Beauford at Swann Auction Galleries: October 2013 and February 2014
Beauford's work continues to be listed and sold at Swann Auction Galleries' semi-annual African American Fine Art sale.
Three of his paintings were placed "on the block" during the "Point of Departure: Postwar African-American Fine Art" sale in October 2013. One of them, Embrun, was exhibited at the Studio Museum in Harlem, New York. It was purchased for $10,000.*
Embrun
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed and dated "July 19, 1963" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In February 2014, a single painting was listed during the "Shadows Uplifted: The Rise of African-American Fine Art sale.
+Sale+on+Feb+13+2014.jpg)
Untitled (Portrait of a Woman with Hair Ribbon)
(ca 1940) Watercolor on wove paper
641x483 mm; 25 1/4x19 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
A work of color pastels on pale gray wove paper, it came from a private collection. The seller acquired it directly from Beauford's brother Joseph.
It sold for $4,500.*
The next African American Fine Art Sale will be held in June 2014. For more information, contact Alaina McEachin at .
*At auction, there are two prices--the hammer price, or the price at which the item sells during the auction, and the price with the buyer's premium. All auction houses have a buyer's premium that the buyer pays to the auction house on top of the hammer price. Swann's premium is 20%. The prices indicated in this article are hammer prices.
Three of his paintings were placed "on the block" during the "Point of Departure: Postwar African-American Fine Art" sale in October 2013. One of them, Embrun, was exhibited at the Studio Museum in Harlem, New York. It was purchased for $10,000.*
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed and dated "July 19, 1963" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In February 2014, a single painting was listed during the "Shadows Uplifted: The Rise of African-American Fine Art sale.
+Sale+on+Feb+13+2014.jpg)
(ca 1940) Watercolor on wove paper
641x483 mm; 25 1/4x19 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
A work of color pastels on pale gray wove paper, it came from a private collection. The seller acquired it directly from Beauford's brother Joseph.
It sold for $4,500.*
The next African American Fine Art Sale will be held in June 2014. For more information, contact Alaina McEachin at .
*At auction, there are two prices--the hammer price, or the price at which the item sells during the auction, and the price with the buyer's premium. All auction houses have a buyer's premium that the buyer pays to the auction house on top of the hammer price. Swann's premium is 20%. The prices indicated in this article are hammer prices.
Higher Ground: Artist Spotlight on Beauford at the Knoxville Museum of Art
The Knoxville Museum of Art (KMA) is placing an "Artist Spotlight" on Beauford by displaying a small collection of his work through June 2014. Called Higher Ground, the spotlight features six works from several collections. Two of these paintings and the descriptions that accompany them in the exposition are shown below.
Distant Horizons
(1952) Oil on canvas
16 x 20 inches
Larry and Brenda Thompson Collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
By the early 1950s, Beauford Delaney became determined to pursue his dream of moving from New York to Paris. In order to prepare for the move, he made arrangements in June of 1953 to store the paintings in his studio at 713 Broadway with various friends. Delaney’s friends also organized a fund-raiser to help finance the trip. The door prize was Delaney's recent painting, Distant Horizons.
Untitled
(1963) Watercolor on paper
32 ½ x 26 ½ inches
Tennessee State Museum, Nashville
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
By the time he left for Paris in 1953, Delaney was already well along a path of experimentation with abstraction, which would become the dominant mode of his work for the remainder of his career. Although he continued to produce portraits and landscapes, the central subject of his work became luminous color applied with explosive brushwork in a manner that consumed all references to the visible world.
************
The Knoxville Museum of Art has worked diligently to call attention to the artistic accomplishments of both brothers by hosting or organizing such exhibitions as Beauford Delaney: An Introduction (1997), Joseph Delaney: Works on Paper (2002), Beauford Delaney: From New York to Paris (2005). Since February 2013, the KMA has also served as the repository for the contents of the estate of Beauford Delaney. In exchange, the estate has made available to the KMA key works for display and possible acquisition. The KMA wishes to acknowledge the estate and its key role in this special display.
At present, the KMA collection does not include any works by Beauford Delaney. Acquiring a significant group of his paintings is one of the KMA’s primary acquisitions goals.
For more information, contact:
Stephen C. Wicks
Barbara W. and Bernard E. Bernstein Curator
1050 World's Fair Park Drive
Knoxville, TN 37916
865-934-2040
www.knoxart.org
(1952) Oil on canvas
16 x 20 inches
Larry and Brenda Thompson Collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
By the early 1950s, Beauford Delaney became determined to pursue his dream of moving from New York to Paris. In order to prepare for the move, he made arrangements in June of 1953 to store the paintings in his studio at 713 Broadway with various friends. Delaney’s friends also organized a fund-raiser to help finance the trip. The door prize was Delaney's recent painting, Distant Horizons.
(1963) Watercolor on paper
32 ½ x 26 ½ inches
Tennessee State Museum, Nashville
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
By the time he left for Paris in 1953, Delaney was already well along a path of experimentation with abstraction, which would become the dominant mode of his work for the remainder of his career. Although he continued to produce portraits and landscapes, the central subject of his work became luminous color applied with explosive brushwork in a manner that consumed all references to the visible world.
The Knoxville Museum of Art has worked diligently to call attention to the artistic accomplishments of both brothers by hosting or organizing such exhibitions as Beauford Delaney: An Introduction (1997), Joseph Delaney: Works on Paper (2002), Beauford Delaney: From New York to Paris (2005). Since February 2013, the KMA has also served as the repository for the contents of the estate of Beauford Delaney. In exchange, the estate has made available to the KMA key works for display and possible acquisition. The KMA wishes to acknowledge the estate and its key role in this special display.
At present, the KMA collection does not include any works by Beauford Delaney. Acquiring a significant group of his paintings is one of the KMA’s primary acquisitions goals.
For more information, contact:
Stephen C. Wicks
Barbara W. and Bernard E. Bernstein Curator
1050 World's Fair Park Drive
Knoxville, TN 37916
865-934-2040
www.knoxart.org
Three Exquisite Delaneys Hang at the MRG Exposition Beyond the Spectrum
The current exposition at the Michael Rosenfeld Gallery in Manhattan - Beyond the Spectrum - features numerous paintings and sculptures by African-American artists who produce(d) abstract œuvre. Because Rosenfeld is an avid and longstanding promoter of Beauford's work, it is not surprising that Beauford's paintings figure among those presented at this show.
The following three Delaney paintings hang in the exposition alongside works by Hale Woodruff, Alma Thomas, Charles Alston, and other artists:
Untitled [MR153], c.1954
oil on canvas
59 x 23 1/4 inches, signed
Private Collection; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled [MR50], c.1961
oil on canvas
76 3/4 x 51 inches
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The following three Delaney paintings hang in the exposition alongside works by Hale Woodruff, Alma Thomas, Charles Alston, and other artists:
oil on canvas
59 x 23 1/4 inches, signed
Private Collection; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
oil on canvas
76 3/4 x 51 inches
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
oil on canvas
25 1/2 x 21 1/4 inches, signed and dated
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In the context of Beyond the Spectrum, Rosenfeld granted an exclusive video interview to galleryIntell on the subject of African-American abstract art and the artists who chose this genre of expression for their work.
