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Lenora Carrington : Chapeau Chaud pour le Ski, 1939 Gouache on brown paper 25 × 18.5 cm | 9-7/8 × 7-1/4 in Further info in the alt text 👇

The piece was produced during a pivotal period in Carrington's life. In 1937, she aligned herself with the Surrealist movement after meeting artist Max Ernst in London and moving with him to Paris and later Saint-Martin-d'Ardèche. Works from this era, like Chapeau Chaud pour le Ski, reflect her burgeoning, whimsical imagination and mastery of smaller-scale paper mediums right before the outbreak of World War II disrupted their lives.

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Eyvind Earle : Hillside Magic, 1976 The piece captures an enchanting, stylized view of a verdant landscape defined by his distinct use of bold lines, sharp geometry, and a meticulous play of light and shadow. Further info in the alt text 👇

Before dedicating his career entirely to fine art painting in the 1960s, Eyvind Earle achieved massive acclaim as an art director and background stylist for Walt Disney Studios. He is famously the visionary mastermind responsible for the iconic, intricately detailed, and tapestry-inspired look of animated classics like Sleeping Beauty (1959), Peter Pan, and Lady and the Tramp.

The graphic precision, dense foliage patterns, and moody atmospheres that defined his Disney backgrounds carried over heavily into his independent fine art serigraphs and paintings like Hillside Magic. His landscapes evoke a unique blend of reality and fantasy, building upon what he described as being "constantly and everlastingly overwhelmed at the stupendous infinity of Nature."

Art Authentication & Appraisals
For collectors and enthusiasts interested in verifying or valuing an original piece or serigraph of Hillside Magic:

Official Estate:
Appraisals and authentication details can be navigated through the Eyvind Earle Official Site.

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Paul Klee : Castle Landscape with Black Lightning, 1920 Indian ink and pencil on paper mounted on cardboard 24 × 16 cm Zentrum Paul Klee in Bern, Switzerland Further info in the alt text 👇

Inspiration:
The piece captures Klee's expressionistic impression of Castelmola, a medieval Sicilian village built directly around the craggy ruins of a Norman castle.

Artistic Period:
Created in 1920, this work stands at a major turning point in Klee's career. In November of that year, he officially joined the influential Bauhaus school as a faculty member, entering a highly celebrated era of rapid aesthetic experimentation, structural geometry, and formal invention.

Style and Composition:
The composition exemplifies Klee’s highly individual blend of Expressionism and early Cubist spatial division. It breaks the architectural forms of the castle and its surrounding landscape into simplified geometric planes, dominated by a stark, striking lightning bolt element that disrupts the landscape.

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Sheldon Parsons : Santa Fe Mountains in October, 1919 Oil on plywood panel 35-7/8 × 23-7/8 inches 91.1 × 60.6 cm New Mexico Museum of Art Further info in the alt text 👇

The painting captures the vibrant autumn transformation of the Southwest landscape, showcasing slender, radiant golden aspen trees contrasting against the deep blue and purple hues of the background mountains.

Parsons moved to Santa Fe in 1913 after a successful portrait career in New York. He became known for his serene, impressionistic landscapes that emphasized the brilliant light, expansive skies, and rich natural architecture of Northern New Mexico.

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Leonora Carrington : The Lovers, 1987 76 × 103 cm Part of The Levett Collection and has been featured at FAMM (Female Artists of the Mougins Museum) in France. Further info in the alt text 👇

The Alchemical Union:
The painting depicts a ritualistic scene centered around a king and a queen. They are dressed in red and blue and positioned on a bed inside a makeshift room resembling a desert tent under a starry night sky.

Integration of Opposites:
In line with Carrington's interest in alchemy and magic realism, the merging of the two figures represents the union of male and female energies. This balancing of opposites was a core tenet of her belief system for achieving a higher state of consciousness.

The Tarot & Arcane Presence:
The artwork directly references the sixth major arcana of the Tarot deck (The Lovers). Surrounding the central bed are mysterious hooded figures dressed in black and white, reminiscent of secret Masonic or esoteric societies.

Solar Symbolism:
Suspended above the bed is a bright sunflower, a symbol directly representing the sun, gold, and vitality in the alchemical process.

