JOSEPH STELLA-Italian Modernist-Set of 6 LIM.ED Numbered/Stamped Etchings

Description: Dealsrus is well known for offering quality artwork at reasonable prices. Our reputation is stellar and we stand behind everything we sell. Sales on ebay can be made through ebay's payment system. Privately, we accept credit card payments Visa and Mastercard through our own merchant account. We also accept payments through Authorize net. Please read the terms of sale before bidding on our items. Good Luck, and as always please ask all questions before bidding. On ebay our name is dealsrus. Our company name is EastCoastArt. Joseph Stella (1877 - 1946) Late 19th/Early 20th Century Italian/New York Modernist known for his Modernist figures, landscapes, and still life paintings. Set of 6 numbered limited edition etchings on paper Created in 1964 First Image: 5"x 5.5" Frame: 13.5"x 10.5" (PROVENANCE-The Art Nook Ltd, Millburn, New Jersey, label verso--see photos) Second Image: 6.5"x 5.5" Frame: 15"x 12.25" Third Image: 6.5"x 5.25" Frame: 13.5"x 10.5" Fourth Image: 5.5"x 5" Frame: 13.5"x 10.5" Fifth Image: 6.5"x 5.5" Margins: 13"x 9.5" Sixth Image: 6.75"x 5.25" Margins: 13"x 9.5" Inscribed with Stella's name and numbered on 5/6 prints (but is not the artist's signature) PROVENANCE- Rabin & Krueger Gallery, Maplewood, New Jersey, document included--see photos Rabin & Krueger Gallery stamps lower right on last two prints--see photos Looks good, in "as found" original untouched condition, foxing, minor waves in paper, minor handling creases, not examined out of the frames, frames have minor wear, glass may be removed or shipped with the artwork according to the buyer's preferences, last two prints are unframed--please look at photos carefully. Great looking etchings by Joseph Stella depicting four portraits of men and women, and two trees. This is a fine set of Stella's work in good condition and with a nice provenance. My price of $799 for the set is extremely reasonable and far below what one would be expected to pay for it in a gallery or at auction. Please check out the other artwork in our store on ebay. We regularly feature newly acquired artwork, from antique and vintage to contemporary and modern. Select the "See other items" tab on our page. Always buying Artwork-Cash Paid- easily find us at EastCoastArtGallery on the internet, instagram and facebook. Biography: Joseph Stella (born Giuseppe Michele Stella, June 13, 1877 – November 5, 1946) was an Italian-born American Futurist painter best known for his depictions of industrial America, especially his images of the Brooklyn Bridge. He is also associated with the American Precisionist movement of the 1910s–1940s. Stella was born to a middle-class family in Italy, in Muro Lucano, a village in the province of Potenza. His grandfather Antonio and his father Michele were attorneys,[1] but he came to New York City in 1896 to study medicine, following in the footsteps of his older brother Doctor Antonio Stella.[2] At that tome Giuseppe changed his name on Joseph.[3] However, he quickly abandoned his medical studies and turned instead to art, studying at the Art Students League and the New York School of Art under William Merritt Chase. His first paintings were Rembrandtesque depictions of city slum life. A remarkable draftsman, he made drawings throughout the various phases of his career, beginning as an academic realist with a particular interest in immigrant and ethnic life. From 1905 to 1909, he worked as an illustrator, publishing his realist drawings in magazines. "He prowled the streets, sketch pad and pencil in hand, alert to catch the pose of the moment, the detail of costume or manner that told the story of a life."[4] In 1908, he was commissioned for a series on industrial Pittsburgh, later published in The Pittsburgh Survey. Stella returned to Italy in 1909. He was unhappy with America, writing that he longed to be back in his native land after "an enforced stay among enemies, in a black funereal land over which weighed ... the curse of a merciless climate."[5] It was a well-timed decision. His return to Europe led to his first extensive contact with Modernism which would ultimately mold his distinctive personal style, notable for its strong color and sweeping and dynamic lines. By 1911, he had departed Italy, where the omnipresence of the Renaissance presented its own kind of obstacle for contemporary painters, and relocated to Paris. When he arrived, "Fauvism, Cubism, and Futurism were in full swing," he wrote, and "[there] was in the air the glamor of a battle."[6] It was the right place to be, at just the right time, for a man of Stella's curiosity, openness to new trends, and ambition. In Paris, Stella attended the salon of Gertrude Stein, where he met many other painters. "[Stein] found the big and boisterous painter rather like [her friend, the poet] Apollinaire; they both had a fund of sarcastic wit that was frequently turned on their hosts." Stella's view of his hostess was indeed sarcastic: she sat, he wrote, "enthroned on a sofa in the middle of the room," surrounded by her Cézannes and Picassos, "with the forceful solemnity of a pythoness or a sibyl ... in a high and distant pose."[7] Having met Umberto Boccioni and befriended Gino Severini in Europe, he became associated with the Italian Futurists and began to incorporate Futurist principles into his art, though he was also interested in the structural experiments of the Cubists and the dynamic color of the Fauves.