Screenshot printed with the permission of galleryIntell
In Part 1 of the interview, he differentiates the path of artists like Jacob Lawrence and Romare Bearden, who painted to explore and celebrate the "black experience," with those who chose to paint abstractly.
In Part 2, he talks specifically about Beauford, mentioning the influence of Monet's Water Lily paintings on the profound importance of light in Beauford's art.
Part 3 of the interview will be released in the near future. For more information, visit http://www.galleryintell.com/category/galleries/new-york/.
Beyond the Spectrum: Abstraction in African American Art, 1950-1975 runs through March 8, 2014.
Michael Rosenfeld Gallery
100 Eleventh Avenue @ 19th
New York, NY 10011
Telephone: 212.247.0082
Fax: 212.247.0402
E-mail: INFO[at]MICHAELROSENFELDART[dot]COM
Internet: WWW.MICHAELROSENFELDART.COM
Delaney Painting on Display at Point of View Exposition in Detroit
Point of View is the title for the exposition of masterworks by modern African-American artists that is currently on display at the Charles H. Wright Museum of African American History in Detroit, Michigan. A sister exposition of contemporary works is on display at the Flint Institute of Arts in Flint, Michigan. Both shows feature pieces from the splendid African-American and African-Diaspora art collection of Elliot and Kimberly Perry.
As reported by Les Amis last October, an untitled painting by Beauford is part of this special exposition:
Untitled
(1964) Oil on canvas
25 x 21 inches
Collection of Elliot & Kimberly Perry
Image by Ashley Phifer
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
At the request of Ashley Phifer, Assistant Curator at the Flint Institute of Arts (FIA), Elliot Perry posed for a photo (destined exclusively for the Les Amis blog) in which he stands next to the painting.
Elliot Perry and Untitled by Beauford Delaney
Image courtesy of Ashley Phifer
Thank you, Mr. Perry!
Ms. Phifer told Les Amis that the Charles H. Wright hasn't had a formal opening for the exposition yet. She says "it is in the works." In contrast, the FIA had its opening on January 25th with over 400 people in attendance. Phifer says that both museums have been drawing great numbers for attendance, "especially since the show works well with African-American History Month."
From the Charles H. Wright Museum of African American History Web site:
The exposition at the Wright Museum will be on display through April 20. The exhibition is free with museum admission. Upon providing proof of purchase of an entry ticket, those who attend either the Detroit or Flint exposition are entitled to admission at the partner institution during the exhibition period. For more information call (313) 494-5800.
As reported by Les Amis last October, an untitled painting by Beauford is part of this special exposition:
(1964) Oil on canvas
25 x 21 inches
Collection of Elliot & Kimberly Perry
Image by Ashley Phifer
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
At the request of Ashley Phifer, Assistant Curator at the Flint Institute of Arts (FIA), Elliot Perry posed for a photo (destined exclusively for the Les Amis blog) in which he stands next to the painting.
Image courtesy of Ashley Phifer
Thank you, Mr. Perry!
Ms. Phifer told Les Amis that the Charles H. Wright hasn't had a formal opening for the exposition yet. She says "it is in the works." In contrast, the FIA had its opening on January 25th with over 400 people in attendance. Phifer says that both museums have been drawing great numbers for attendance, "especially since the show works well with African-American History Month."
From the Charles H. Wright Museum of African American History Web site:
Elliot Perry, a former professional basketball player and Memphis native, started to collect mid-to late 20th century African American art with his wife Kimberly in 1996. Perry has said that his passion for art now rivals his love for basketball. He credits Walter Evans and Darrell Walker with inspiring him to become a collector. For each of these men, collecting works of art is more than just accumulating random pieces; their objective is focused on preserving slices of African American history and culture through the arts.
The exposition at the Wright Museum will be on display through April 20. The exhibition is free with museum admission. Upon providing proof of purchase of an entry ticket, those who attend either the Detroit or Flint exposition are entitled to admission at the partner institution during the exhibition period. For more information call (313) 494-5800.
BEAUFORD DELANEY: One Voice (1954-1974)
Beauford Delaney used his brush to add his voice to the fight for civil rights.
Even when he resided in France during the later years of his life, he remained connected to his home - America, and the plight of his family and friends fighting for equality.
His relationship with James Baldwin, friendship with Marian Anderson, and a steady stream of newspaper clippings and letters from abroad closed the distance of an ocean and inspired him to paint his Rosa Parks series. Two Woman Sitting on a Park Bench is one of only three paintings in this important series.
Two Woman Sitting on a Park Bench, nd
Oil on canvas
21 x 25.5 inches
Estate stamped
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Levis Fine Art is proud to present this important painting and other fine works from the estate of Beauford Delaney.
Exhibition Dates: February 1 – March 1, 2014
Hours: Tuesday-Saturday 10am-6pm or by appointment.
Contact: James Levis
Levis Fine Art
514 West 24th Street, New York, NY 10011
(646) 620-5000
Email:
Even when he resided in France during the later years of his life, he remained connected to his home - America, and the plight of his family and friends fighting for equality.
His relationship with James Baldwin, friendship with Marian Anderson, and a steady stream of newspaper clippings and letters from abroad closed the distance of an ocean and inspired him to paint his Rosa Parks series. Two Woman Sitting on a Park Bench is one of only three paintings in this important series.
Oil on canvas
21 x 25.5 inches
Estate stamped
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Levis Fine Art is proud to present this important painting and other fine works from the estate of Beauford Delaney.
Exhibition Dates: February 1 – March 1, 2014
Hours: Tuesday-Saturday 10am-6pm or by appointment.
Contact: James Levis
Levis Fine Art
514 West 24th Street, New York, NY 10011
(646) 620-5000
Email:
Beauford's Art: The Tricoire Collection - Part 3
Here are two additional gems in the Tricoire brothers' collection of Beauford Delaney paintings!
This one is owned by Robert:
Untitled
(1962) Aquarelle on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo courtesy of Robert Tricoire
And this one is owned by Jacques:
Untitled
(1970) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo courtesy of Robert Tricoire
If any additional information about the collection becomes available, I will bring it to you here on the blog.
See Part 1 and Part 2 of Beauford's Art: The Tricoire Collection by clicking on the links below:
Beauford's Art: The Tricoire Collection - Part 1
Beauford's Art: The Tricoire Collection - Part 2
This one is owned by Robert:
(1962) Aquarelle on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo courtesy of Robert Tricoire
And this one is owned by Jacques:
(1970) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo courtesy of Robert Tricoire
If any additional information about the collection becomes available, I will bring it to you here on the blog.
See Part 1 and Part 2 of Beauford's Art: The Tricoire Collection by clicking on the links below:
Beauford's Art: The Tricoire Collection - Part 1
Beauford's Art: The Tricoire Collection - Part 2
Bob Tomlinson on Beauford's Painting at the Centre Pompidou
Bob Tomlinson is an artist, a retired French professor, and a long-time Paris resident who made the City of Light his home “by accident”! He lived in Paris during the 1968 uprising, moved away for several years, and then came back and established permanent residency in the city.
Bob Tomlinson and Anna Comnena
Image courtesy of Bob Tomlinson
Bob shares a few personal remarks on the untitled painting by Beauford in the exhibition Modernités Plurielles at the Centre Pompidou.
