Wheat and Wormwood (1922 CE)
Wheat and wormwood appears to be a botanical study, but its layered symbolism and refined execution invite the viewer into a deeper contemplation of nature’s invisible forces.
Sweden
A collection of items from Sweden, reflecting its Nordic heritage and modern design. These pieces span Viking relics to contemporary works, showcasing Sweden’s cultural evolution.
The Swan, No. 12 (1915 CE)
With its bold interplay of mirrored forms, luminous colors, and a precisely divided composition, the The swan no.12 invites contemplation of harmony, transformation, and the tension between opposing forces.
The Swan, No. 14 (1915 CE)
The painting's central forms and color harmonies evoke the "white stone" phase of alchemical transformation, symbolizing spiritual purification and the union of opposites en route to enlightenment, much like an inner journey toward the philosopher's stone.
The Swan, No. 17 (1915 CE)
In this painting from the swan series, the circle, divided yet whole, suggests that opposites are not endpoints but processes seeking unity.
The Seven Pointed Star, No. 14 (1908 CE)
Set against a light beige ground, The seven pointed star feels like a secret diagram of the universe: intimate in scale yet infinite in implication.
The US Series, No. 7 (CE)
When the last brushstroke was set on No. 7 of the US series, the High Masters informed her that her commissioned work was finished, and she largely ceased creating large esoteric paintings thereafter.
Buddha’s Standpoint in the Earthly Life, No. 3a (1920 CE)
Painted in a restrained palette of black, white, beige and subtle metallic glints, the work feels both ancient and startlingly modern – a meditative mandala that invites contemplation of duality, balance and the path of the buddha toward enlightenment.
Self Portrait (c.1890 CE)
Though created during her conventional, realistic phase, this self portrait feels like a threshold: the last calm moment before she stepped into the unknown.
The US Series, No. 6 (1920-1922 CE)
Central crosses—one silver and ethereal above, one black and anchoring below—serve as focal points, surrounded by radiating floral motifs, stars, and circles that evoke cosmic expansion and inner transformation.
The Dove, No.2 (1915 CE)
Painted in just five intense days, this is the darkest and most dramatic picture in the entire 14-work the dove series and a powerful meditation on the moment when spirit touches matter.
The Swan, No.18 (1915 CE)
The swan no.18, at the very centre lies a multicoloured target of concentric rings against a red ground, and only when you come very close do you discover the painting’s secret heart..
The Swan, No.7 (1915 CE)
The painting immediately draws the viewer’s eye toward its center, where four elongated, abstract swan forms extend inward from each corner of the canvas, their beaks meeting at a single radiant point.