[8] Returning to New York in 1913, he was prepared to give the United States a second try. It was a decision he did not regret, although, as art historian Wanda Corn noted, "his culture shock never abated."[9] He became a part of the Alfred Stieglitz and the Walter Arensberg circles in Manhattan and enjoyed close relationships with fellow expatriates Albert Gleizes and leader of the New York Dada movement Marcel Duchamp (Stella and Arensberg accompanied Duchamp to the plumbing supply store in 1917 to purchase the infamous urinal.[10]). As a result of these associations, he had almost as many opportunities as he had known in Europe to be among kindred spirits and to see advanced new art. In 1913–14, he painted Battle of Lights, Coney Island, one of the earliest and greatest American Futurist works. The legendary Armory Show of 1913, in which he participated, provided him with greater impetus to experiment with modernist styles. Der Rosenkavalier (1914) and Spring (The Procession – A Chromatic Sensation) (1914–16) are vigorous color abstractions. With the Armory Show, Stella also became a much-talked-about figure in the New York art world, an object of virulent attacks from conservative critics who found Modernism threatening and inexplicable and an object of fascination to younger, more adventurous artists. In the view of art historian Sam Hunter, "Among the modern paintings at the Armory Show, Duchamp's Nude Descending a Staircase, Picabia's Procession at Seville, and Stella's Futurist Battle of Lights, Coney Island came to exert the most seminal influence on American painters."[11] A friend noted that the painting "caused a general sensation, an artistic upheaval as sudden and unexpected as it was universal [in avant-garde circles]."[12] Collector and art educator Katherine Dreier included Stella among those artists whose work she sought to promote under the auspices of her Societe Anonyme, New York's first museum dedicated exclusively to advanced contemporary art, which opened its doors in 1920. In New York during the 1920s, Stella became fascinated with the geometric quality of the architecture of Lower Manhattan. In these works he further assimilated elements of Cubism and Futurism. In Brooklyn Bridge (1919–20), he shows his fascination with the sweeping lines of the Roeblings' bridge, a motif he used several years before poet Hart Crane turned to this structure as a symbol of modernity. Stella's depictions of the bridge feature the diagonal cables that sweep downward forcefully, providing directional energy. While these dynamic renderings suggest the excitement and motion of modern life, in Stella's hands, the image of the bridge also becomes a powerful icon of stability and solidarity. Among his other well-known paintings is New York Interpreted (The Voice of the City) (1922), a five-paneled work (almost twenty-three feet long and over eight feet high) patterned after a religious altarpiece, but depicting bridges and skyscrapers instead of saints. This work reflects the belief, common at the time, that industry was displacing religion as the center of modern life. The painting is in the collection of the Newark Museum. "At a time when virtually all modernists tried their hand at representing the city," Wanda Corn has written, "Stella's painting is the summa."[13] In the 1930s, Stella worked on the Federal Art Project and later traveled to Europe, North Africa, and the West Indies, locations that inspired him to work in various modes. He restlessly moved from one style to the next, from realism to abstraction to surrealism. He executed abstract city themes, religious images, botanical and nature studies, erotic and steamy Caribbean landscapes, and colorful still lifes of vegetables, fruits, and flowers. Stella's works from his post-Armory Show period, however, were problematic for the cultivation of a sustained career. Once he had ceased painting in a Futurist or quasi-Cubist mode and had finished with his period of Precisionist factory images (circa 1920), he was not aligned with any particular movement. His concerns, as well as his approach to painting, became less timely, more personal and idiosyncratic. Tree of My Life (1919), like many later Stella works, is "baroque and operatic,"[14] a garden scene out of Bosch, and his figure studies (usually female, often Madonna-like) are decoratively, extravagantly embellished. His numerous floral works border on the surreal but, in their lushness and excess, could not accurately be characterized as a part of the Surrealist movement. Critic Lewis Mumford called him a "puzzling painter" at that point, commenting, "I have seen the fissure between his realism and his fantasy widen into an abyss."[15] Stella's strong draftsmanship is evident in the many different kinds of images he created throughout his life. He is especially respected today for his portraits on paper drawn in silverpoint, or silverpoint and oil, most from the 1920s. His renderings of Walt Whitman, Marcel Duchamp, the artist Louis Eilshemius, and his friend, the composer Edgar Varese, are works of exceptional sensitivity to line, facial detail, and the intellectual aura of the sitter. A lesser-known aspect of Stella's work is the collages he made in the 1920s, consisting of scraps of discarded paper, wrappers (some with the commercial logo or label still visible), and other bits of urban debris, often slashed with brush strokes of paint. Though Stella was "attracted to the grandiose, mechanized aspects of the city, [he] was also drawn to its anonymous, unnoticed discards...the detritus of human existence."