************
Untitled
(1957) Oil on canvas
© Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
For me, Beauford’s most productive period evokes with a certain nostalgia a period of my life in Paris — the 60s, when I was a young painter and he had attained his artistic maturity. So I was very interested to see this unique and rarely exhibited work from the Centre Pompidou’s permanent collection.
The exhibit aspires to be a survey of global modernism and as such it is somewhat overwhelming. (Admittedly, I have a limited tolerance for museums; after an hour my retinas overload and I can no longer see.) For anyone interested in African-American artists in the City of Light, the undoubted highlights of the show are the three appearances of Josephine Baker (a photo, a film of her dancing, a wire sculpture by Alexander Calder) and, of course, the painting by Beauford.
Unfortunately, whether intentional or not, the exhibition continues the neglect and marginalization from which Beauford suffered during his lifetime. As far as I could tell, he does not figure in the catalog and one finds his painting almost by accident in a small transverse corridor two-thirds of the way through the vast exhibit.
Done a few years after his arrival in Paris, this 1957 painting is a striking example of Beauford’s personal appropriation of an abstract expressionist aesthetic. Usually Beauford’s works in this vein are wholly non-representational. However, this one is different. The thick paint surface is agitated by an abstract textual and coloristic whirlwind, but out of this tangle of yellows and reds a form resembling that of a fierce lion emerges, suggested by paint strokes of an intense blue, although other purely abstract splashes of the same blue scattered on the background render the interpretation ambiguous.
The tension between the abstract and the figurative in Beauford’s paintings (I’m thinking of paintings like his 1965 portrait of James Baldwin, which perhaps unconsciously inspired my own 2013 version) is not restricted to African-American artists, but they (we) feel it with a particular acuteness — the interest in the formal qualities of the work pitched against the need to express the heavy burden of history in a more figurative narrative form.
Portrait of James Baldwin
(1965) Oil on canvas
Private collection
Image courtesy of Levis Fine Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
James Baldwin
(2013) Bob Tomlinson
Image courtesy of the artist
Beauford bridges this gap in the ambiguously abstract Pompidou painting by his imagery and personal use of color, as he does in his portraits, which despite their figurative content utilize the same techniques. For him, his favorite color yellow had complex spiritual and emotional meanings, from the unsettling lime-yellow background of Baldwin’s portrait to the vibrant yellows that dominate the other primaries, red and blue, in the Pompidou painting. All this intense personal energy contrasts with the gentle, contemplative soul whom I knew in the cafés of Saint Germain and Montparnasse.
The disjunction between the surface personality of artists and their work is not uncommon. I consider myself somewhat laid back, and I think I’m often perceived as such, yet I’ve been described as “a serene New Yorker who paints troubled pictures.” Whether he is in an abstract or figurative mode, one of the things I admire most about Beauford is his fidelity to a private, deeply felt emotion that may not be apparent on the outside, a quality lacking in some other works of the exhibition that seem dictated by an impersonal artistic doctrine rather than any inner truth.
Having said that, there are many interesting things to see: for example a section of contemporary African artists and Larry Rivers' reworking of Manet’s Olympia in terms of American race relations. The show is on until January 2015, so don’t miss it!
Image courtesy of Bob Tomlinson
Bob shares a few personal remarks on the untitled painting by Beauford in the exhibition Modernités Plurielles at the Centre Pompidou.
(1957) Oil on canvas
© Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
For me, Beauford’s most productive period evokes with a certain nostalgia a period of my life in Paris — the 60s, when I was a young painter and he had attained his artistic maturity. So I was very interested to see this unique and rarely exhibited work from the Centre Pompidou’s permanent collection.
The exhibit aspires to be a survey of global modernism and as such it is somewhat overwhelming. (Admittedly, I have a limited tolerance for museums; after an hour my retinas overload and I can no longer see.) For anyone interested in African-American artists in the City of Light, the undoubted highlights of the show are the three appearances of Josephine Baker (a photo, a film of her dancing, a wire sculpture by Alexander Calder) and, of course, the painting by Beauford.
Unfortunately, whether intentional or not, the exhibition continues the neglect and marginalization from which Beauford suffered during his lifetime. As far as I could tell, he does not figure in the catalog and one finds his painting almost by accident in a small transverse corridor two-thirds of the way through the vast exhibit.
Done a few years after his arrival in Paris, this 1957 painting is a striking example of Beauford’s personal appropriation of an abstract expressionist aesthetic. Usually Beauford’s works in this vein are wholly non-representational. However, this one is different. The thick paint surface is agitated by an abstract textual and coloristic whirlwind, but out of this tangle of yellows and reds a form resembling that of a fierce lion emerges, suggested by paint strokes of an intense blue, although other purely abstract splashes of the same blue scattered on the background render the interpretation ambiguous.
The tension between the abstract and the figurative in Beauford’s paintings (I’m thinking of paintings like his 1965 portrait of James Baldwin, which perhaps unconsciously inspired my own 2013 version) is not restricted to African-American artists, but they (we) feel it with a particular acuteness — the interest in the formal qualities of the work pitched against the need to express the heavy burden of history in a more figurative narrative form.
(1965) Oil on canvas
Private collection
Image courtesy of Levis Fine Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(2013) Bob Tomlinson
Image courtesy of the artist
Beauford bridges this gap in the ambiguously abstract Pompidou painting by his imagery and personal use of color, as he does in his portraits, which despite their figurative content utilize the same techniques. For him, his favorite color yellow had complex spiritual and emotional meanings, from the unsettling lime-yellow background of Baldwin’s portrait to the vibrant yellows that dominate the other primaries, red and blue, in the Pompidou painting. All this intense personal energy contrasts with the gentle, contemplative soul whom I knew in the cafés of Saint Germain and Montparnasse.
The disjunction between the surface personality of artists and their work is not uncommon. I consider myself somewhat laid back, and I think I’m often perceived as such, yet I’ve been described as “a serene New Yorker who paints troubled pictures.” Whether he is in an abstract or figurative mode, one of the things I admire most about Beauford is his fidelity to a private, deeply felt emotion that may not be apparent on the outside, a quality lacking in some other works of the exhibition that seem dictated by an impersonal artistic doctrine rather than any inner truth.
Having said that, there are many interesting things to see: for example a section of contemporary African artists and Larry Rivers' reworking of Manet’s Olympia in terms of American race relations. The show is on until January 2015, so don’t miss it!
Beauford's Art: The Tricoire Collection - Part 2
Robert Tricoire's brother, Jacques Tricoire, is also enamored of Beauford's work and owns original Delaney paintings.
The painting shown below is one of them. It is utterly fascinating to me because it is the only one I have ever seen by Beauford that is predominantly white!
The story behind the painting tells all:
Jean-Claude Killy
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In 1962, alpine skier Jean-Claude Killy* was slated to compete in the World Cup Championship in Chamonix, France. Only a couple of weeks prior to this competition, Killy broke his leg in an attempt to qualify for a downhill competition in Italy and was unable to compete for the World Cup. This is what inspired Beauford to paint Jean-Claude Killy.
Jean-Claude Killy (detail)
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Jean-Claude Killy (signature)
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
We can presume that the white in this painting represents snow and the blue-brown arcs that cross the painting represent ski tracks. Splotches and specks of blue add the "chill factor" of winter.
