Beauford's Rehearsal
At the recent Art Basel Miami Beach Fair, Michael Rosenfeld Gallery's (MRG) Jazz and Improvisation checklist included eleven Beauford Delaney works. Among them was Rehearsal, an image of which is shown below.
Rehearsal
(1952) oil on canvas
36 1/8" x 30 1/8" / 91.8 x 76.5 cm
signed and dated
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
This painting was enjoyed by two private collectors prior to finding its way to MRG. Among the gallery's notes about the work is the following statement:
Rehearsal was one of the paintings shown at Beauford's final solo exhibition at the Roko Gallery in New York (December 29, 1952 - January 22, 1953). In her Art News article about the exhbition, Betty Holloway described the painting has having a "solemn" mood.
In 1994, Rehearsal was displayed in New York once again - this time at the Philippe Briet Gallery. The solo show was called Beauford Delaney: The New York Years (1929-1952). It consisted of 47 works that Beauford created between 1929 and 1953.
Eleanor Heartney wrote an insightful review of the exhibition (Art in America, November 1994), which included multiple works inspired by musical themes. She says the following about Rehearsal:
She then goes on to briefly discuss Beauford's "disappearance from the consciousness of the New York art world," attributing it in part to Beauford's emigration from New York to Paris at precisely the time when New York was becoming recognized as "the world's cultural capital."
Michael Rosenfeld Gallery
100 11th Avenue at 19th Street
New York, NY 10011
Internet: http://michaelrosenfeldart.com
(1952) oil on canvas
36 1/8" x 30 1/8" / 91.8 x 76.5 cm
signed and dated
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
This painting was enjoyed by two private collectors prior to finding its way to MRG. Among the gallery's notes about the work is the following statement:
Rehearsal is extremely autobiographical and the church choir subject is one that naturally resonated with Delaney. His father Samuel Delaney was a Methodist minister, and his favorite brother, Samuel Emery Delaney, was a gospel singer and a member of a jubilee quartet that traveled throughout the South singing spirituals and gospels. Delaney himself loved to sing and occasionally gave recitals in New York clubs and concert halls.
Rehearsal was one of the paintings shown at Beauford's final solo exhibition at the Roko Gallery in New York (December 29, 1952 - January 22, 1953). In her Art News article about the exhbition, Betty Holloway described the painting has having a "solemn" mood.
In 1994, Rehearsal was displayed in New York once again - this time at the Philippe Briet Gallery. The solo show was called Beauford Delaney: The New York Years (1929-1952). It consisted of 47 works that Beauford created between 1929 and 1953.
Eleanor Heartney wrote an insightful review of the exhibition (Art in America, November 1994), which included multiple works inspired by musical themes. She says the following about Rehearsal:
In a different mood, Rehearsal (1952) depicts a gospel choir practicing beneath the gothic arches of brilliantly colored church windows.
She then goes on to briefly discuss Beauford's "disappearance from the consciousness of the New York art world," attributing it in part to Beauford's emigration from New York to Paris at precisely the time when New York was becoming recognized as "the world's cultural capital."
Michael Rosenfeld Gallery
100 11th Avenue at 19th Street
New York, NY 10011
Internet: http://michaelrosenfeldart.com
SOLD: Untitled (Portrait of a Young Man)
Beauford's Untitled (Portrait of a Young Man) (Lot 21) sold at Swann Auction Galleries' autumn African-American Fine Art sale on Thursday, October 6, 2016.
Untitled (Portrait of a Young Man)
(circa 1930-35) Color pastels and charcoal on
gray, textured wove paper
597x445 mm; 23x17 1/2 inches
Signed in charcoal at lower left
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The purchase price was $5000 (buyer's premium included).
Beauford created a niche for himself during his early years in New York by painting pastel and charcoal portraits. He began at Billy Pierce's Dancing School, applying the skills that he learned at the schools he attended in Boston. Untitled (Portrait of a Young Man) is representative of this period of Beauford's career.
(circa 1930-35) Color pastels and charcoal on
gray, textured wove paper
597x445 mm; 23x17 1/2 inches
Signed in charcoal at lower left
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The purchase price was $5000 (buyer's premium included).
Beauford created a niche for himself during his early years in New York by painting pastel and charcoal portraits. He began at Billy Pierce's Dancing School, applying the skills that he learned at the schools he attended in Boston. Untitled (Portrait of a Young Man) is representative of this period of Beauford's career.