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George Callaghan : Path to the Village, 2018 Oil & Acyrlic on Canvas 10.5 × 13.5 inches

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Oskar Schlemmer (1888-1943) : The Triadic Ballet, black sequence, figure with helmet. With the rise of the Nazis in the early 30s, Schlemmer lost his teaching post in Berlin. His work was included in the infamous exhibition of ‘Degenerate Art’ in 1937.

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Cats, rats, and bats. None are wearing their hats. They’re here to stay. Refusing to pay. They disliked their old habitats. Words & art : Andy Levine, 2018

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Georgia O'Keeffe : My Autumn, 1929 Oil on canvas 40 × 30 in | 101.6 × 76.2 cm Georgia O'Keeffe Museum, Santa Fe, New Mexico Further info in the alt text 👇

Several large, smooth yellow leaves populate the canvas. A bright red oak leaf emerges from the cluster of yellow leaves. Other bright red leaves fill the background.

With its vibrant hues of yellow and crimson, My Autumn, clearly exemplifies O'Keeffe's passion for this time of year.

The beauty of My Autumn lies in O'Keeffe's exploration of color, form and light. She stated,
"It is lines and colors put together so that they may say something. For me, that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint."

O'Keeffe often acknowledged the substantial influence of her teacher Arthur Wesley Dow on her works. She recalled,
"This man had one dominating idea; to fill space in a beautiful way--and that interested me."

As a student of Dow, O'Keeffe was influenced by his teachings of what was known to his students as "the trinity of power": line, notan--the Japanese concept of using balanced values of darks and lights--and color, demonstrated in My Autumn. These ideas were further reinforced through her own readings in modern art theory and through Alfred Stieglitz.

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Rabbit Rabbit Happy October 🍂🍁 🐇🐇

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Henri Rousseau : Mandrill in the Jungle, 1909 Oil on canvas Contrary to his typically massive canvas works, this is remarkably small: 19 × 24 cm | 7.5 x 9.5 in Private Collection Further info in the alt text 👇

The artwork features a close-up portrait of a mandrill peeking through heavily layered, vibrant jungle flora. The mandrill's face acts as the central focal point, with its highly detailed, distinct red and blue snout providing a sharp contrast against a rich, enveloping background of overlapping green leaves and brown tones.

Like all of his celebrated jungle scenes, Rousseau painted this masterpiece without ever leaving France or seeing an actual jungle. Instead, he relied completely on his imagination, trips to the botanical glasshouses at the Jardin des Plantes in Paris, sketches of taxidermied museum animals, and illustrated books.

This self-taught approach allowed him to defy traditional atmospheric perspective, choosing instead to layer flat planes of color that give the piece a dreamlike and mysterious quality.

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Joseph Stella : The Palm (Herons), 1926 Pastel on paperboard 43-1/2 × 32-5/8 in | 110.5 × 82.9 cm Hirshhorn Museum and Sculpture Garden (Smithsonian Institution) in Washington, D.C. Further info in the alt text 👇

While widely celebrated for his dynamic industrial and futuristic depictions of New York City (such as the Brooklyn Bridge), Stella also held a profound, spiritual fascination with the natural world.

The painting integrates rhythmic, symmetrical palm structures and majestic waterbirds.

Rather than relying on raw realism, Stella infuses the canvas with a magical, dreamlike quality. It bridges sharp modernist geometry with elements of surrealism and traditional folk art symmetry.

For Stella, these lush botanical and avian studies were a deeply spiritual endeavor. He aimed to elevate everyday flora and fauna into symbols of paradise, innocence, and wonder

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Cyril Cox (Canada, b. 1958) : Glorius Autumn, 2022 Acrylic on canvas | 36 × 48 in Private Collection A vibrant autumn scene showcasing colorful birch and aspen trees in a brilliant fall forest.

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Victor Brauner : Pantacular Progression, 1948 Encaustic (molten wax) on cardboard. He heavily favored the encaustic technique during the 1940s because its dense, layered texture allowed him to achieve a distinctive archaic, fresco-like finish 19.75 x 27.5 in | 50.2 x 69.8 cm Museum of Modern Art

Created in 1948, the artwork reflects Brauner's deep engagement with spiritualism, myth, occultism, and hybrid animal-human figures. Following a traumatic accident in 1938 where he lost his left eye, Brauner's compositions became increasingly flat, symbolic, and filled with personal and religious iconography. Pantacular Progression showcases his characteristic geometric and symbolic codification of forms, using flattened perspectives and interconnected organic shapes to depict a mystical evolution or narrative.