*Killy would go on to win several gold medals at the World Championship competition in Portillo, Chile in 1968 and at the 1968 Winter Olympics in Grenoble, France.
The painting shown below is one of them. It is utterly fascinating to me because it is the only one I have ever seen by Beauford that is predominantly white!
The story behind the painting tells all:
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In 1962, alpine skier Jean-Claude Killy* was slated to compete in the World Cup Championship in Chamonix, France. Only a couple of weeks prior to this competition, Killy broke his leg in an attempt to qualify for a downhill competition in Italy and was unable to compete for the World Cup. This is what inspired Beauford to paint Jean-Claude Killy.
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
We can presume that the white in this painting represents snow and the blue-brown arcs that cross the painting represent ski tracks. Splotches and specks of blue add the "chill factor" of winter.
*Killy would go on to win several gold medals at the World Championship competition in Portillo, Chile in 1968 and at the 1968 Winter Olympics in Grenoble, France.
Beauford's Art: The Tricoire Collection - Part 1
Robert Tricoire has been gracious enough to share information and anecdotes about Beauford's Paris years and he has also allowed me to view his wonderful collection of Delaney paintings.
He commissioned one of them,
Portrait of Robert Tricoire
(1969) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image © Discover Paris!
purchased others,
Untitled
(1963) Aquarelle on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image © Discover Paris!
and received others as gifts from Beauford.
Les Embruns
(1963) Aquarelle on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image © Discover Paris!
Robert's brother owns paintings by Beauford as well.
Next week, I'll share an image of one of these works that completely astonished me!
He commissioned one of them,
(1969) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image © Discover Paris!
purchased others,
(1963) Aquarelle on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image © Discover Paris!
and received others as gifts from Beauford.
(1963) Aquarelle on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image © Discover Paris!
Robert's brother owns paintings by Beauford as well.
Next week, I'll share an image of one of these works that completely astonished me!
Beauford on View at the Centre Pompidou
In 2011, I reported that the Centre Pompidou holds one of Beauford's abstract expressionist paintings on reserve. It was donated to the museum by M. and Mme du Closel, who were devoted patrons of Beauford.
I am thrilled to report that the painting is now on display! It is part of the Multiple Modernities 1905-1970 exposition (also called Plural Modalities) that will hang until January 2015.
Monique and Beauford's Untitled (1957) Oil on canvas
© Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This work hangs in a short corridor (Traverse G) between Rooms 31 and 34 on the 5th floor of the museum. Because it is not displayed in a room, it can be difficult to find. I had to ask at the visitor's information area (4th floor) where the painting is hung and was dismayed to learn that neither Beauford's name, nor a listing of the painting, appear in the official catalog for the exposition or the museum's Intranet. One of the attendants was kind enough to walk me to the exact location of the painting.
Location of Beauford's Painting
© Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The label text copy presents the following information in English (translated from French):
For reasons unknown, the Pompidou Center has Beauford's name listed as Pierre Beauford-Delaney in its online data base. While they corrected this in the text for the painting and the biographical information presented about Beauford in French, I was disappointed to note that they neglected to correct it in the English translation.
The information presented about Beauford himself is scant and not quite accurate (he began his New York career by painting dancers and society women at Billy Pierce's Dancing School, not by painting jazz musicians). I had hoped for a more detailed description of the painting as well.
All that aside, the work is magnificent - it is well worth a trip to the museum to see it! The exposition is on display through January 26, 2015.
Centre Georges Pompidou
19 Rue Beaubourg
75004 Paris
Telephone: 01 44 78 12 33
Metro: Rambuteau, Hôtel de Ville, and Châtelet
Open every day except Tuesdays and May 1.
Hours: 11am-10pm. No tickets sold after 8pm.
I am thrilled to report that the painting is now on display! It is part of the Multiple Modernities 1905-1970 exposition (also called Plural Modalities) that will hang until January 2015.
© Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This work hangs in a short corridor (Traverse G) between Rooms 31 and 34 on the 5th floor of the museum. Because it is not displayed in a room, it can be difficult to find. I had to ask at the visitor's information area (4th floor) where the painting is hung and was dismayed to learn that neither Beauford's name, nor a listing of the painting, appear in the official catalog for the exposition or the museum's Intranet. One of the attendants was kind enough to walk me to the exact location of the painting.
© Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The label text copy presents the following information in English (translated from French):
African-American artist Pierre [sic] Beauford-Delaney studied in Boston then at the Art Student League in New York, with John Sloan. He joined the Harlem Renaissance movement, which was struggling for African-American emancipation, and started painting live portraits of jazz musicians playing in Harlem jazz clubs. He had settled in Paris by 1953, when he had gravitated toward abstract expressionism. In this work, the distinguishable blue figure in the thick swirl of predominantly red and yellow paint could be an animal.
For reasons unknown, the Pompidou Center has Beauford's name listed as Pierre Beauford-Delaney in its online data base. While they corrected this in the text for the painting and the biographical information presented about Beauford in French, I was disappointed to note that they neglected to correct it in the English translation.
The information presented about Beauford himself is scant and not quite accurate (he began his New York career by painting dancers and society women at Billy Pierce's Dancing School, not by painting jazz musicians). I had hoped for a more detailed description of the painting as well.
All that aside, the work is magnificent - it is well worth a trip to the museum to see it! The exposition is on display through January 26, 2015.
Centre Georges Pompidou
19 Rue Beaubourg
75004 Paris
Telephone: 01 44 78 12 33
Metro: Rambuteau, Hôtel de Ville, and Châtelet
Open every day except Tuesdays and May 1.
Hours: 11am-10pm. No tickets sold after 8pm.
Beauford's Agonie Solaire as Book Cover
I recently met Robert Tricoire, a retired French journalist who worked for the Cultural Service of the U.S. Embassy in Paris for several years. He knew Beauford well and was kind enough to invite me to his home to share some of his remembrances of Beauford with me.
Robert supervised a project that involved the translation of the works of American writers into French and the selection of paintings by American artists to serve as cover art for these books. One such work was Henry Pelling's Le Mouvement Ouvrier aux Etats-Unis, published in French in 1965. Beauford's abstract painting Agonie Solaire was selected as the cover for this book.
Book cover – Le Mouvement Ouvrier aux Etats-Unis
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
© Discover Paris!
The page after the title page reads:
The original edition of this work was published in the collection The Chicago History of American Civilization
directed by Daniel J. Boorstin, under the title:
American Labor.
Translation: Marie-Jean Béraud-Villars
The cover reproduces a work by the American painter
Beauford Delaney: Agonie Solaire (1963)
Verso of title page
© Discover Paris!
The rear of the book indicated the location of the printing company and the name of the publisher:
End Print
29 September 1965
on the presses of Gerard and Co. at Verviers (Belgium)
for Paris editor Pierre Seghers.
Editor no.: 1447
Last page of the book
© Discover Paris!
Robert supervised a project that involved the translation of the works of American writers into French and the selection of paintings by American artists to serve as cover art for these books. One such work was Henry Pelling's Le Mouvement Ouvrier aux Etats-Unis, published in French in 1965. Beauford's abstract painting Agonie Solaire was selected as the cover for this book.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
© Discover Paris!
The page after the title page reads:
directed by Daniel J. Boorstin, under the title:
American Labor.
