John Milne Donald (1819-66) Autumn Leaves. Now this kind of scene is something that has not changed, thankfully. ‘A native of Nairn, John Milne Donald grew up in Glasgow apprenticed to a horse painter. After early years spent travelling to France and working as a picture restorer in London, in 1844 he returned to Glasgow to paint landscapes. While his early work tended to follow the dark and brown tones of the Dutch School, his later landscapes acquired freer and more luminous tones under the influence of Horatio McCulloch. Donald was a careful observer of nature and had considerable influence on the development of painting in Glasgow and upon younger west coast artists’ (The Fine Art Society, Edinburgh).

Ken Broderick (on the Post yesterday) is not at all well known, surprisingly as he was obviously such a good painter, whereas today’s painting, Autumn – a 1931 poster design by Mark Gertler for the Empire Marketing Board – is by someone very well known indeed. On the day that the previously-unknown Anna Burns leaps into the literary canon, all the questions to do with fame and reputation and artists being forgotten swirl around in one’s head: our website has gone live with the two new books and we shall spend the next few months trying our utmost to slot Lettice Cooper and Edith Ayrton Zangwill into (their rightful places in) the canon.

What a heavenly painting – Autumn Leaves by Ken Broderick (1912-90), Trafford Local Studies Centre here.

We have our Autumn poster in the window of the shop and when you come in there are dahlias and quinces. So this week on the Post – autumn paintings. This is Dod Procter Autumn Flowers 1946, in the Royal Academy of Arts collection.

And these stacking tables are by Josef, and were also designed in 1926: Josef and Anni Albers’ work was extraordinarily (and fascinatingly) intertwined.

This was by Anni’s husband Josef Albers.

A wallhanging: it’s going to be interesting to see at the Tate exhibition how it will show Anni Albers’s work developing – since in some ways her most interesting design (this geometric one with all its variations) was completed when she was in her mid ’20s and everything subsequently was a variation on the same theme. But the display is obviously stunning. Adrian Searle in the Guardian today says: ‘it is rare to come from an exhibition so buoyed up, so ravished and so covetous as I did after seeing Anni Albers at Tate Modern. Her art gives pleasure to the eye and to the mind and to the touch…I almost inhaled this exhibition.. her textile art gives pleasure to a room, to a wall, a bed, a floor, to the spaces in between… Albers’ hand-woven art is a lesson in colour and geometry, method and singularity; tactile and optical, spatial and utilitarian; most of all, her work gives pleasure, and this exhibition is a revelation and a delight.’