Beauford at Swann Auction Galleries: October 2016 Sale
Swann Auction Galleries is having its autumn sale of African-American Fine Art at 2:30 PM on Thursday, October 6, 2016.
Beauford's Untitled (Portrait of a Young Man) (Lot 21) is available for purchase at this sale.
Untitled (Portrait of a Young Man)
(circa 1930-35) Color pastels and charcoal on
gray, textured wove paper
597x445 mm; 23x17 1/2 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It is signed in charcoal at the lower left.
This portrait is an early work of Beauford, likely made soon after he moved from Knoxville to New York City. It is currently part of a private collection; the owner obtained the work from Beauford's brother, Joseph. Its estimated value is $6,000 - $9,000.
Preview dates for the show are as follows: Saturday, October 1 from 12 PM - 5 PM; Monday, October 3 from 3 PM - 5 PM; and Thursday, October 6 from 10 AM - noon.
For more information, contact Nigel Freeman at
.
Beauford's Untitled (Portrait of a Young Man) (Lot 21) is available for purchase at this sale.
(circa 1930-35) Color pastels and charcoal on
gray, textured wove paper
597x445 mm; 23x17 1/2 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It is signed in charcoal at the lower left.
This portrait is an early work of Beauford, likely made soon after he moved from Knoxville to New York City. It is currently part of a private collection; the owner obtained the work from Beauford's brother, Joseph. Its estimated value is $6,000 - $9,000.
Preview dates for the show are as follows: Saturday, October 1 from 12 PM - 5 PM; Monday, October 3 from 3 PM - 5 PM; and Thursday, October 6 from 10 AM - noon.
For more information, contact Nigel Freeman at
.
A New Sight: Light & the Color Yellow in Beauford Delaney’s Portraits
By Sojourner Ahébée
What becomes immediately apparent about Beauford Delaney’s paintings is his obsession with light. Delaney often used the color yellow in his work as an expression of this light. Though yellow is present in many of his abstracts, his use of the color in his portraits serves as a fascinating dimension of what I would call a kind of second sight -- his ability to see those he painted beyond their physical presentation and to capture the energy, love, or brilliance they brought into the world.
If we are to talk about the intersection of light and the color yellow in Delaney’s portraits, we must also think about the trajectory of his portraits throughout his lifetime. As I was digging into his past, I encountered an intriguing work that he painted of a young woman in 1934.
Untitled (Portrait of a Young Woman)
(1934) Color pastels
Private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
A previous Les Amis de Beauford Delaney blog post on Delaney’s portraiture presents readers with a quote by Dr. Catherine St. John:
What struck me the most about Delaney’s 1934 portrait of the young woman was its staggering realism. It is so detail-focused that it almost feels like looking at a photograph. The shadows falling on the woman’s face, her slightly disproportionate eyes, and the precision of the strands of hair at the top of her head all work to tell what Dr. St. John has identified as a “human story.”
Delaney’s mastery of such realism is simply a testament to the commitment he had to accurately capturing the likeness of his subjects. Every feature of the woman -- from the muscle on the left side of her neck to the subtle rouge in her cheeks -- is accounted for. Though this portrait has no trace of Delaney’s legendary yellow, it does play with light and darkness in interesting ways.
Yet, Delaney moved away from such realism in his later portraits. I wonder if this is indicative of the shortcomings of “primary” sight.
As Delaney experimented with other modes of portraiture, I think he realized that telling a person’s story demanded much more than replicating their features on the canvas. Maybe the painter asked himself to re-imagine a visual language for expressing who a person was (and what they offered the world) that was not wholly dependent on a literal or unembellished presentation of their physical countenance. Which only means he was looking for a figurative mode of storytelling.
And he certainly found one. Consider his 1968 portrait of Ella Fitzgerald.
Ella Fitzgerald
(1968) Oil on canvas
The Walter O. Evans Collection of African American Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Here, the Queen of Jazz is shrouded in a misty yellow hue. Her head is the only part of her body that is identifiable, and even that is cloaked in Delaney’s remarkable yellow. Unlike the portrait of the young woman, this painting does not place great urgency on explicit and unambiguous details of the human body.
It would have been easy for Delaney to create a standard portrait of Lady Ella, but that would have been an incomplete rendering of the power and the light she made possible through her voice and her music. Think “Summertime” or “Cry Me a River”: Fitzgerald’s voice exists between a tender space and one ravaged by fire and uproar. She can sing sweetly as she drags out a note, but she can just as quickly disrupt that serenity with a booming moan. Regardless of what she sings and how, she illuminates some of the most human elements of waking life: love, heartbreak, desire. The way in which the yellow dominates the painting, almost like the way light pushes itself into a dark room to illuminate it, is just the way Fitzgerald’s voice moves into the ears and hearts of her listeners.
