Was Frank Stella related to Joseph Stella?

This is an Joseph Stella original pencil drawing “man with beard” . In good condition comes from joseph Stella’s estate. In good condition measu...

Joseph Stella(1877-1946) A Corner of Barbados, 1937 Oil on canvas, 11 x 15 inches (27.9 x 38.1 cm) Inscribed on verso: A corner of / Barbados / O:P by / Joseph Stella Provenance The artist; By bequest to his nephew, Sergio Stella, 1946; By descent in the family, until the present Joseph Stella’s artistic career defies easy categorization. He was simultaneously a modernist and traditionalist, a dual citizen of the Old and New World, a bold experimenter and masterful practitioner of time-honored artistic techniques. His iconic paintings of New York City, such as the Brooklyn Bridge and Coney Island, celebrate modernity and the Machine Age, while his exuberant paintings of the natural world speak to the spiritual revelation that guided and grounded him throughout his life. Until recently, the divergent aspects of Stella’s career “confounded his legacy.” But in Joseph Stella: Visionary Nature, the multi-venue museum exhibition that focuses on the artist’s lifelong engagement with nature, a more complete and nuanced understanding of his career has emerged. Stella’s work of flora and fauna demonstrate his deep connection to and close observational study of nature to invigorate his creativity and sustain his human spirit. Indeed, nature was a salve to his woes about life and the modern age. He made countless drawings and paintings of flowers, many of which were done at the New York Botanical Garden – a favorite place for the artist. In these works, Stella explored new styles and pressed the limits of his imagination. Like nature itself, he was always changing, always growing. Stella found himself in Barbados in 1937, when then health of his wife had declined and she asked him to bring her home. He loved the island paradise, as it reawakened his creativity and love the natural world, much as his returns to Italy did. Although he remained in Barbados for only five months, the landscape he absorbed and the motifs he developed fueled his art for the next three years. The Barbados paintings...

Silverpoint and colored pencil on paper, 29 x 23 in. Signed (at lower right): Joseph Stella Executed about 1919 EXHIBITED: Hirschl & Adler Galleries, New York, November 23, 1985–January 4, 1986, American Masterworks on Paper: Drawings, Watercolors, and Prints, pp. 6, 46 no. 47 illus. // (probably) Richard York Gallery, New York, October 5–November 17, 1990, Joseph Stella: 100 Works on Paper, no. 36 EX COLL.: [Dudensing Galleries, New York]; sale, Christie’s, New York, December 7, 1984, lot 324; [Hirschl & Adler Galleries, New York, 1984]; to private collection, 2006 until the present An independent-minded artist who adhered to the credo “Rules don’t exist,” Joseph Stella explored a range of styles, media, and themes, willfully ignoring the “barricades erected by ... [the] self-appointed dictators” of the art establishment (Joseph Stella, “On Painting,” Broom 11 [December 1921], pp. 122–23; Joseph Stella, “Discovery of America: Autobiographical Notes,” Art News 59 [November 1960], p. 41). By doing so, he produced a diverse and highly eclectic body of work, ranging from realist figure subjects, pulsating Futurist cityscapes, and modernist religious...

Powerful visual done at Stella's peak period of creativity in Barbados. Signed lower right. Provenance: Doyle, New York Elegantly framed.

Stella, Joseph. STUDY OF A MAN WITH A HAT AND OVERCOAT. Blue, red and black crayon on tan wove paper, c. 1920. 6 7/8 x 4 3/4 inches; 173 x 120 mm. Signe...

Joseph Stella (1877 - 1946) Tree, Trunk, and Roots, Bronx, New York, circa 1924 Oil on canvas 12 x 16 inches inscribed in another hand Joseph Stella/Estate and bears Joseph Stella Estate stamp (on the reverse) Provenance: The Estate of the Artist Rabin & Kreuger, New Jersey Parke Bernet Galleries, New York, March 14, 1968, Lot 147 ACA Galleries, New York Thence by descent 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...