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Twenty-odd hot air balloons at sunrise over a lavender field, in portrait format so they stack up the frame rather than across it. Strong colour, clear shapes, and one genuinely hard band across the bottom.
Balloons at every depth, from one filling the middle of the picture down to a dozen tiny ones on the horizon. The envelopes are in chevrons, checks, stripes and blocks: yellow and black, rainbow chevron, red and orange flame, green and white check, blue and purple. Wicker baskets slung under the nearest few with figures just visible in them.
Below, rows of lavender running away in converging lines to a hedge line and distant trees, with the sun sitting right on the horizon throwing visible rays across the field. Above, a sky that runs from warm gold at the bottom through pale blue to deeper blue at the top, with pink and mauve cloud banks catching the light.
The first passengers in a hot air balloon were a sheep, a duck and a rooster. Versailles, 19 September 1783, launched by the Montgolfier brothers in front of Louis XVI. The balloon climbed around 600 metres, stayed up eight minutes and came down three and a half kilometres away. All three animals were found alive. Humans followed two months later, on 21 November, when Pilatre de Rozier and the Marquis d'Arlandes took a Montgolfier balloon over Paris.
And there is a reason every photograph of balloons looks like this one. They fly at sunrise and at sunset because that is when the air will let them. Once the sun is properly up it heats the ground, the ground throws off rising columns of warm air, and those thermals make the balloon far harder to steer and the wind far harder to predict. The burner itself only heats the air inside the envelope to about 100 degrees, which is enough, because hot air is simply lighter than the cold morning air around it.
The balloons are almost trivially easy and they are only half the picture. Each one is a large curved shape in a strong repeating pattern, unique in the frame, so they go in fast and they feel great.
Then you meet the sky and the lavender, which are the real puzzle. The sky is a smooth vertical gradient with soft cloud, so lay those pieces out in tonal order top to bottom before placing any. The lavender is a repeating purple corduroy of rows that all look alike, but the rows converge, so sort lavender pieces by how wide the stripes are: wide stripes belong at the bottom of the picture, narrow ones near the horizon. That works where colour does not.
Cobble Hill are Canadian and cut a random cut: irregular shapes, no grid, no two the same. On a field of repeating lavender rows that is what stops the bottom third becoming interchangeable. Linen print texture on the board, and a random cut does not count out neatly, so skip the piece count.
| Brand | Cobble Hill, Canada |
| Pieces | 1000, random cut |
| Orientation | Portrait |
| Finished size | 49 x 68 cm |
| Difficulty | Moderate. Easy subject, hard sky and foreground |
Balloons are a staple of the category because they solve a problem for the artist: they put strong, varied, hard-edged colour into a sky, which is otherwise the emptiest part of any landscape. That is also why they make a better puzzle than the same field photographed without them. Derived from multiple public data sources across retail, search and community platforms, refreshed 31 August 2026.
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