I think it is this dynamism of Fitzgerald’s voice and message that Delaney wished to capture in his painting of her. His use of the color yellow is not solely about an obsession with light, but also an opportunity to look into the internal landscape of a person, and he takes full advantage of this opportunity with Ella.
As Delaney continued to envelop his portraits in yellow hues, I think he was searching for a new sight. He was asking himself what of people is there to see and how could he make visible the most precious parts of their soul.
************
Sojourner Ahébée is a 2016 BOSP Continuation International Fellow for the Haas Center for Public Service at Stanford University. She is currently serving as the Paris intern for the Wells International Foundation.
Read more of Sojourner's work at Sojourner Ahébée.
What becomes immediately apparent about Beauford Delaney’s paintings is his obsession with light. Delaney often used the color yellow in his work as an expression of this light. Though yellow is present in many of his abstracts, his use of the color in his portraits serves as a fascinating dimension of what I would call a kind of second sight -- his ability to see those he painted beyond their physical presentation and to capture the energy, love, or brilliance they brought into the world.
If we are to talk about the intersection of light and the color yellow in Delaney’s portraits, we must also think about the trajectory of his portraits throughout his lifetime. As I was digging into his past, I encountered an intriguing work that he painted of a young woman in 1934.
(1934) Color pastels
Private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
A previous Les Amis de Beauford Delaney blog post on Delaney’s portraiture presents readers with a quote by Dr. Catherine St. John:
It is the expressive single-figure realist portrait that first brought Beauford Delaney critical notice and a measure of success. He loved people. He continued the art of portraiture without interruption throughout his career. His portraits tell a story that is human and real, saying as much about him as those he painted.
What struck me the most about Delaney’s 1934 portrait of the young woman was its staggering realism. It is so detail-focused that it almost feels like looking at a photograph. The shadows falling on the woman’s face, her slightly disproportionate eyes, and the precision of the strands of hair at the top of her head all work to tell what Dr. St. John has identified as a “human story.”
Delaney’s mastery of such realism is simply a testament to the commitment he had to accurately capturing the likeness of his subjects. Every feature of the woman -- from the muscle on the left side of her neck to the subtle rouge in her cheeks -- is accounted for. Though this portrait has no trace of Delaney’s legendary yellow, it does play with light and darkness in interesting ways.
Yet, Delaney moved away from such realism in his later portraits. I wonder if this is indicative of the shortcomings of “primary” sight.
As Delaney experimented with other modes of portraiture, I think he realized that telling a person’s story demanded much more than replicating their features on the canvas. Maybe the painter asked himself to re-imagine a visual language for expressing who a person was (and what they offered the world) that was not wholly dependent on a literal or unembellished presentation of their physical countenance. Which only means he was looking for a figurative mode of storytelling.
And he certainly found one. Consider his 1968 portrait of Ella Fitzgerald.
(1968) Oil on canvas
The Walter O. Evans Collection of African American Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Here, the Queen of Jazz is shrouded in a misty yellow hue. Her head is the only part of her body that is identifiable, and even that is cloaked in Delaney’s remarkable yellow. Unlike the portrait of the young woman, this painting does not place great urgency on explicit and unambiguous details of the human body.
It would have been easy for Delaney to create a standard portrait of Lady Ella, but that would have been an incomplete rendering of the power and the light she made possible through her voice and her music. Think “Summertime” or “Cry Me a River”: Fitzgerald’s voice exists between a tender space and one ravaged by fire and uproar. She can sing sweetly as she drags out a note, but she can just as quickly disrupt that serenity with a booming moan. Regardless of what she sings and how, she illuminates some of the most human elements of waking life: love, heartbreak, desire. The way in which the yellow dominates the painting, almost like the way light pushes itself into a dark room to illuminate it, is just the way Fitzgerald’s voice moves into the ears and hearts of her listeners.
I think it is this dynamism of Fitzgerald’s voice and message that Delaney wished to capture in his painting of her. His use of the color yellow is not solely about an obsession with light, but also an opportunity to look into the internal landscape of a person, and he takes full advantage of this opportunity with Ella.
As Delaney continued to envelop his portraits in yellow hues, I think he was searching for a new sight. He was asking himself what of people is there to see and how could he make visible the most precious parts of their soul.
