In 1924, at the end of the First World War, Marsden Hartley returned to Europe eager to pursue his studies of nature inspired by artists such as Van Gogh, Cézanne, and Picasso. Looking for a way to be financially independent and free from a reliance on collectors, Hartley found an opportunity through the U.S. diplomat William C. Bullitt. Bullitt provided the artist with a connection to a New York banker, William V. Griffin, who organized a syndicate of himself and three business associates, James Imbrie, James Vincent Forrestal, and Judge George Carden. An agreement was reached where the investors would each contribute $500 per year in order to provide Hartley with an annual stipend of $2000 for four years. Initially, compensation from Hartley was not expected but citing a moral responsibility, the artist insisted on providing ten paintings, due at the end of each fiscal year, as payment to the group. Though he was unable to meet the arranged deadlines in 1925 and 1927, twenty paintings were delivered to the syndicate in July of 1926 with the final works arriving in 1928 and 1929. The four syndicate members would draw lots for the paintings, at least ten of which were still lifes, including the present lot from the collection of James Imbrie. It was this financial stability provided by his benefactors that liberated Hartley and brought about an optimism in his work that can be seen in the brighter color palette and lively yet modern composition of Birds of Paradise #3.
It is never difficult to see images—when the principle of the image is embedded in the soul.
Marsden Hartley