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Singing in the rain 🌧 ht / Banksy

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Gualtiero Nativi : Me Moi Yo, 1947 tempera on board 52 × 36.5 cm Geometric structures, and clean-lined abstract interactions. Focused study in geometric composition, showcasing early post-war structured forms. More 👇

Me Moi Yo" is a social media concept or board theme—frequently seen on platforms like Pinterest—used to curate personal identity, aesthetics, or self-expression through modern artwork. A prominent piece associated with this curation is an abstract work by the Italian master Gualtiero Nativi from 1947.

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Yuri Pavlovich Annenkov : June, Forest, 1918 Oil on canvas 107.5 × 71.5 cm State Tretyakov Gallery in Moscow

$Annenkov fractures the natural landscape into geometric planes, sharp facets, and structured blocks, giving the organic woodland an almost architectural grid. Created in 1918, the painting emerged directly during the turbulent aftermath of the October Revolution. While Annenkov was heavily involved in designing revolutionary propaganda, theater spectacles, and illustrating Alexander Blok's seminal poem The Twelve during this period, June. Forest stands out as a vibrant, highly progressive, and surprisingly uplifting escape into nature amid Russia's civil unrest.$

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Lapis has colored my world. 💙 Pantone 19-4045 TCX Lapis Blue

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Marfa Tymchenko (Ukraine, 1922-2009) Evening Stars, 2005 Oil on canvas | 70 × 41 cm

For her foundational contributions to Ukrainian culture, she was awarded the prestigious Taras Shevchenko National Prize in 2000.

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Georgia O'Keeffe : Sunflower, New Mexico, I, 1935 Oil on canvas | 53.3 × 43.2 cm Cleveland Museum of Art

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Iggy & Tom celebrating National Coffee Day

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Egon Schiel : Wilted Sunflowers (Autumn Sun II), 1914 Oil on canvas 39-3/8 × 47-1/2 in 100 × 120.5 cm Private collection Drooping sunflowers reflect sadness and sense of coming doom prior to World War I. He created the work as a dark tribute to Vincent van Gogh's sunflower paintings. More 👇 👇

Nazi Looting and Loss

Original Owner:
Austrian art collector Karl Grünwald owned the painting.

Confiscation:
The Nazis stole the artwork from storage in France during World War II and sold it in 1942.

Missing Years:
The painting vanished for more than 60 years and many feared it was destroyed.

The Find:
A private owner in France requested an art valuation, which revealed the painting was the long-lost Schiele masterwork.

Return to Family:
Christie's helped return the painting to Karl Grünwald's heirs in early 2006.

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Franz Marc : The First Animals, 1913 Gouache and pencil on paper 39 x× 46.7 cm | 15 × 18 in Further description in the alt text 👇

The artwork features stylized, bold depictions of animals, primarily horses, rendered through geometric planes and sharp angles.

Color Symbolism:
Marc used bright, vivid colors to show emotion and spirituality rather than real life. He often used blue to mean spiritual and calm feelings, and red to mean heavy earth and energy.

View of Nature:
Marc believed that animals were purer and more connected to the universe than humans. He painted them to show a spiritual harmony in nature.

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Constantin Brâncusi : Sleeping Muse I, 1909-10 white marble Modern sculpture distilling the human head into a serene, ovoid egg-shape Hirshhorn Museum, Washington Later versions: plaster & polished bronze. Other casts in Metropolitan Museum of Art, Art Institute of Chicago, and Centre Pompidou

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Joseph Stella (1877-1946) : Tree, Cactus, Moon, c. 1928 Gouache on paper 40-5/8 × 26-1/2 in | 104.1 × 68.6 cm Reynolda House Museum of American Art in Winston-Salem, NC Further description in the alt text 👇

Features a strong central axis that mimics the layout of a traditional religious altarpiece or a crucifix, blending natural imagery (the tree, cactus, and moon) with spiritual overtones.

