American Illustrator Philadelphian Thomas Guernsey Moore Pyrography Signed, Woman with Parasol and Shawl.

Hand painted pyrography.

Dimensions: 9.75 Inches high and 8.6 inches wide.

Signed in small script lower middle left

History:
Based in Philadelphia for most of his career, Thomas Guernsey Moore was best known for his work as an illustrator, designer, and decorator. Born in Germantown, Pennsylvania, Moore obtained an early education at Germantown Academy before attending the Pennsylvania Academy of Fine Arts in 1891. After his time at the Academy, Moore briefly worked at the Philadelphia Press, where he worked in the art department. Moore made his Saturday Evening Post debut with his cover for the June 1900 issue.

During this time, he was also sharing a studio with fellow Post illustrator and author George Gibbs. Prior to debuting his first cover, Moore redesigned the Post’s masthead, introducing a new style of lettering. He would go on to produce 63 covers for the Post, with his final cover appearing on January 19, 1924. In 1904, Moore was named as the magazine’s Fine Art Editor.

Mounted in it’s original period oak wood frame.

Provenance: Old New England collection.

History of the Pyrography:
py·rog·ra·phy, a noun, is the art or technique of decorating wood or leather by burning a design on the surface with a heated metallic point. Pyrography was particular popular in America and Europe during the last quarter of the 19th century and first quarter of the 20th century.

We will be offering more important high quality Folk Art and pyrography works of art in the near future.

We have been collecting and dealing in authentic American Folk Art and pyrography works of art for more than thirty years.
Our president has authored informative articles on collecting pyrography and has amassed what is believed to be internationally the largest and finest collection of pyrographic folk art which is now being de-accesssioned.

History of the Pyrography and Authoritative Article:
py·rog·ra·phy is the art or technique of decorating wood or leather by burning a design on the surface with a heated metallic point. Pyrography was particular popular during the last quarter of the 19th century and first quarter of the 20th century

Pyrography: Embers of Expression in Global Decorative Arts

Pyrography—the art of burning designs into wood or other materials—has existed as a form of creative expression across continents for millennia. Often overlooked in the canon of decorative arts, pyrography reached its zenith during the Arts and Crafts Movement of the late 19th and early 20th centuries, when it flourished as a refined craft celebrated for its blend of artistry, functionality, and natural materials. This article traces pyrographyʼs evolution
from ancient utilitarian origins to its golden age in America and Europe, highlighting its global diversity and enduring aesthetic value.

The Burnt Line as Artistic Language

Pyrography, from the Greek pur (fire) and graphos (writing), literally means “writing with fire.” Its practice involves using heated tools to burn images or text into organic surfaces such as wood, leather, gourd, or even paper. While its technical methods are simple, its expressive potential is vast. Found in early tribal artifacts, medieval religious objects, and later Arts and Crafts decorative panels, pyrography has emerged as a timeless and transnational medium.

Pyrography in the Arts and Crafts Movement

The Western rediscovery and elevation of pyrography occurred during the late 19th century, spurred by the ideals of the Arts and Crafts Movement. In an era reacting against industrialization, artisans and reformers like William Morris advocated for handmade, nature-inspired works using traditional craft techniques. In America, this philosophy inspired a wave of amateur and professional pyrographers, particularly women, who turned to the craft as a respectable artistic outlet. Pyrography became a popular medium for decorating household items: glove boxes, furniture, picture frames, plaques, and even full-sized cabinet panels. The development of commercial pyrography tools such as the “Poker Work Machine” in Europe and “Pyrography Pen” kits in America made the art more accessible to middle- class artisans. Magazines, pattern books, and instructional manuals encouraged this home-based artistic production, often blending botanical, Art Nouveau, and Japonese design motifs.

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