Translation: Marie-Jean Béraud-Villars
The cover reproduces a work by the American painter
Beauford Delaney: Agonie Solaire (1963)
© Discover Paris!
The rear of the book indicated the location of the printing company and the name of the publisher:
29 September 1965
on the presses of Gerard and Co. at Verviers (Belgium)
for Paris editor Pierre Seghers.
Editor no.: 1447
© Discover Paris!
Man in African Dress
I was privileged to view an original Beauford Delaney painting in a private collection in Paris.
Man in African Dress
(1972) Watercolor on Paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This work was shown at the Beauford Delaney: The Color Yellow exposition mounted by the High Museum in Atlanta, so it was a rare treat for me to be able to view it "up close and personally."
Identification sticker (rear)
© Discover Paris!
The current owner was kind enough allow me to photograph the painting, removing the frame to avoid reflections.
Beauford's signature (lower left)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Dedication (lower right)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Man in African Dress (detail)
(1972) Watercolor on Paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
He has only vague recollections of Beauford as being one among many visitors at his home when he was a child.
(1972) Watercolor on Paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This work was shown at the Beauford Delaney: The Color Yellow exposition mounted by the High Museum in Atlanta, so it was a rare treat for me to be able to view it "up close and personally."
© Discover Paris!
The current owner was kind enough allow me to photograph the painting, removing the frame to avoid reflections.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1972) Watercolor on Paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
He has only vague recollections of Beauford as being one among many visitors at his home when he was a child.
Where to Find Beauford's Art: Charles H. Wright Museum of African American History
A new exposition is being co-organized by the Flint Institute of Arts in Flint, Michigan and the Charles H. Wright Museum of African American History in Detroit, Michigan. It's called Point of View: African American Art from the Elliot and Kimberly Perry Collection and it will be shown from January 26, 2014 through April 13, 2014. Works by Beauford and his brother Joseph will be displayed as part of the Masterworks collection at the Charles H. Wright Museum of African American History. Contemporary works will be displayed at the Flint Institute of Arts.
The image below represents the painting by Beauford that will be shown:
Untitled
(1964) oil on canvas
25 x 21 inches
Collection of Elliot & Kimberly Perry
Image courtesy of Ashley Phifer
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
From the Flint Arts Organization Web site:
Ashley Phifer, Assistant Curator at the Flint Institute of Arts, has informed Les Amis that the museums in Flint and in Detroit are only an hour apart and both are cultural centers in their respective cities. Through this collaboration, they hope to foster an even larger sense of community. One can easily visit both museums in one day and experience the true impact of the collection. Both museums are excited about the story that these works tell and the experiences that the artists and the collectors have infused into them.
The catalog for the exposition includes two essays: one by Erica Moiah James, Assistant Professor, Yale University on the contemporary works in the Perry collection (Flint), and the other by Jacqueline Francis, Ph.D., Associate Professor, California College of the Arts, San Francisco, California on the Masterworks in the collection (Detroit). It will be available when the exhibition opens in January.
For more information, contact Ashley Phifer at .
The image below represents the painting by Beauford that will be shown:
(1964) oil on canvas
25 x 21 inches
Collection of Elliot & Kimberly Perry
Image courtesy of Ashley Phifer
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
From the Flint Arts Organization Web site:
Regarded as one of the most important collections of contemporary art in the country, the Elliot Perry Collection of African American Art represents over a decade of collecting art. The former NBA player started collecting, in 1996, such artists as John Biggers, Norman Lewis, Alma Thomas, Charles White, Jacob Lawrence, Beauford Delaney, Elizabeth Catlett, and Eldzier Cortor. In 2005, he shifted his focus to emerging, mid-career artists and has since added artists such as Kara Walker, Wangechi Mutu, Mickalene Thomas, Kehinde Wiley, Leslie Hewitt, Carrie Mae Weems, Glenn Ligon, Rashid Johnson, and Lynette Yiadom-Boakye to his collection.
Ashley Phifer, Assistant Curator at the Flint Institute of Arts, has informed Les Amis that the museums in Flint and in Detroit are only an hour apart and both are cultural centers in their respective cities. Through this collaboration, they hope to foster an even larger sense of community. One can easily visit both museums in one day and experience the true impact of the collection. Both museums are excited about the story that these works tell and the experiences that the artists and the collectors have infused into them.
The catalog for the exposition includes two essays: one by Erica Moiah James, Assistant Professor, Yale University on the contemporary works in the Perry collection (Flint), and the other by Jacqueline Francis, Ph.D., Associate Professor, California College of the Arts, San Francisco, California on the Masterworks in the collection (Detroit). It will be available when the exhibition opens in January.
For more information, contact Ashley Phifer at .
Christie's Paris Sells Beauford Delaney Abstract at Auction
Christie's Paris placed Beauford's abstract painting Untitled, 1970 up for auction at its Rendez-Vous / Intérieurs Contemporains sale on October 9th.
Untitled, 1970 Oil on canvas, 65 x 54 cm.
© Christie's Images, 2013 © Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Painted at the artist’s studio : 53 rue Vercingétorix, Paris 14ème
Signed, dated, and situated in blue ink ‘Beauford Delaney 1970 Paris’ (lower middle)
Signed and dated in red paint ‘Beauford Delaney 1970’ (lower right)
This auction featured works of Impressionist and modern art, contemporary art, 20th-century decorative arts & design, and photography. Beauford's work shared the auction block with œuvre by renowned artists such as Picasso, Braque, and Dalí.
Sylvain Briet - an expert on Beauford’s art who has been called upon by Christie's in Paris and London to authenticate works for sale - provided Les Amis with information about Untitled in a previous blog post:
Where to Find Beauford's Art: Christie's Paris October 2013 Rendez-Vous / Intérieurs Contemporains Auction
The estimated sale price for the painting (Lot 146) was 4000€ to 6000€. It sold for 5000€ ($6784).
© Christie's Images, 2013
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signed, dated, and situated in blue ink ‘Beauford Delaney 1970 Paris’ (lower middle)
Signed and dated in red paint ‘Beauford Delaney 1970’ (lower right)
This auction featured works of Impressionist and modern art, contemporary art, 20th-century decorative arts & design, and photography. Beauford's work shared the auction block with œuvre by renowned artists such as Picasso, Braque, and Dalí.
Sylvain Briet - an expert on Beauford’s art who has been called upon by Christie's in Paris and London to authenticate works for sale - provided Les Amis with information about Untitled in a previous blog post:
Where to Find Beauford's Art: Christie's Paris October 2013 Rendez-Vous / Intérieurs Contemporains Auction
The estimated sale price for the painting (Lot 146) was 4000€ to 6000€. It sold for 5000€ ($6784).
Beauford's "Embrun" Sells at Swann Auction Galleries African-American Fine Art Auction
Per last week's posting, Swann Auction Galleries placed three paintings by Beauford up for auction at its October 2013 auction: Point of Departure: Postwar African-American Fine Art.
Embrun, the most dramatically colored of the works, sold for $12,500 (including buyer's premium*).
Embrun
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed and dated "July 19, 1963" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was exhibited at the Studio Museum in Harlem, New York, with the label on the frame back.
The other two paintings remain unsold.
