A geometric abstraction by Marsden Hartley, this work reduces the navigational sextant to its essential forms using a bold, primary-focused palette.

Marsden Hartley produced this work during his time in Berlin, a period defined by his engagement with European avant-garde movements. The composition reduces the navigational instrument to its essential geometric components, prioritising form and colour over literal representation. The triangular frame of the sextant is rendered with bold, dark outlines that divide the internal space into distinct segments of ochre, red, and white.

The painting reflects Hartley's interest in the synthesis of military and mechanical imagery, a theme he explored frequently during the early twentieth century. By stripping away extraneous detail, he focuses on the structural integrity of the object. The surface texture retains a tactile quality, typical of his application of paint during this era. The stark, cream-coloured background provides a neutral field that allows the primary shapes to occupy the visual plane with clarity.

This piece demonstrates the artist's move toward a more symbolic language. Rather than documenting the physical world, Hartley uses the sextant as a vehicle for exploring spatial relationships and rhythmic colour balance. The circular element at the apex of the triangle acts as a counterpoint to the angularity of the main body, creating a sense of equilibrium within the frame. The work remains a clear example of his ability to distill complex objects into simplified, powerful icons of modernity. It avoids unnecessary ornamentation, relying instead on the strength of its geometry and the deliberate placement of its hues to command attention. The signature, placed discreetly in the lower right, confirms the artist's hand in this precise, calculated arrangement of shapes.