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About the Object
A single calla lily in a vase occupies the center of the painting. The vase is placed in front of a window, the curtain drawn back to reveal a Bermuda shoreline. On the table next to the vase, Hartley placed a red banana. The curve of the banana, which matches the curtain tie in shape and shade, echoes the curving swath of beach beyond the window that disappears from view to the right. The blue of the sky is echoed in the water, with a darker blue suggesting waves, while areas of pink accent the purple hills in the distance.
Hartley made two trips to Bermuda in his life. He first traveled there with Charles Demuth in December 1916, staying until spring 1917. He returned to Bermuda 18 years later, in the summer of 1935, escaping bronchitis and a difficult winter in New York.
[Anderson Galleries sale, New York, May 17, 1921];
Edith Gregor Halpert;
Estate of Edith Gregor Halpert;
[Downtown Gallery, New York, NY];
[Bernard Danenberg Galleries, New York, NY];
[Salander-O’Reilly Galleries, New York, NY];
Harvey and Françoise Rambach, New Jersey;
[Gerald Peters Gallery, New York, NY];
New York. The Anderson Galleries. Seventy-Five Pictures by James N. Rosenberg and 117 Pictures by Marsden Hartley. May 17, 1921, p, 15, cat. no. 91.
Claremont, CA. Pomona College. Stieglitz Circle: Demuth, Dove, Hartley, Marin, O’Keefe, Weber. October 11- November 15, 1958, cat. no. 32.
Washington D.C. The Corcoran Gallery of Art. Edith Gregor Halpert Collection. January 16-February 28, 1960, no. 34.
Lisbon. Museum of Modern Art. Circulating the Embassies. 1960-61.
Washington D.C. The Corcoran Gallery of Art. Past and Present, 250 Years of American Art. April 15-September 30, 1966.
San Antonio, TX. McNay Art Institute. Collector’s Gallery. 1971.
New York. Salander-O’Reilly Galleries. Marsden Hartley (1877-1943): Paintings and Drawings. March 6-April 27, 1985, ill. np., cat. no. 7.
New York. Barbara Mathes Gallery. Mabel Dodge: The Salon Years, 1912-1917. September 28- November 2, 1985, ill. np., cat. no. 14.
New York. Salander-O’Reilly. Marsden Hartley 1877-1943: Paintings and Drawings. January 8-February 27, 1988, ill. np., cat. no. 8.
Boca Raton, FL. The Boca Raton Museum of Art. Masterpieces of American Modernism: Selections from the Harvey and Françoise Rambach Collection. March 10-April 23, 1995, pp. 46-47, ill. p. 47.
Roslyn Harbor, New York. Nassau County Museum of Art. American Vanguards. January 21-April 28, 1996, p. 90, ill. frontispiece.
Chapel Hill, NC. The Ackland Art Museum. Seeking the Spiritual: The Paintings of Marsden Hartley (February-March 1998); New York. Babcock Galleries (April 24-June 20, 1998); p. 36, ill. np., pl. 6.
New York. Gerald Peters Gallery. American Modernism: The Françoise and Harvey Rambach Collection. September 30-November 20, 1999, p. 282, ill. pp. 10 and 145.
Hartford, Connecticut. The Wadsworth Atheneum Museum of Art. Marsden Hartley (January 17-April 20, 2003); Washington, D.C. Phillips Collection (June 7- September 7, 2003); Kansas City. Nelson-Atkins Museum of Art (October 11, 2003-January 11, 2004); pp. 112, 300, ill. p. 112, pl. 30.
Santa Fe. Gerald Peters Gallery. Objects of Desire: Modern American Still Life Painting. June 28-July 24, 2004, ill. cover of exhibition brochure.
Tulsa. Philbrook Museum of Art. American Galleries. June 2013-June 2014.
Tulsa. Philbrook Museum of Art. From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection (February 8-May 3, 2015); Phoenix. Phoenix Art Museum (June 5-September 6, 2015); Santa Fe. Georgia O’Keeffe Museum (September 25, 2015-January 10, 2016).
Chadds Ford, PA. Brandywine River Museum of Art. Rural Modern: American Art Beyond the City (October 29, 2016-January 22, 2017); Atlanta. High Museum of Art (February 12-May 7, 2017), p. 93,128, 142, 189, ill. p. 142, pl. 55.
Anonymous. “Art; Exhibitions of Paintings: James N. Rosenberg and Marsden Hartley,” New York Times, May 15, 1921.
Elizabeth McCausland Papers, Marsden Hartley Catalogue Raisonné: Oils, circa 1944-1964. Box 14, Folder 10, Frames 3-6. Archives of American Art, Smithsonian Institution.
Seldis, Henry J. “The Stieglitz Show at Pomona College,” Art in America 46, no. 4 (Winter 1958-1959), ill. p. 64.
Downtown Gallery Records, Artist Notebooks: Hartley, Marsden, undated, 1908-1972. Box 38, Reel 5574, Frames 1060-61, 1104-1105, 1121-1122. Archives of American Art.
Edith G. Halpert Collection, Sotheby Parke Bernet Inc., New York, March 14, 1973, lot 16, ill. np.
Scott, Gail R. Marsden Hartley. New York: Abbeville Press, 1988, p.64, ill. p. 64, fig. 46.
Robertson, Bruce. Marsden Hartley. New York: Abrams, 1995, pp. 72, 74-75, ill. p. 74.
Gerald Peters Gallery, New York, advertisement for The Rambach Collection, The Magazine Antiques 156, no. 1 (July 1999) p. 43.
Gerald Peters Gallery, New York, advertisement The Magazine Antiques 162, no. 2 (August 2002) p. 13.
Private collection, Christie’s, New York, Important American Paintings, Drawings and Sculptures, December 5, 2002, pp. 280-281, lot 196, ill. p. 281.
May, Stephen. “Four Decades as a Painter,” Antiques and the Arts Online, February 18, 2003.
Weber, Bruce. The Heart of the Matter: The Still Lives of Marsden Hartley. New York: Berry-Hill Gallery, 2003, p.36-37, ill. p. 37, fig. 30.
Nalbone, Heather. “Maine Man,” The Washington Diplomat (July 2003).
Berlind, Robert. “Hartley’s Indicative Objects,” Art in America, November 1, 2003, p.152.
Agee, William C. and Lewis Kachur. Masterpieces of American Modernism: From the Vilcek Collection. London: Merrell, 2013, pp. 13, 62-63, 236, 266, ill. p. 63.
Pochoda, Elizabeth. “Freedom and the abstract truth: Jan and Marica Vilcek’s collection of American modernist art,” The Magazine Antiques (May/June 2013), ill. pp. 97, 99.
Iman Issa receives the Vilcek Prize for Creative Promise in Fine Arts for exploring, through works of various media, difficult philosophical questions, such as the individual’s relationship to places, figures, and events that are collectively familiar, or the difference between experience and recognition.
Meleko Mokgosi receives the Vilcek Prize for Creative Promise in Fine Arts for paintings that rely on intensive research, reflection, and conversation in order to address widespread misrepresentation of Africa and Africans, and to accurately portray the continent’s complex social and political realities.
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