Swann Auction Galleries
104 East 25th Street
New York, NY 10010
Telephone: 212-254-4710
*At auction, there are two prices--the hammer price, or the price at which the item sells during the auction, and the price with the buyer's premium. All auction houses have a buyer's premium that the buyer pays to the auction house on top of the hammer price. Swann's premium is 20%. Swann Auction Galleries now reports the "hammer price" and the price that include the buyer's premium in its online catalog.
Embrun, the most dramatically colored of the works, sold for $12,500 (including buyer's premium*).
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed and dated "July 19, 1963" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was exhibited at the Studio Museum in Harlem, New York, with the label on the frame back.
The other two paintings remain unsold.
Swann Auction Galleries
104 East 25th Street
New York, NY 10010
Telephone: 212-254-4710
*At auction, there are two prices--the hammer price, or the price at which the item sells during the auction, and the price with the buyer's premium. All auction houses have a buyer's premium that the buyer pays to the auction house on top of the hammer price. Swann's premium is 20%. Swann Auction Galleries now reports the "hammer price" and the price that include the buyer's premium in its online catalog.
Where to Find Beauford's Art: Swann Auction Galleries African American Fine Art Auction - October 2013
After selling a Beauford Delaney self-portrait at its African American Fine Art Auction in February, Swann Galleries is pleased to offer three magnificent paintings by Beauford at its October 2013 auction: Point of Departure: Postwar African-American Fine Art.
The first work that appears in the auction catalog is entitled Embrun:
Embrun
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed and dated "July 19, 1963" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was exhibited at the Studio Museum in Harlem, New York, with the label on the frame back. The estimated sale price is $8,000 - $12,000.
The second of the three paintings is entitled Untitled (Composition in Blue).
+Oct+3+2013.jpg)
Untitled (Composition in Blue)
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed, dated and inscribed "Paris" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The estimated sale price for this work is $8,000 - $12,000.
The third painting, also called Untitled, is the pièce de résistance – the showpiece of the three works. It was created in Beauford's favorite color - yellow.
Untitled
(1968) Oil on cotton canvas
610x502 mm; 24x19 3/4 inches
Signed and dated in oil, lower left
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It was also exhibited at the Studio Museum in Harlem, New York, with the label on the frame back.
Swann Auction Galleries describes Untitled as follows:
Its estimated sale price is $50,000 - $75,000.
All three paintings were acquired directly from the artist by James and Gloria Jones in Paris. From the estate of Gloria Jones, New York, they were acquired for a private New York collection. American writer James Jones and his wife Gloria were close friends, collectors and supporters of Beauford while he lived in Paris.
Point of Departure: Postwar African-American Fine Art is listed as Sale 2323 on Swann Auction Galleries Web site. For details, click here.
The first work that appears in the auction catalog is entitled Embrun:
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed and dated "July 19, 1963" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was exhibited at the Studio Museum in Harlem, New York, with the label on the frame back. The estimated sale price is $8,000 - $12,000.
The second of the three paintings is entitled Untitled (Composition in Blue).
+Oct+3+2013.jpg)
(1963) Watercolor on wove paper
641x501 mm; 25 1/4x19 3/4 inches
Signed, dated and inscribed "Paris" in ink, lower right
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The estimated sale price for this work is $8,000 - $12,000.
The third painting, also called Untitled, is the pièce de résistance – the showpiece of the three works. It was created in Beauford's favorite color - yellow.
(1968) Oil on cotton canvas
610x502 mm; 24x19 3/4 inches
Signed and dated in oil, lower left
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It was also exhibited at the Studio Museum in Harlem, New York, with the label on the frame back.
Swann Auction Galleries describes Untitled as follows:
In this striking canvas, Beauford Delaney combines a representation of an African fertility figure within a saturated yellow color field painting. Delaney had an interest in African sculpture going back to his reading of Alain Locke's New Negro, and visiting artist Cloyd Boykin's Primitive African Arts Center in the 1930s. Having seen the influence of African art on Picasso and other modernist painters in both New York and Paris, Delaney often incorporated African motifs and figures, including Earth Mother, 1950 and Mokonde Figure, 1952. This oil is from the same year as his Portrait of Ella Fitzgerald in the Walter O. Evans Collection of African-American Art, the last fully productive year of his Parisian period. In both paintings, the figure is subsumed within the dominant yellow swirls of color. Three years later, Delaney even portrayed himself as an African figure in his Self-Portrait, 1971. Leeming p. 41 and 102; Powell p. 58.
Its estimated sale price is $50,000 - $75,000.
All three paintings were acquired directly from the artist by James and Gloria Jones in Paris. From the estate of Gloria Jones, New York, they were acquired for a private New York collection. American writer James Jones and his wife Gloria were close friends, collectors and supporters of Beauford while he lived in Paris.
Point of Departure: Postwar African-American Fine Art is listed as Sale 2323 on Swann Auction Galleries Web site. For details, click here.
Where to Find Beauford's Art: Christie's Paris October 2013 Rendez-Vous / Intérieurs Contemporains Auction
Sylvain Briet - an expert on Beauford’s art who has been called upon by Christie's in Paris and London to authenticate works for sale - has graciously provided Les Amis with the following information about a singular Delaney painting that will be offered at auction by Christie's Paris on October 9, 2013:
Untitled, 1970 Oil on canvas, 65 x 54 cm.
© Christie's Images, 2013 © Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Painted at the artist’s studio : 53 rue Vercingétorix, Paris 14ème
Signed, dated, and situated in blue ink ‘Beauford Delaney 1970 Paris’ (lower middle)
Signed and dated in red paint ‘Beauford Delaney 1970’ (lower right)
Beauford Delaney was a total artist, an inventive artist. This painting (done at the age of 68) shows his perpetual interest in researching and experimenting with new techniques and visual effects—in what I call creating. The organization of forms on the canvas, the use of bright yellow that can even be found on one of the edges of the back of the painting, as well as the clear border that frames the composition, are all elements that affirm that this painting was created by Beauford.
Rear of Untitled, 1970
© Christie's Images, 2013 © Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The double signature is not unique to Delaney. His red signature can be found on All the Races, another painting dated 1970 that my brother Philippe and I showed at the Philippe Briet Gallery. The form of the letters in blue ink (made with a pen) is also characteristic of Beauford's style during that era.
When we enlarge the reproduction to its maximum we have a true feeling of the painting, its texture, and how Beauford Delaney managed to combine its colors with softness, which is quite remarkable.
Provenance:
There is unfortunately no record between the moment the painting left Beauford’s studio and its purchase by the actual owner in the south of France. The work was sold to the actual owner in 1998 by Michel Martiniani at Art Trade, an antique shop in La Garde. This small city is located in the Var department, not far from the French Riviera and Saint-Paul de Vence, where Beauford stayed and painted at James Baldwin’s home on several occasions in 1971, 72 and 73. But this was long after the painting was created.
Untitled, 1970, Lot 146, will be offered for sale at Christie’s, 9 avenue Matignon, Paris 8ème, during the Rendez-Vous / Intérieurs Contemporains auction, Sale 3557, on October 9, starting at 2:30 PM. Estimate: €4,000 - €6,000 ($5,316 - $7,975).