Sojourner Ahébée is a 2016 BOSP Continuation International Fellow for the Haas Center for Public Service at Stanford University. She is currently serving as the Paris intern for the Wells International Foundation.
Read more of Sojourner's work at Sojourner Ahébée.
Knoxville Museum of Art acquires two Beauford Delaney portraits
I am pleased to share the following release from the Knoxville Museum of Art:
The Knoxville Museum of Art announced its purchase two Beauford Delaney portraits from the artist’s estate: Portrait of Delia Delaney (1933), and Dante Pavone as Christ (1948). The purchase was made possible by financial assistance from the KMA’s Collectors Circle, a special membership group that helps support the development of the museum’s collection.
Portrait of Delia Delaney (1933) presents a bold and vibrant likeness of the artist’s mother, Delia (1865-1958), the stern matriarch of the family. The portrait was likely done during Beauford’s return trip to Knoxville in 1933. The portrait must have been an important keepsake, as the artist never sold it and used it as the basis for a larger oil portrait some 30 years later.
While Delaney describes her features with great attention to detail and conveys her strength, he transforms the background into an abstract study of luminous color.
The Knoxville Museum of Art announced its purchase two Beauford Delaney portraits from the artist’s estate: Portrait of Delia Delaney (1933), and Dante Pavone as Christ (1948). The purchase was made possible by financial assistance from the KMA’s Collectors Circle, a special membership group that helps support the development of the museum’s collection.
Portrait of Delia Delaney (1933) presents a bold and vibrant likeness of the artist’s mother, Delia (1865-1958), the stern matriarch of the family. The portrait was likely done during Beauford’s return trip to Knoxville in 1933. The portrait must have been an important keepsake, as the artist never sold it and used it as the basis for a larger oil portrait some 30 years later.
While Delaney describes her features with great attention to detail and conveys her strength, he transforms the background into an abstract study of luminous color.
(1933) Pastel on paper
19 x 20 inches
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Knoxville Museum of Art, purchase with funds provided by the KMA Collectors Circle with additional gifts from Barbara Apking, June and Rob Heller, Donna Kerr, Alexandra Rosen and Donald Cooney, Ted Smith and David Butler, Mimi and Milton Turner, John Cotham, Jan and Pete Crawford, Cathy and Mark Hill, Florence and Russell Johnston, John Z. C. Thomas, Donna and Terry Wertz, Jayne and Myron Ely, Sarah Stowers, Robin and Joe Ben Turner, and Jacqueline Wilson
Dante Pavone as Christ (1948) depicts one of Beauford’s closest friends during the period in which the artist was living at 181 Greene Street in New York (1936-1953). Pavone (1910-1997) was a singer and later a voice coach for performers including Paul McCartney, Mick Jagger, Aretha Franklin, and Steven Tyler.
For years, Delaney was obsessed with depicting Pavone, and produced many portraits of him — several of which appear to represent the spirit of his sitter rather than his physical likeness. This portrait is especially unusual as the artist presents his subject as Christ, with his left hand raised in a gesture of blessing, and his head encircled by a halo of brilliant white light.
(1948) Pastel on paper
23 ¼ x 19 ¾ inches
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Knoxville Museum of Art, purchase with funds provided by the KMA Collectors Circle with additional gifts from Barbara Apking, June and Rob Heller, Donna Kerr, Alexandra Rosen and Donald Cooney, Ted Smith and David Butler, Mimi and Milton Turner, John Cotham, Jan and Pete Crawford, Cathy and Mark Hill, Florence and Russell Johnston, John Z. C. Thomas, Donna and Terry Wertz, Jayne and Myron Ely, Sarah Stowers, Robin and Joe Ben Turner, and Jacqueline Wilson
As Delaney’s friend author Henry Miller observed in The Amazing and Invariable Beauford Delaney (1945),
Supposing that for the next five years he [Delaney] were to do nothing but Dante...Dante was a wondrous landscape for Beauford; he had cosmic proportions, and his skull though shorn of locks was full of mystery. A man studying his friend day in and day out for five years ought to arrive at some remarkable conclusions. With time Dante could become for Beauford what Oedipus became for Freud.
Beauford's "The Burning Bush" in "Modern Heroics" Exhibition at the Newark Museum
The Newark Museum is currently holding a six-month exhibition of African-American expressionist art called Modern Heroics: 75 Years of African-American Expressionism at the Newark Museum. It opens today.
