Paul Klee, ‘“sieben Blüten” Pencil on paper on cardboard, signed, dated and titeled 1926’, 1926, HUNDERTMARKartFAIR
Paul Klee, ‘“sieben Blüten” Pencil on paper on cardboard, signed, dated and titeled 1926’, 1926, HUNDERTMARKartFAIR
Paul Klee, ‘“sieben Blüten” Pencil on paper on cardboard, signed, dated and titeled 1926’, 1926, HUNDERTMARKartFAIR
Paul Klee, ‘“sieben Blüten” Pencil on paper on cardboard, signed, dated and titeled 1926’, 1926, HUNDERTMARKartFAIR
Paul Klee, ‘“sieben Blüten” Pencil on paper on cardboard, signed, dated and titeled 1926’, 1926, HUNDERTMARKartFAIR

signed ‘Klee’ (upper left), dated ‘10.4.26’ and inscribed ‘abend 9 Uhr’ (upper right), dated and numbered ‘1926 D.1’ (lower left on the mount), inscribed ‘sieben Dynamoradiolaren und andere’ (lower right on the mount).

Signature: signed ‘Klee’

Amsterdam, Stedelijk Museum, Verzameling Ella Winter, 1961-62, no. 6
Zürich, Galerie Renée Ziegler, Paul Klee, 1963, no. 18

Will Grohmann, Paul Klee. Handzeichnungen 1921-1930, Potsdam/Berlin, 1934, no. 68.
Richard Hoppe-Sailer, Gut ist Formung. Schlecht ist Form. Zum Problem des Naturbegriffs bei Paul Klee, Habilitationsschrift Universität Basel, 1998, p. 191
Paul Klee Foundation, ed., Paul Klee Catalogue raisonné, 1923-1926, vol. IV, Berne, 2000, no. 4082, reproduit p. 469

Rolf und Catherine E. Bürgi, Berne (jusqu’en 1950)
Curt Valentin (Buchholz Gallery ; Valentin Gallery), Berlin / New York (à partir de 1950)
Saidenberg Gallery, Inc., New York
Jackson (jusqu’en 1960)
Berggruen & Cie, Paris (1960-64)
Firmensammerlung Süddeutsche

About Paul Klee

Known for his unique pictorial language and innovative teachings at the Bauhaus, Paul Klee had far-reaching influence on 20th-century modernism. In an early attempt to master color, he associated himself with the group Der Blaue Reiter (The Blue Rider), working closely with friend and future Bauhaus colleague Wassily Kandinsky. While engaged with artistic theory, Klee also admired children’s art, wanting his own style to be similarly unaffected. And his dream-like pictures made him popular with the Surrealists, though he never officially became one. Klee’s work can be humorous, his fantastic drawn subjects conveying a playful sense of absurdity, as with his famous Twittering Machine (1922). Later in his career, he began to build up thicker painted surfaces and simplify his compositions, replacing precise line-work with fewer, bolder forms. Klee’s art and lessons on color theory would greatly impact later generations of artists, including, significantly, the Abstract Expressionists and Color Field painters.

German, 1879-1940, Münchenbuchsee, Switzerland, based in Muralto, Switzerland