Divine Light gathers works that share a noble radiance: pink marble, crimson flowers and celestial gold. 

Marmorpapier, Paul Kersten (1899).

Designed during his time as artistic adviser to the Buntpapierfabrik Alois Dessauer in Aschaffenburg, this pattern belongs to his celebrated Jugend-Marmor series: a revolutionary contribution to the German Jugendstil renewal of decorative papers. Variations of the design are held in the Deutsches Museum, Munich.

Rhododendron, Christian Rohlfs (1923).

By the early 1920s Rohlfs had refined his late style. His painting, renders tempera radiant, applied in pulsing strokes that let colour breathe like stained glass. Works by Rohlfs are dispersed across major German collections, with the largest holdings at the Osthaus-Museum Hagen.

Annunciatory Angel, Fra Angelico (c. 1450–1455).

Painted in the last years of Fra Angelico's life, this panel was part of a large altarpiece paired with a Virgin Annunciate that survives alongside it. The Dominican friar treated gold leaf and tempera as instruments of devotion rather than decoration, and few painters before or since have made sacred light feel so quietly inevitable. Part of the permanent collection of the Detroit Institute of Arts, bequest of Eleanor Clay Ford.

Format & Paper: Each print is produced as a museum-quality Giclée print on Hahnemühle German Etching, a warm, textured cotton paper that honours the depth and tonal richness of each work.

Size: Paul Kersten — Marmorpapier · 59 × 84 cm · Christian Rohlfs — Rhododendron · 40 × 30 cm · Fra Angelico — Annunciatory Angel · 28 × 35 cm