Description:

ANNA MARY ROBERTSON 'GRANDMA' MOSES (American, 1860-1961)
Yellow Cutter 1957
oil and glitter on masonite
signed lower right: Moses.
artist's name, titled, dated and inscribed on label affixed verso: april 23, 1957/ 1773/ Yellow, cutter
29.5 x 40cm

PROVENANCE:
The Artist 1957
Galerie St. Etienne, New York
Hammer Galleries, New York (gallery stamp verso)
The Collection of Myron Boyce, 1966
Thence by descent

EXHIBITIONS:
Grandma Moses Art Festival: A Loan Exhibition, Buck Hill Art Association, Buck Hill Falls, Pennsylvania, 17 - 31 July 1965

LITERATURE:
Kallir, O., Grandma Moses, Harry N. Abrams, New York, 1973, p. 318 (illus), cat. no. 1283

OTHER NOTES:
"I have written my life in small sketches, a little today, a little yesterday... I look back on my life as a good day's work, it was done and I feel satisfied with it. I made the best out of what life offered." (1)

~ Grandma Moses, 1952

Born in 1860 in Greenwich, New York and living until the age of 101, Anna Mary Robertson Moses-affectionately known as Grandma Moses-emerged as one of the most celebrated American folk artists of the 20th century. Her career, remarkably, began in her seventies; a period when most artists have long since retired. Self-taught and unpretentious in both style and subject matter, Moses painted with a heartfelt reverence for the simplicity of rural life, capturing the rhythms of changing seasons, communal labour, and domestic festivity. Her work embodies a nostalgic yet unsentimental view of pre-industrial America, offering audiences a vision of comfort, order, and community at a time of increasing modernisation and social transformation.

Following her discovery by a New York art collector, Louis Caldor, in a Hoosick Falls pharmacy in 1938, her work quickly gained recognition. This subsequently led to her first exhibition in 1940 with Otto Kallir, the owner of Galerie St. Etienne in New York, who oversaw her rise to international fame and then wrote her catalogue raisonné with Hildegard Bachert in 1973.

Grandma Moses's paintings are instantly recognisable for their flattened perspective, bright palette, and meticulous attention to detail. Despite lacking formal training, her intuitive grasp of composition and narrative earned her a devoted following in both the United States and abroad. She painted what she knew; farmsteads, sleigh rides and maple sugar harvests, and each scene is animated by clusters of tiny, lively figures immersed in communal tasks. The visual charm of her work lies not in its technical virtuosity but in its warmth, generosity of spirit, and sincerity of purpose. Her art found widespread appeal during the 1940s and 1950s, when American audiences sought reassurance and cultural identity in local traditions.

One of the key works from her late period, Yellow Cutter 1957, exemplifies the enduring vitality of her vision. Depicting a bright, egg yolk yellow coloured horse-drawn sleigh, referred to as 'cutter' in the title, is gliding across a snow laden countryside. The scene captures the joy and efficiency of winter travel in a past era. The careful rendering of tracks in the snow, the bustling figures, and the charming architecture in the background collectively evoke the artist's intimate understanding of seasonal routines. In Yellow Cutter, Moses's winter landscape is not one of isolation but of movement and social connection; emphasising her overarching message that the human experience is most fulfilling when rooted in tradition and shared effort.

While her work is often placed within the realm of American primitivism or folk art, Grandma Moses defied categorisation. She was a populist artist whose imagery resonated with everyday Americans and major institutions alike, with her paintings entering prestigious collections including those of the Museum of Modern Art, the Metropolitan Museum of Art, the Art Institute of Chicago and the White House. More than just a regional chronicler, Moses became a national symbol of perseverance and productivity, inspiring creative potential at any age.

In celebrating the virtues of small-town life, Grandma Moses's art resists the fast-paced anonymity of modernity. Instead, her work invites us to slow down and observe the quiet dignity of agricultural rhythms and community. Artworks like Yellow Cutter endure not only for their visual charm, but for the values they preserve, such as gratitude for nature, pride in labour, and joy in the community. Through her paintings, Grandma Moses offered and continues to offer, a window into an America shaped not by urban ambition but by honest work, seasonal cycles, and enduring memory.

We are delighted to present one of her artworks in our June Fine Art Auction, marking one of the first times her work has appeared on the Australian secondary market, as her artworks rarely leave the United States.

