inscribed "Still Life" on the reverse Oil on canvas 10 x 11 inches Stella was born June 13, 1877 at Muro Lucano, Italy, a mountain village not far from Naples. He became painter laureate of Muro Lucano when he was in his teens with a representation of the local saint in the village church. Stella immigrated to America in 1896 and studied medicine and pharmacology, but upon the advice of artist friend Carlo de Fornaro, who recognized his undeveloped talent, he enrolled at the Art Students League in 1897. Stella objected to the rule forbidding the painting of flowers, an indication of his lifelong devotion to flower painting. He also studied under William Merritt Chase in the New York School of Art and at Shinnecock Hills, Long Island in 1901-1902, displaying the bravura brushwork and dark Impressionist influence of Chase. Stella liked to paint the raw street life of immigrant society, rendering this element more emotionally than the city realists, the Aschcan School headed by Robert Henri. Stella went through a progression of styles--from realism to abstraction--mixing media and painting simultaneously in different manners, reviving styles and subjects years later. The "Survey" sent Stella to illustrate the mining disaster of 1907 in Monongah, West Virginia, and in 1908 commissioned him to execute drawings of the Pittsburgh industrial scene. Steel and electricity became a major experience in shaping his responses to the modern world, and Stella succeeded in portraying the pathos of the steelworkers and the Pittsburgh landscape. Stella went abroad in 1909 at the age of thirty-two, lonely for his native land. He returned to Italy, traveling to Venice, Florence and Rome. He took up the glazing technique of the old Venetian masters to get warmth, transparency, and depth of color. One of Stella's paintings was shown in the International Exhibition in Rome in 1910 and was acquired by the city of Rome. The influence of the French Modernists awakened his dormant individuality. His friendship with Antonio Mancini, a Futurist, also played a role in his new style. At the urging of Walter Pach, Stella made a trip to Paris, where he met Gertrude and Leo Stein and saw the work of Matisse and the leading Fauves, spurring him to paint with alluring, vivid colors. Stella effected a quick transition from traditionality to the abstract idiom. At the Galerie Bernheim-Jeune in 1912, he saw the works of his countrymen Carlo Carra, Umberto Boccioni and Gino Severini. Primed with these influences, Stella returned to New York in late 1912. His preference for structural composition is obvious in the paintings in which he fused high-key color with broad broken strokes, which were included in the 1913 Armory Show. A month following the Armory Show, Stella premiered at the Italian National Club to which the Italian ambassador made a special appearance to toast "an event in the history of the Italian colony here." "Battle of Lights" (1914) was Stella's first major Futurist work created as a result of the Armory Show,propelling Stella into the vanguard of Modernism. Color chips in various sizes with dense design and spears representing light beams allows the composition movement within a stable axis. This caused a sensation when displayed in a group show at the Montross Gallery in 1914. Stella was represented in a group show at the Bourgeois Galleries in 1917 and 1918, and began a series of industrial paintings which grew out of the "Survey" commission, most notably the "Brooklyn Bridge" (1917-1918) in which he combined Cubist and Futurist techniques. This was exhibited in a one-man show at Bourgeois in 1920 and advanced his reputation substantially as the "poet" of the industrial scene. Stella had a show at the Whitney Studio Club in 1921. His most ambitious work "New York Interpreted" (1920-1922) inspired by Robert Delaunay's "La Ville de Paris" was displayed at his solo show at the 1923 Société Anonyme of which he was a charter member. At the same time, Stella was producing lyrical nocturnes and paintings heavy with symbolism bearing resemblance to the work of Odilon Redon. He also executed innumerable drawings of flowers as he wrote, "my devout wish, that my every working day might begin and end. . . with the light, gay painting...
Canvas, Oil