© Christie's Images, 2013
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signed, dated, and situated in blue ink ‘Beauford Delaney 1970 Paris’ (lower middle)
Signed and dated in red paint ‘Beauford Delaney 1970’ (lower right)
Beauford Delaney was a total artist, an inventive artist. This painting (done at the age of 68) shows his perpetual interest in researching and experimenting with new techniques and visual effects—in what I call creating. The organization of forms on the canvas, the use of bright yellow that can even be found on one of the edges of the back of the painting, as well as the clear border that frames the composition, are all elements that affirm that this painting was created by Beauford.
© Christie's Images, 2013
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The double signature is not unique to Delaney. His red signature can be found on All the Races, another painting dated 1970 that my brother Philippe and I showed at the Philippe Briet Gallery. The form of the letters in blue ink (made with a pen) is also characteristic of Beauford's style during that era.
When we enlarge the reproduction to its maximum we have a true feeling of the painting, its texture, and how Beauford Delaney managed to combine its colors with softness, which is quite remarkable.
Provenance:
There is unfortunately no record between the moment the painting left Beauford’s studio and its purchase by the actual owner in the south of France. The work was sold to the actual owner in 1998 by Michel Martiniani at Art Trade, an antique shop in La Garde. This small city is located in the Var department, not far from the French Riviera and Saint-Paul de Vence, where Beauford stayed and painted at James Baldwin’s home on several occasions in 1971, 72 and 73. But this was long after the painting was created.
Untitled, 1970, Lot 146, will be offered for sale at Christie’s, 9 avenue Matignon, Paris 8ème, during the Rendez-Vous / Intérieurs Contemporains auction, Sale 3557, on October 9, starting at 2:30 PM. Estimate: €4,000 - €6,000 ($5,316 - $7,975).
Where to Find Beauford's Art: Dolan/Maxwell Gallery
On Thursday I had the pleasure of speaking with Ron Rumford, director of the Dolan/Maxwell Gallery in Philadelphia. Dolan/Maxwell is proud to offer two Beauford Delaney paintings for sale:
Untitled (Grape Motif)
(1946) Pastel on paper image: 17 x 23.125 inches
sheet: 18 x 24 inches
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled (Yellow series)
(1962) Oil on linen 26 x 21 inches Annotated in verso
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Both works were obtained from a private collector whose husband knew Beauford personally.
About these paintings, Rumford writes:
Dolan/Maxwell specializes in work by artists from the 1930's to the present, ranging from WPA, Modernist, European, and New York School to African-American and International Contemporary.
Dolan/Maxwell Gallery
2046 Rittenhouse Square Street
Philadelphia, Pennsylvania 19103 USA
Telephone: 215-732-7787
Facsimile: 215-790-1866
Email:
www.dolanmaxwell.com
(1946) Pastel on paper
sheet: 18 x 24 inches
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1962) Oil on linen
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Both works were obtained from a private collector whose husband knew Beauford personally.
About these paintings, Rumford writes:
Beauford Delaney's pastel was made in New York c. 1946 and reflects a dynamic, frenzied energy often associated with that city. He contradicts our expectations of what a simple bunch of grapes might imply by surrounding the delicately colored fruit with zigzagging lines that echo the jagged edges of the grape leaves. Powerful, contrasting bands of pinks, purples, blue, and brown shatter the notion that we are looking at a mere still life.
Untitled (Yellow series) 1962 was painted in Paris, where Delaney allows the objective world to escape from his work. Now painting is about light, about applying the paint and finding meaning within the act of mixing color and orchestrating brushstrokes. Yellow is the brightest color of the spectrum and in making this radiant choice Beauford assigns himself the greatest painting challenge of inventing a new visual reality out of oil paint. He rises to that challenge again and again with the yellow paintings he made in Paris.
Dolan/Maxwell specializes in work by artists from the 1930's to the present, ranging from WPA, Modernist, European, and New York School to African-American and International Contemporary.
Dolan/Maxwell Gallery
2046 Rittenhouse Square Street
Philadelphia, Pennsylvania 19103 USA
Telephone: 215-732-7787
Facsimile: 215-790-1866
Email:
www.dolanmaxwell.com
Beauford in Provence
As events begin to unfold in celebration of the 50th anniversary of the March on Washington, I am reminded of a brief anecdote in Beauford's biography, Amazing Grace: A Life of Beauford Delaney
. Author David Leeming describes how Beauford traveled to the town of Solliès Toucas, in the region of Provence in southern France, to spend time with friends Bernard Hassell, Richard Olney, and Mary Painter. He indicates that
In previous posts on this blog, I published images of paintings by Beauford that bear the name (although misspelled) of this Provençal town. One of them is dated 1963 and the other is undated:
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Undoubtedly, one of them was painted during the time of Baldwin's visit to Paris. Given the similarity of the two works, the other may well have been painted during the same trip.
To read the articles in which these images were first published, click on the links below:
Where to Find Beauford's Art: Ink Miami Art Fair - Aaron Galleries
Roy Freeman Remembers Beauford
. Author David Leeming describes how Beauford traveled to the town of Solliès Toucas, in the region of Provence in southern France, to spend time with friends Bernard Hassell, Richard Olney, and Mary Painter. He indicates thatBeauford painted a great deal and, as always, enjoyed the sun, but was upset at missing James Baldwin's quick visit to Paris to gather expatriate support for the March on Washington.
In previous posts on this blog, I published images of paintings by Beauford that bear the name (although misspelled) of this Provençal town. One of them is dated 1963 and the other is undated:
Sollis Toucan
(1963) Oil on canvas
Signed, dated and titled, on the stretcher
16 3/8 x 13 inches
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Soullis Toucas
(Beauford's gift to Roy Freeman)
Oil on canvas
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Undoubtedly, one of them was painted during the time of Baldwin's visit to Paris. Given the similarity of the two works, the other may well have been painted during the same trip.
To read the articles in which these images were first published, click on the links below:
Where to Find Beauford's Art: Ink Miami Art Fair - Aaron Galleries
Roy Freeman Remembers Beauford
The Many Sidedness of Beauford Delaney's Art: Commentary
Last week, I published "The Many Sidedness of Beauford Delaney's Art," an article by Dr. Catherine St. John that discusses Beauford's art in the context of the recent solo exposition Beauford Delaney: Internal Light at the Jim Levis Gallery. Today, I bring you comments on that article by Sylvain Briet - an art expert and the brother of the late Philippe Briet, a French gallery owner and publisher who was passionate about the work of Beauford Delaney. The Briet brothers operated the Philippe Briet Gallery in SoHo, Manhattan in the late 1980s and mounted two retrospectives of Beauford's works.
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My remarks are not about Catherine Saint John's vision of the art of Beauford Delaney, which is by far more interesting than many writings published for decades. I believe in her talent in understanding Beauford's work, as my late brother did. She is a true friend and my comments are not meant to give her discrédit (discredit). But there are some points that needed some éclaircissement (clarification, explanation), as we say in French:
Catherine St. John (CSJ) wrote "...artists living abroad were more apt to explore diversity in an environment where a traditional art market was absent." I wonder why she says that, since by the early 1950s numerous art magazines were active in France, such as La Gazette des Beaux-Arts (1859-2002), Cimaise (1953 to present), L'Œil (January 1955 to present), Connaissance des Arts (1952 to present), Jardin des Arts (1954 to present), Cahiers d'Art (1926-1960), and XXe Siècle (1938-1974). There were also hundreds of galleries already in Paris. When I checked in an issue of Cimaise dating from 1956, I was able to see ads for American, Italian and English galleries. There's even a section with the articles translated into English.