The museum's Web page describes the show as featuring "34 paintings and sculptural works with an emphasis on storytelling and expressive imagery" and says that it "brings together rarely exhibited works by leading historical and contemporary African-American artists, placing in dialogue several generations and a range of self-taught and formally trained approaches."
In an article that I published several years ago, I reported that the Newark Museum holds two Beauford Delaney works and that only one was on display. This work, called The Burning Bush, is part of the Modern Heroics exhibition. Dated 1941, the year that Beauford revealed himself publicly as a modernist (according to biographer David A. Leeming), it is the earliest work included in the exhibition.
The Burning Bush
(1941) Oil on paperboard
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The introduction for the exhibition catalog, written by Tricia Laughlin Bloom, Curator of American Art, describes The Burning Bush as follows:
Regarding Beauford and his relationship with the museum, Bloom says:
During the Modern Heroics exhibition, The Burning Bush will be displayed in the featured exhibition space on the first floor of the museum.
The museum's Web page describes the show as featuring "34 paintings and sculptural works with an emphasis on storytelling and expressive imagery" and says that it "brings together rarely exhibited works by leading historical and contemporary African-American artists, placing in dialogue several generations and a range of self-taught and formally trained approaches."
In an article that I published several years ago, I reported that the Newark Museum holds two Beauford Delaney works and that only one was on display. This work, called The Burning Bush, is part of the Modern Heroics exhibition. Dated 1941, the year that Beauford revealed himself publicly as a modernist (according to biographer David A. Leeming), it is the earliest work included in the exhibition.
(1941) Oil on paperboard
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The introduction for the exhibition catalog, written by Tricia Laughlin Bloom, Curator of American Art, describes The Burning Bush as follows:
A compact, thickly painted composition of an abstract landscape, The Burning Bush reinterprets the Old Testament story in which God appeared to Moses as a burning bush: divinity and nature seem to converge in this forceful scene.
Regarding Beauford and his relationship with the museum, Bloom says:
Delaney happened to play an important role in building Newark’s permanent collection of African-American art. In 1943 he made a gift to the Museum of a work on paper made that year, titled Portrait of a Man. This pastel drawing became the second work by an African-American artist to enter Newark’s permanent collection.
Portrait of a Man
(1943) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
A series of handwritten and typed letters between Delaney and Beatrice Windsor (director of the Newark Museum from 1929 to 1947) reveals a simple but significant exchange that was catalyzing for the growth of the collection. Ms. Windsor, who knew Delaney personally, made a gift to him of several frames, and as a gesture of thanks Delaney made a gift to the Museum of his work.
In the correspondence between Delaney and Windsor both expressed sincere appreciation for the other’s gift, and the following year Newark organized its first original show dedicated to African-American art—an exhibition to which Delaney, Norman Lewis, Romare Bearden and ten other artists lent their work directly.
Nearly half of the artists included in that 1944 show are now represented in Newark’s permanent collection, a living testament to the Museum’s commitment to the art of today.
During the Modern Heroics exhibition, The Burning Bush will be displayed in the featured exhibition space on the first floor of the museum.
Beauford on Both Sides of the Atlantic
Perhaps for the first time, two major exhibitions of Beauford's work are taking place simultaneously on both sides of the Atlantic!
The first opened on February 3rd at Columbia Global Centers, Reid Hall, in Paris.
Beauford Delaney:
Resonance of Form and Vibration of Color
Due to the success of the opening reception, the exhibition, and associated events at Columbia Global Centers | Paris, Resonance of Form and Vibration of Color has been extended through March 15 2016!
Here are some of the works on view:
Untitled
1959, Oil on canvas
144.5 x 95.5 cm; 56.9" x 37.6"
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Portrait of Robert Tricoire
1969, Oil on canvas
65 x 54 cm; 25.6" x 21.2"
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled
1956, Inks on paper
45 x 33.5 cm; 17.7" x 13.2"
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The works presented above and seventeen additional works in the exhibition have been incorporated into the University of Arizona's Augmented Reality project. Video augments of these paintings and works on paper are accessible through the exhibition catalog by using the Blippar app.
Free visits to see the exhibition are scheduled for the following dates:
Registration is required. To register, send e-mail to .
For more information about the show, click on the links below:
Opening reception
Round Table
Beauford Delaney commemorative walking tour
The second exhibition is taking place at The Art Show – ADAA in New York.
