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Dogwood Blossoms. 1949. Dimensions: Tile 6 X 6 Frame 7.75 X 7.75 inches. Provenance: The tile was in the possession of the Beers family and is from the estate. Catalogue raisonné number at Galerie St Etienne: Kallir T #87 An exceedingly rare, authenticated, and hand painted floral decorated tile by Grandma Moses herself, fired by Helen Beers. Tile dated 1949 and signed moses recto as well as 'Moses Fired by Helen C. Beers, painted by Grandma Moses, Pinewold Pottery'. There are only a handful of these known to exist, approximately five, this being one of those five, outside the private collection of Galerie St. Etienne, Manhattan NY. This listing is for the tile only. The photo archive, from the family, will be listed separately and is included here just for provenance and reference. Anna Mary Robertson Moses (1860 – 1961), or Grandma Moses, was an American folk artist. She began painting in earnest at the age of 78 and is a prominent example of a newly successful art career at an advanced age. Moses gained popularity during the 1950s, having been featured on a cover of Time Magazine in 1953. She was a subject of numerous television programs and of a 1950 Oscar-nominated biographical documentary. Her autobiography, titled My Life's History, was published in 1952. She was also awarded two honorary doctoral degrees. She embroidered pictures with yarn, until disabled by arthritis. In her 1961 obituary, The New York Times said: "The simple realism, nostalgic atmosphere and luminous color with which Grandma Moses portrayed simple farm life and rural countryside won her a wide following. She was able to capture the excitement of winter's first snow, Thanksgiving preparations and the new, young green of oncoming spring ... In person, Grandma Moses charmed wherever she went. A tiny, lively woman with mischievous gray eyes and a quick wit, she could be sharp-tongued with a sycophant and stern with an errant grandchild." Moses's work has been a subject of numerous museum exhibitions worldwide and has been extensively merchandised, such as on greeting cards. In 2006, her 1943 painting titled Sugaring Off was sold at Christie's New York for US$1.36 million, setting an auction record for the artist. Her work is fundamental for any Naive art or Americana collection. She was known as either "Mother Moses" or "Grandma Moses", and although she first exhibited as "Mrs. Moses", the press dubbed her "Grandma Moses", and the nickname stuck. As a young wife and mother, Moses was creative in her home; for example, in 1918 she used house paint to decorate a fireboard. Beginning in 1932, Moses used yarn to embroider pictures for friends and family. She created quilt objects, a form of "hobby art". Lucy R. Lippard stated in "The Word in Their Hands" that she found "hobby art" to be "an activity so 'low' on the art lists that it still ranks way below 'folk art'". She found that hobby art often involves reuse of otherwise discarded objects. Moses painted scenes of rural life from earlier days, which she called "old-timey" New England landscapes. Moses said that she would "get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live." From her works of art, she omitted features of modern life, such as tractors and telephone poles. Her early style is less individual and more realistic or primitive, with a lack of knowledge of, or perhaps rejection of, basic perspective. Initially she created simple compositions or copied existing images. As her career advanced, she created complicated, panoramic compositions of rural life. During a visit to Hoosick Falls in 1938, Louis J. Caldor, an art collector who worked as an engineer in the state of New York, saw paintings made by Moses in the window of a drug store. He bought their supply and ten more from her Eagle Bridge house for $3 or $5 each. The next year, three Grandma Moses paintings...

A fine impressionist beach scene by American artist Charles Herbert Woodbury (1864-1940). Woodbury was born in Lynn, MA, and sold his first painting when he was fifteen years old and...

Ship , 40x50 cm, oil on canvas

A perfect surfing wave breaks on the outer reef, while seabirds soar above the surreal antherium flower. MARC ZIMMERMAN CREATES PLAYFUL PAINTINGS whether deep mysterious jungle or ...

Salvador Dali Bearbrick 400% (Salvador Dali MoMa BE@RBRICK): This collaboration between MoMA and BE@RBRICK features the famous bear figure printed with the classic surrealist art of ...

Watercolor on paper by William Minshall Birchall of the black ball clipper ship, the Montezuma. Titled and signed W. M. Birchall lower left in pencil. Findlay Gallery label verso. 0riginal frame and mat with normal wear due to age. The American packet ship...

KAWS WHAT PARTY (pink): KAWS pink WHAT PARTY Companion featuring KAWS' CHUM character in a hunched position. Published to commemorate the debut of KAWS’ larger scale sculptural versi...

Lake Como, 2020

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Andy Warhol Jean-Michel Basquiat 400% Bearbrick Vinyl Figure c.2021: A unique, timeless collectible trademarked & licensed by the estates of Jean-Michel Basquiat & Andy Warhol. The ...

In collaboration with Real Mad Hectic, and produced by Bounty Hunter, this piece depicts KAWS’s signature figure, Companion, in Black. This human/animal/cartoon hybrid has a Mickey Mouse body, complete with gloves, shorts, and clown-like shoes...

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This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. “Sunkissed Peaches” by Ann Goldberg is a radiant example of co...

Two pines , 60x25 cm, oil on canvas

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We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

KAWS Black BFF new, unopened in its original packaging. A well-received work and variation of KAWS' large scale BFF sculpture is in Los Angeles's Playa Vista neighborhood. Medium: ...

KAWS Frankenberry Monster: A highly collectible & super decorative KAWS art toy, featuring the famed cereal character: Frankenberry. A playful exploration of KAWS’s love for this timeless pop cultural character featuring his signature motifs. Each new / never displayed; accompanied by full original packaging. Medium: Vinyl art toy. Approximately: 11.4 × 6.3 inches. New in original packaging. Published by the artist from a sold out edition of unknown. Further background: “Inspired by classic horror film characters, the Monster Cereals...

In contrasting colors that pop Live Composition II, 2024 by African American artist Bai is a 30” x 22” abstract acrylic, oil pastel, and ballpoint pen work on paper. A focus on an ...

Laddie John Dill (American, b. 1943) Untitled Oil painting on canvas mounted on panel Hand signed Laddie Dill (verso) 36 x 72 inches. (with frame 37 X 73) Laddie John Dill was born ...

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A fine impressionist landscape of a Vermont farm by American artist Paul Starrett Sample (1896-1974). Sample was born in Louisville, Kentucky and went to school at Dartmouth College,...

Painted cast vinyl Edition of 500 (unnumbered, reported) Stamped on the underside of foot Figure in excellent condition, with minor markings. Some minor imperfections may exist given...

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Modern Impressionist Landscape Marine Oil painting of Boats in a Marina on a Misty Morning. Beautiful softly lit Oil On Board, signed and housed in a sympathetic handmade frame. Boy...

Swiss born artist Marco Schmidli creates minimalist paintings with a contemporary edge. Placing emphasis on process, he lets the mediums naturally manifest within his artwork. “An im...

David - my mom wants a photo again, 134x134cm, Oil, Canvas, sand

Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22 Circle of Cornelius Johnson (1593-1661) This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections. Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined. By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly. Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history. The couple had at least five children, and they became highly significant historical figures: The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland. Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty. The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’ A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994. The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park. Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished. Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity. The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings. Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity. The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...

KAWS Clean Slate (grey) new & unopened in its original packaging. A well-received work and variation of KAWS' large scale Clean Slate sculpture - a key highlight of KAWS’ major mus...

Lolli by Courtney Kinnare 2025 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 36" These functional art pieces build a color story through multiple layers of transluc...