Amanda North
Senior Fine Art Specialist

(1) Grandma Moses, artist statement, cited in Moses, G., Grandma Moses: My Life's History, edited by Otto Kallir, Harper & Brothers, New York, 1952


The copyright for this picture is reserved to Grandma Moses Properties, Co. New York

  • Provenance: The Artist 1957
    Galerie St. Etienne, New York
    Hammer Galleries, New York (gallery stamp verso)
    The Collection of Myron Boyce, 1966
    Thence by descent
  • Dimensions: 29.5 x 40cm
  • Exhibited: Grandma Moses Art Festival: A Loan Exhibition, Buck Hill Art Association, Buck Hill Falls, Pennsylvania, 17 - 31 July 1965
  • Literature: Kallir, O., Grandma Moses, Harry N. Abrams, New York, 1973, p. 318 (illus), cat. no. 1283
  • Medium: oil and glitter on masonite
  • Notes: "I have written my life in small sketches, a little today, a little yesterday... I look back on my life as a good day's work, it was done and I feel satisfied with it. I made the best out of what life offered." (1)

    ~ Grandma Moses, 1952

    Born in 1860 in Greenwich, New York and living until the age of 101, Anna Mary Robertson Moses-affectionately known as Grandma Moses-emerged as one of the most celebrated American folk artists of the 20th century. Her career, remarkably, began in her seventies; a period when most artists have long since retired. Self-taught and unpretentious in both style and subject matter, Moses painted with a heartfelt reverence for the simplicity of rural life, capturing the rhythms of changing seasons, communal labour, and domestic festivity. Her work embodies a nostalgic yet unsentimental view of pre-industrial America, offering audiences a vision of comfort, order, and community at a time of increasing modernisation and social transformation.

    Following her discovery by a New York art collector, Louis Caldor, in a Hoosick Falls pharmacy in 1938, her work quickly gained recognition. This subsequently led to her first exhibition in 1940 with Otto Kallir, the owner of Galerie St. Etienne in New York, who oversaw her rise to international fame and then wrote her catalogue raisonné with Hildegard Bachert in 1973.

    Grandma Moses's paintings are instantly recognisable for their flattened perspective, bright palette, and meticulous attention to detail. Despite lacking formal training, her intuitive grasp of composition and narrative earned her a devoted following in both the United States and abroad. She painted what she knew; farmsteads, sleigh rides and maple sugar harvests, and each scene is animated by clusters of tiny, lively figures immersed in communal tasks. The visual charm of her work lies not in its technical virtuosity but in its warmth, generosity of spirit, and sincerity of purpose. Her art found widespread appeal during the 1940s and 1950s, when American audiences sought reassurance and cultural identity in local traditions.

    One of the key works from her late period, Yellow Cutter 1957, exemplifies the enduring vitality of her vision. Depicting a bright, egg yolk yellow coloured horse-drawn sleigh, referred to as 'cutter' in the title, is gliding across a snow laden countryside. The scene captures the joy and efficiency of winter travel in a past era. The careful rendering of tracks in the snow, the bustling figures, and the charming architecture in the background collectively evoke the artist's intimate understanding of seasonal routines. In Yellow Cutter, Moses's winter landscape is not one of isolation but of movement and social connection; emphasising her overarching message that the human experience is most fulfilling when rooted in tradition and shared effort.

    While her work is often placed within the realm of American primitivism or folk art, Grandma Moses defied categorisation. She was a populist artist whose imagery resonated with everyday Americans and major institutions alike, with her paintings entering prestigious collections including those of the Museum of Modern Art, the Metropolitan Museum of Art, the Art Institute of Chicago and the White House. More than just a regional chronicler, Moses became a national symbol of perseverance and productivity, inspiring creative potential at any age.

    In celebrating the virtues of small-town life, Grandma Moses's art resists the fast-paced anonymity of modernity. Instead, her work invites us to slow down and observe the quiet dignity of agricultural rhythms and community. Artworks like Yellow Cutter endure not only for their visual charm, but for the values they preserve, such as gratitude for nature, pride in labour, and joy in the community. Through her paintings, Grandma Moses offered and continues to offer, a window into an America shaped not by urban ambition but by honest work, seasonal cycles, and enduring memory.

    We are delighted to present one of her artworks in our June Fine Art Auction, marking one of the first times her work has appeared on the Australian secondary market, as her artworks rarely leave the United States.

    Amanda North
    Senior Fine Art Specialist

    (1) Grandma Moses, artist statement, cited in Moses, G., Grandma Moses: My Life's History, edited by Otto Kallir, Harper & Brothers, New York, 1952


    The copyright for this picture is reserved to Grandma Moses Properties, Co. New York

Accepted Forms of Payment:

American Express, MasterCard, Visa

Shipping

For selected auctions, Leonard Joel offers a delivery service to Melbourne suburbs, please visit www.leonardjoel.com.au for details. Please note this service is not available for Sydney auction purchases.

June 24, 2025 6:00 PM AEST
Hawthorn, Australia

Leonard Joel

You agree to pay a buyer's premium of 25% and any applicable taxes and shipping.

View full terms and conditions

Bid Increments
From: To: Increments:
A$0 A$99 A$50
A$100 A$499 A$50
A$500 A$999 A$50
A$1,000 A$1,999 A$100
A$2,000 A$4,999 A$200
A$5,000 A$9,999 A$500
A$10,000 A$19,999 A$1,000
A$20,000 A$49,999 A$2,000
A$50,000 A$99,999 A$5,000
A$100,000 + A$10,000