EDITION NO. 03
Henry Lyman Saÿen, "Anemones" 1910-1912
Anemones (ca. 1910–1912) reflects Henry Lyman Saÿen’s shift from scientific training into early American modernism, blending structural brushwork with a soft, atmospheric palette. Painted during his time in Paris, the work shows the influence of Post-Impressionism and Cézanne, translating a simple floral subject into a study of form, rhythm, and color rather than strict realism.
EDITION NO. 02
Robert Delaunay, "Portrait De Madame Heim" 1926–27
Robert Delaunay was a pioneer of Orphism, a style that focused on color and rhythm rather than realistic form, and he often explored how color alone could create movement and emotion.
In "Portrait De Madame Heim" he blends portraiture with abstraction—something many people don’t realize—so while it appears decorative and geometric at first, it’s actually a stylized representation of a real person rather than a purely abstract composition.
Edition No. 01
Paul Klee, "Magic Garden" 1926
Painted in 1926 during his years teaching at the Bauhaus in Germany, Magic Garden represents one of Paul Klee’s most refined explorations of imagination structured through order.
Rather than depicting a literal landscape, Klee constructs a garden from symbols, color relationships, and rhythmic geometry. Small blocks of luminous color appear to grow organically across the surface, suggesting pathways, plants, architecture, and unseen life emerging simultaneously.
Klee believed art should not simply reproduce nature but reveal its inner logic. As he famously wrote:
“Art does not reproduce the visible; rather, it makes visible.”
In Magic Garden, the viewer moves through space almost like wandering at dusk — forms hover between abstraction and memory. The composition balances playfulness with precision, reflecting Bauhaus ideals where intuition and structure coexist.