
Japanese Squash
A squash in ink and watercolor: the autumn harvest, seen by an artist.
Autumn on the wall through its colors rather than its pumpkins: ochre, terracotta, burgundy, sage green, and the gray-gold of Watercolor Sunset, the sky of a late October afternoon.
See the poem of the season
« Les sanglots longs des violons de l'automne » (The long sobs of the violins of autumn): Verlaine's eighteen very short lines, set in large letters on a light ground, in the original French. They read from across the room, alone in an entryway or at the center of a triptych in russet tones.
Printed on thick matte eco-friendly paper. Frame not included.
Printed and shipped from a studio near you: most orders arrive in 5 business days.
Les sanglots longsDes violonsDe l'automneBlessent mon cœurD'une langueurMonotone.
Tout suffocantEt blême, quandSonne l'heure,Je me souviensDes jours anciensEt je pleure ;
Et je m'en vaisAu vent mauvaisQui m'emporteDeçà, delà,Pareil à laFeuille morte.
The long sobs of the violins of autumn wound my heart with a monotonous languor. All choking and pale, when the hour strikes, I remember the old days and I weep. And I go off in the ill wind that carries me here and there, like a dead leaf.
A plain prose rendering, offered as a reading aid. The print keeps the original French.
Fall decor has one flaw: it goes back in the box on November 1st. Leaf garlands and pumpkins end up in the attic, and the wall is bare again. Four guidelines are enough to compose an autumn you keep through Christmas, and long after.
Ochre and terracotta, which warm; burgundy, which deepens; sage green, which calms the other three. They work on a white wall as on a beige one, with wood, linen and leather.
Three all-orange prints tire within a week. Two warm and one cool last all winter: a russet landscape, a golden field, and a green or a blue to hold them.
About 5 to 8 cm. Same size, same frames, the same gap everywhere: three 30x40 cm prints, or a 50x70 cm triptych ordered as one set.
Any smaller, 16x20 in, and you can no longer tell the pomegranates from the lemons in Four Fruits. A poem, on the other hand, reads very well in 30x40 cm.
Four colors make autumn on a wall: ochre, terracotta, burgundy and sage green. The rule is simple: one dominant warm color, one cool color to hold it.
Autumn in Yunoyama Onsen follows it to the letter. The mountains are orange and red, the water and sky sea green: warmth and its breathing space in the same image. The Japanese travel posters of the 1930s turned autumn into a blazing landscape with nothing rustic about it.
It is the print that opens the season, and there is no reason to take it down in December.
Fruit. Pomegranates, lemons, peaches: the oldest harvest motifs in decoration. William Morris made Four Fruits from them in 1862, and the pattern has not aged a day. It stays up all year, and that is its strength.
October flowers. The marigold, drawn by Morris in 1875 in Marigold. Botanical plates: a squash in ink, red ivy on a facade, seasonal nature seen by an artist, not by a decor store.
Two warm prints, one cool: the autumn trio that stays up until Christmas.The rule of the season
Like every triptych: same size, same frames, 2 to 3 inches (5 to 8 cm) apart, with one more rule, two warm prints for one cool. Three combinations that work:
Yunoyama Onsen, Four Fruits and Morris's Willow for the green. Monet's Houses of Parliament, Van Gogh's Wheat Field with Cypresses and Palazzo da Mula for the blue. Or the red ivy watercolor, Verlaine's poem and the ink squash.
The difference from decor bought for the season: nothing gets packed away in November. In December they are Christmas prints; in March, simply prints.
50x70 cm (20x28 in) for a single russet landscape above the sofa: Monet's Houses of Parliament, with its mauve mist and orange sun, takes the place of a window opening onto a London evening. 40x50 cm (16x20 in) for a fruit pattern above a dresser. 30x40 cm (12x16 in) to compose a trio in an entryway or a hallway.
Above a piece of furniture, the bottom of the frame sits 6 to 8 inches (15 to 20 cm) above the sofa back or the top.
Russets and golds on thick matte eco-friendly paper.

A squash in ink and watercolor: the autumn harvest, seen by an artist.

William Morris, 1875: the marigold, October's flower, in blue. The cool note that holds a trio of russets.

Van Gogh, 1889: the gold of the wheat and the deep green of the cypresses, warm and cool on the same canvas.

Claude Monet, 1880: a bouquet of late-summer yellow flowers, for a dining room or a kitchen.
Because it is the one poem whose first stanza the French recite without thinking. Everyone knows the opening, few have the rest on their wall. Eighteen lines of four and three syllables: the shortest form there is, made for a print you read in a single glance.
In an entryway, it welcomes the season; at the center of a trio, between a red ivy watercolor and an ink squash, it gives the colors their words.
Ochre, terracotta, burgundy and sage green. The rule: one dominant warm color and one cool color to hold it, like a russet landscape under a sea-green sky.
Paul Verlaine's Chanson d'automne (Autumn Song), published in Poèmes saturniens in 1866: eighteen very short lines that fit on a print in large letters. It hangs alone or at the center of a triptych in russet tones.
Same size, same frames, 2 to 3 inches apart, and two warm prints for one cool. For example a Japanese autumn landscape, the fruit of Four Fruits and the green of Willow, by William Morris.
50x70 cm (20x28 in) for a single landscape above the sofa, 40x50 cm (16x20 in) for a dense pattern above a dresser, 30x40 cm (12x16 in) for a trio in an entryway or a hallway.
Yes, as long as it is not holiday decoration. Fruit, a sunset or a poem stay on the wall through Christmas and beyond; a pumpkin garland gets packed away on November 1st.
Ochre, terracotta, burgundy, sage green, and a poem. Autumn on the wall is what you never pack away.
See the print