The famous auction house Hôtel Drouot was inaugurated in Paris in 1852 and is still a flourishing business. The auctioneer House of Paris was created in 1801. Sotheby's had its first sale in the U.S. in 1955 and opened an office in Paris in 1967. Christie's in New York didn't have its first auction before 1977, and its first in Paris in 2002. And of course, until 1964 and that now famous Venice Biennal that awarded Rauschenberg, all the art American people were interested in was coming from Europe, and particularly France. So there was a strong art market when Beauford arrived in France.
The thing about Beauford was that he was in his own mental world, creating, and not interested in the art business. Also, he didn't have a partner to take care of his business. When he didn't give his works as presents to friends, he sold them for survival and to be able to produce more works. If he had had a close friend for promoting his art, his life would have been totally different.
CSJ's reference to the traditional art market was derived from an article on Gerhard Richter in Art Journal "that took into consideration a wider continental art market." One sure point is that we can't write generalities on a specific subject. And knowing the French and American culture is "indispensable" in understanding the time when Beauford Delaney was living! So, when it is written "where a traditional art market was absent," this is absolutely wrong. The image below provides evidence:
An auction in Paris including paintings and jewels, in April 1748
Image courtesy of Sylvain Briet
On another note, CSJ uses the expression "modest in size" about Beauford Delaney's paintings. As if the painter was not able to buy and then to create paintings on a larger scale, and as if this would be such a disadvantage in his career. There is nothing in them that makes them modest anyway, because size has nothing to do with quality. Dürer has never done paintings 7 meters long as did Cy Tombly and Rauschenberg. Neither did Van Gogh or Vermeer. Some people need to show big work to be seen!!!
"Modest" has a negative connotation. And the abstract paintings, the yellow ones we exhibited in New York, were not small.
I think that to imagine that Beauford was not able to buy large canvases is a false problem. I believe that he was comfortable creating works that were adapted to his natural gestures and movements and in concert with the development of his ideas. These works need not have been gigantic.
CSJ also mentions that "Untitled: Abstract in Black, Calligraphic Lines with Red, Diptych, probably completed in 1956, was inspired by an invitation from painter Larry Calcagno to join him on a trip to Ibiza, Spain." More precisely, the work was completed in Ibiza in August 1956, during a trip with painter Larry Calcagno. The name of the island is featured on the work.
It is interesting to see that the Jim Levis Gallery has put the works together, when apparently Beauford decided to make two works from the original one, signing each part. When put exactly next to each other, one can verify that Beauford reframed each part, eliminating some surface, whether on the top (work on the left) or on the bottom (work on the right).
Composite image of Untitled: Abstract in Black, Calligraphic Lines with Red, Diptych by Sylvain Briet
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
If some criticism could be made regarding the Jim Levis installation of the exhibition, it is that there is no pertinence in having the portraits presented in between abstract works.
Beauford Delaney: Internal Light
Levis Fine Art
Image courtesy of Levis Fine Art
It is as though Levis didn't believe in the portraits by themselves and thought that displaying an abstract painting next to a portrait would help people to see or to understand and be more likely to purchase the portrait! It is not a proper way to present the paintings to serve the artist.
My remarks are not about Catherine Saint John's vision of the art of Beauford Delaney, which is by far more interesting than many writings published for decades. I believe in her talent in understanding Beauford's work, as my late brother did. She is a true friend and my comments are not meant to give her discrédit (discredit). But there are some points that needed some éclaircissement (clarification, explanation), as we say in French:
Catherine St. John (CSJ) wrote "...artists living abroad were more apt to explore diversity in an environment where a traditional art market was absent." I wonder why she says that, since by the early 1950s numerous art magazines were active in France, such as La Gazette des Beaux-Arts (1859-2002), Cimaise (1953 to present), L'Œil (January 1955 to present), Connaissance des Arts (1952 to present), Jardin des Arts (1954 to present), Cahiers d'Art (1926-1960), and XXe Siècle (1938-1974). There were also hundreds of galleries already in Paris. When I checked in an issue of Cimaise dating from 1956, I was able to see ads for American, Italian and English galleries. There's even a section with the articles translated into English.
The famous auction house Hôtel Drouot was inaugurated in Paris in 1852 and is still a flourishing business. The auctioneer House of Paris was created in 1801. Sotheby's had its first sale in the U.S. in 1955 and opened an office in Paris in 1967. Christie's in New York didn't have its first auction before 1977, and its first in Paris in 2002. And of course, until 1964 and that now famous Venice Biennal that awarded Rauschenberg, all the art American people were interested in was coming from Europe, and particularly France. So there was a strong art market when Beauford arrived in France.
The thing about Beauford was that he was in his own mental world, creating, and not interested in the art business. Also, he didn't have a partner to take care of his business. When he didn't give his works as presents to friends, he sold them for survival and to be able to produce more works. If he had had a close friend for promoting his art, his life would have been totally different.
CSJ's reference to the traditional art market was derived from an article on Gerhard Richter in Art Journal "that took into consideration a wider continental art market." One sure point is that we can't write generalities on a specific subject. And knowing the French and American culture is "indispensable" in understanding the time when Beauford Delaney was living! So, when it is written "where a traditional art market was absent," this is absolutely wrong. The image below provides evidence:
Image courtesy of Sylvain Briet
On another note, CSJ uses the expression "modest in size" about Beauford Delaney's paintings. As if the painter was not able to buy and then to create paintings on a larger scale, and as if this would be such a disadvantage in his career. There is nothing in them that makes them modest anyway, because size has nothing to do with quality. Dürer has never done paintings 7 meters long as did Cy Tombly and Rauschenberg. Neither did Van Gogh or Vermeer. Some people need to show big work to be seen!!!
"Modest" has a negative connotation. And the abstract paintings, the yellow ones we exhibited in New York, were not small.
I think that to imagine that Beauford was not able to buy large canvases is a false problem. I believe that he was comfortable creating works that were adapted to his natural gestures and movements and in concert with the development of his ideas. These works need not have been gigantic.
CSJ also mentions that "Untitled: Abstract in Black, Calligraphic Lines with Red, Diptych, probably completed in 1956, was inspired by an invitation from painter Larry Calcagno to join him on a trip to Ibiza, Spain." More precisely, the work was completed in Ibiza in August 1956, during a trip with painter Larry Calcagno. The name of the island is featured on the work.
It is interesting to see that the Jim Levis Gallery has put the works together, when apparently Beauford decided to make two works from the original one, signing each part. When put exactly next to each other, one can verify that Beauford reframed each part, eliminating some surface, whether on the top (work on the left) or on the bottom (work on the right).
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
If some criticism could be made regarding the Jim Levis installation of the exhibition, it is that there is no pertinence in having the portraits presented in between abstract works.
Levis Fine Art
Image courtesy of Levis Fine Art
It is as though Levis didn't believe in the portraits by themselves and thought that displaying an abstract painting next to a portrait would help people to see or to understand and be more likely to purchase the portrait! It is not a proper way to present the paintings to serve the artist.