This precisely ordered composition arranges horizontal bands of deep navy, sky blue, olive green, and pale yellow across a cool grey ground, each rectangle positioned with deliberate asymmetry to generate visual rhythm and optical tension. The bands appear in groupings across four registers, shifting their lateral alignment from row to row so that no two sections mirror one another exactly. The result is a surface that reads simultaneously as systematic and alive, the eye drawn repeatedly across the canvas as it attempts to resolve the underlying logic governing each placement. The transitions between colour fields are immaculate, the edges between forms held with a crispness that amplifies the painting's sense of rational authority while leaving room for the viewer's perception to do genuine work. Jeffrey Steele belongs to the generation of British Constructivist and Systems artists who emerged in the 1960s and 1970s, working alongside figures such as Malcolm Hughes, Peter Lowe, and Jean Spencer within a broader European tradition that placed the generation of form through rule-based procedures at the centre of artistic practice. For Steele, the painting is not a record of intuitive decision-making but the visible outcome of a structural programme, in which predetermined relationships between colour, proportion, and position are played out with consistency and rigour. The alphanumeric titling of his works, characteristic of this approach, signals that each piece belongs to a series governed by a defined system rather than existing as an isolated aesthetic object. Ca II 2, Cy XIX 1 sits comfortably within Steele's mature practice and represents a compelling entry point for collectors interested in the intellectual foundations of abstract painting. The work's palette is both restrained and warm, the yellow and blue combinations carrying an almost architectural clarity that makes the painting responsive to a wide range of interior environments. As interest in Systems art and Constructivist abstraction continues to grow internationally, with major institutional surveys and renewed critical attention bringing this generation of artists to broader audiences, works such as this carry increasing historical significance alongside their considerable visual appeal. The 100 by 100 centimetre format gives the composition a commanding presence without demanding monumental scale, making it well suited to both private and institutional contexts.