[16] These are works in the spirit of the German collage artist Kurt Schwitters and the anti-"high art" ethos of the Dada movement, which always interested Stella. By the late 1930s, Stella's work attracted considerably less attention than it had in previous decades. His truculent personality had alienated many old friends, and his style no longer spoke to the times.[17] "Stella's health and critical fortunes sank in [the years prior to World War II]. Emotionally cut off from the New York art world, even his retrospective at the Newark Museum in 1939 failed to reestablish him. Though successful as a presentation, the show was less enthusiastically reviewed than Stella had anticipated, and he later complained of not being able to induce anyone living in New York City to see it."[18] Diagnosed with heart disease in the early 1940s and subject to increasing periods of morbid anxiety, he succumbed to heart failure in 1946. He is interred in a mausoleum at Woodlawn Cemetery in the Bronx, New York City. 100% Guaranteed to be as described. Ask all questions beforehand. Please contact us before purchasing if you have any questions. All Sales are Final. All sales are final. There are no exchanges or returns.Once payment has been cleared, merchandise will ship within 4-10 days. We try to ship in a timely fashion but sometimes we are away and it is impossible to ship immediately. We ask for your patience and assure you we are acting as quickly as we can.All payments are due at the time of purchase. Payments can be made credit cards Visa and Mastercard (no ultra-high rewards cards allowed) through our own merchant account. Paypal not acceptedAll lots are sold “as is”All lots are accompanied by a name and/or description and lot number for referenceUnless the prospective buyer has a resale tax certificate, all Pennsylvania residents are required to pay 6% sales tax, which will be included in the final amount, to the State of PennsylvaniaShipping, handling and insurance determined after sale according to final destination. An approximation can be provided beforehand if requested. An email will be sent to your registered ebay email with actual S/H/I charges after the end of the auction. The shipping charges displayed on ebay are meant to be an approximation and do not reflect true costs. Shipping and insurance charges are determined by the location of the buyer and the final selling price. In addition, handling charges are as follows: $10 for a small package, $15.00 for a medium package and $20 for a large package. Please look for an email after the end of the auction for final charges. Please read more about our shipping charges displayed on the ebay. Thank you for your cooperation in the matter. Should you have any questions we can be reached through ebay. If the buyer prefers, the item can be dropped off at a shipping center for packaging and shipment with insurance. We charge $10 for this service. Terms of Guarantee:EastCoastArt (AKA “dealsrus”) warrants the authenticity and authorship of our merchandise. All lots are guaranteed to be as described. Prospective buyers are responsible for asking any and all questions about the merchandise, and to view all photos carefully, before purchasing. Live preview of any merchandise is available before purchase simply by asking. We at EastCoastArt are diligent in trying to convey all aspects of our merchandise, but it is ultimately the responsibility of the prospective buyer to satisfy themselves as to conditions and authorship of merchandise. All merchandise is sold “As Is”. EastCoastArt warrants the authorship for a period of 15 days from the date of shipment only to the original purchaser of record. If it is determined to EastCoastArt’s satisfaction that the description was incorrect, the sale will be rescinded and the purchase price will be refunded providing the merchandise is returned in same condition and in the same packaging that it was at the time of the sale, at the expense of the buyer. Should a dispute arise over the authenticity, it is our policy to have the purchaser obtain at their expense, an opinion (or two, in some cases and at our discretion) of recognized experts in the field, mutually acceptable by both EastCoastArt and the purchaser. We try to depict the merchandise and artwork as accurately as possible with photographs. We do not overly enhance the photos. However, every computer and monitor is different, and how we see the merchandise might differ from what you see. Please bear this in mind when viewing. We can not accept returns based on color variation, shading, toning, etc. Please contact us to arrange an in-person preview before purchasing if there is any doubt as to what you are seeing. Contact before purchasing for any questions you have. All sales are final. By placing a bid on our items on ebay you accept our terms of sale.Unless otherwise specified, frames are considered a throw-in and are not guaranteed in any fashion. Sizes listed in the descriptions are a very close approximation, ie., if the painting is 12.2” x 14.2” we would describe such as a 12” x 14”.

Price: 799 USD

Location: Pottstown, Pennsylvania

End Time: 2024-12-18T23:06:45.000Z

Shipping Cost: N/A USD