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📸 : Edward Mapplethorpe, (Robert's younger brother & Patti's life-long best friend), n.d.

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Pierre-Auguste Renoir : Umbrellas, 1881 Oil on canvas National Gallery in London Further description in the alt text 👇

Two Distinct Styles:
Renoir painted the canvas in two separate phases with a gap of roughly four years. The right side (a mother and her two daughters) features loose, feathery Impressionist brushwork with luminous blues and warm tones. The left side (the prominent young woman and background) was completed around 1885–1886 after Renoir grew disillusioned with Impressionism and adopted a sharper, linear, classical style inspired by Ingres and old masters.

Hidden Revisions:
X-ray analysis reveals that the principal woman on the left originally wore a fashionable middle-class dress with frills and a hat. Renoir later repainted her into a simpler, working-class milliner's assistant holding a bandbox.

Composition:
The top portion of the canvas is dominated by a canopy of geometric, semicircular umbrellas, while the tight framing of foreground figures prefigures modern street photography.

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Georgia O'Keeffe : Trees in Autumn, 1920-21 Oil on canvas | 25.25 × 20.25 Georgia O'Keeffe Museum, Santa Fe Further description in the alt text 👇

The composition features a vibrant, large orange-red tree set against purple-white hills and a blue sky.

It includes splashes of yellow on the left side and a green fir tree on the right.

Painted during her time at Lake George, New York, the artwork captures the brilliant autumn colors of the region.

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Wine Drinking in a Spring Garden c. 1430 (Timurid or Aq Qoyunlu period) Iran, possibly Tabriz Opaque watercolor and gold on undyed silk 8-1/2 × 11-7/8 in | 21.6 x 30.2 cm The Metropolitan Museum of Art, Gallery 455 Further description in the alt text 👇

A courtly springtime gathering beneath the flowering branches of a prunus (plum/blossom) tree.

A young man offers a cup of wine to a maiden who holds a safina—an oblong poetic anthology. This interaction represents classic Persian courtly ideals of love and renewal often celebrated during Nowruz (the Persian New Year).

The artwork shows distinct artistic exchange with China, visible in the horizontal arrangement of the figures, the neutral background, the use of gold clothing details, and how the woman's figure layers against the flowering tree.

Scholars believe the piece was forcibly removed from an imperial album, likely matching material found in the Topkapı Palace Library in Istanbul.

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Vincent van Gogh (1853 - 1890) : Avenue in a Park, Arles, May 1888 chalk, pen and ink, on paper, 25.7 × 34.8 cm Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

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Moise Kisling : Still Life with Pansies in a Vase, 1918 Oil on canvas

A colorful bouquet of pansies srranged in a blue vase against a contrasting background.

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Georgia O'Keeffe : Blue and Green Music, 1919-21 Oil on canvas 58.4 × 48.3 cm | 23.0 × 19 in The Art Institute of Chicago This abstract piece captures the artistic concept of synesthesia: the translation of auditory experiences like music into visual compositions for the eye. More info 👇👇

Created during her influential New York years while living with photographer Alfred Stieglitz, the painting belongs to a series of works where O'Keeffe actively experimented with rhythmic abstraction. She was heavily inspired by the theories of Russian Expressionist painter Wassily Kandinsky, specifically his 1912 treatise Concerning the Spiritual in Art. Kandinsky argued that visual artists should emulate music to achieve pure emotional and spiritual expression free from literal objects. Reflecting on this creative liberation, O'Keeffe famously noted:

"I found that I could say things with color and shapes that I couldn't say any other way—things that I had no words for."

Bands of deep blue, rich black, and vibrant green extend diagonally from the bottom. They are juxtaposed against rippling white and pale blue forms that float like fluid waves, blowing petals, or leaves.

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Remembering the incomparable Miles Davis who slipped into the cosmic ether otd in 1991. So What youtu.be/zqNTltOGh5c

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Morris Kantor : Girl With a Cigarette, 1940 oil on linen 39 ¾ x 36 ⅛ in | 101.1 x 91.6 cm Smithsonian American Art Museum It represents a shift in his career c. 1940, during which he moved away from his earlier combinations of realism and fantasy to focus heavily on figural studies.

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