What first draws the eye in Septembre (La Belle Jardinière) is the poised, almost statuesque figure of the young woman, auburn hair gleaming against the intricate tapestry of late summer blooms. She walks with measured grace, her arms filled with a basket brimming with wild flowers—an offering to the season, or perhaps a quiet celebration of its abundance. The artist leads us along the path she treads, bordered by lush hydrangeas and crowned by a tiered fountain whose water seems to echo the gentle rhythm of her steps.

Every detail—the black shawl trailing from her shoulders, the patterned dress, the careful balance of color and line—invites the viewer to linger, to imagine the coolness of the garden air and the soft sound of water in the stillness. Created in 1896, this image belongs to a world where the decorative arts flourished and the rhythms of nature were woven into daily life. Works like this, often designed for calendars or illustrated albums, were part of a wider movement that sought to bring art into the home, blending beauty with utility. Eugène Grasset was a celebrated figure in the Art Nouveau movement, known for his stylized forms and harmonious compositions.

Though little is recorded about this specific piece beyond its catalog entry, its presence in a collection of graphic arts calendars speaks to the era’s fascination with the cycles of nature and the artistry of everyday objects. The viewer is left with the sense that September, in Grasset’s hands, is not merely a month, but a living moment—one that rewards a second, closer look.