In Focus: Beauford Delaney
The Michael Rosenfeld Gallery is featuring fifteen of Beauford's works at The Art Show - ADAA from March 2-6, 2016. Among them are:
Untitled, 1951
Oil on canvas
40 1/2" x 60 1/4"; 102.9 x 153 cm
signed and dated
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Reve, c.1959
Oil on canvas
39 3/8" x 32"; 100 x 81.3 cm
signed
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Beauford's works are featured in an Artsy editorial that was published about this show on March 2, 2016.
The Art Show is being held at the Park Avenue Armory at 67th Street in New York City. Hours are as follows:
Saturday, March 5 - 12-7 PM
Sunday, March 6 - 12-5 PM
************
Les Amis de Beauford Delaney, Columbia Global Centers | Paris, and the Wells International Foundation (WIF) are bringing you this exhibition of Beauford Delaney works at Reid Hall in Paris.
WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
The first opened on February 3rd at Columbia Global Centers, Reid Hall, in Paris.
Beauford Delaney:
Resonance of Form and Vibration of Color
Due to the success of the opening reception, the exhibition, and associated events at Columbia Global Centers | Paris, Resonance of Form and Vibration of Color has been extended through March 15 2016!
Here are some of the works on view:
1959, Oil on canvas
144.5 x 95.5 cm; 56.9" x 37.6"
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
1969, Oil on canvas
65 x 54 cm; 25.6" x 21.2"
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
1956, Inks on paper
45 x 33.5 cm; 17.7" x 13.2"
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The works presented above and seventeen additional works in the exhibition have been incorporated into the University of Arizona's Augmented Reality project. Video augments of these paintings and works on paper are accessible through the exhibition catalog by using the Blippar app.
Free visits to see the exhibition are scheduled for the following dates:
- Tuesday, March 8 at 10:30 AM
- Thursday, March 10 at 11 AM
- Monday, March 14 at 3:30 PM
Registration is required. To register, send e-mail to .
For more information about the show, click on the links below:
Opening reception
Round Table
Beauford Delaney commemorative walking tour
The second exhibition is taking place at The Art Show – ADAA in New York.
In Focus: Beauford Delaney
The Michael Rosenfeld Gallery is featuring fifteen of Beauford's works at The Art Show - ADAA from March 2-6, 2016. Among them are:
Oil on canvas
40 1/2" x 60 1/4"; 102.9 x 153 cm
signed and dated
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Oil on canvas
39 3/8" x 32"; 100 x 81.3 cm
signed
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Beauford's works are featured in an Artsy editorial that was published about this show on March 2, 2016.
The Art Show is being held at the Park Avenue Armory at 67th Street in New York City. Hours are as follows:
Saturday, March 5 - 12-7 PM
Sunday, March 6 - 12-5 PM
Les Amis de Beauford Delaney, Columbia Global Centers | Paris, and the Wells International Foundation (WIF) are bringing you this exhibition of Beauford Delaney works at Reid Hall in Paris.
WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Resonance of Form and Vibration of Color: Before the Opening
The February 3rd opening of the Resonance of Form and Vibration of Color exhibition was a huge success! Photos and a full report on the evening's happenings will come next week.
To whet your appetite for them, I'm sharing behind-the-scenes images of the preparation of the show.
It took three days to hang the exhibition.
Paintings ready for hanging
© Discover Paris!
Thierry hangs La Nativité
© Discover Paris!
Thierry hangs The Eye
© Discover Paris!
Tom Reeves photographs Thierry preparing a painting for hanging
© Discover Paris!
The Grande Salle
© Discover Paris!
Co-curators Monique Wells and Laurence Choko
© Discover Paris!
Monique showing the donor list
© Discover Paris!
Professor Bryan Carter and students from the University of Arizona spent the morning of February 1 video-ing spoken word artist Mike Ladd and me to create Blippar video augments for 20 of the 40+ paintings that are being displayed at the exhibition.
Professor Bryan Carter (far right), University of Arizona students, and Monique (front left)
© Discover Paris!
Professor Carter hangs green screen for video session
© Discover Paris!
Chatting during video session
© Discover Paris!
Mike Ladd
© Discover Paris!
Talking with Professor Carter in the Salle de Conferences
© Discover Paris!
In the meantime, J Rêve International founder, Jacqueline Cofield, was checking out the hotel where the teachers participating in her Global Educator Program will stay during the week of February 15.
Hôtel Le M is one of the two sites in Montparnasse that bears a Beauford Delaney commemorative plaque on the façade.
Hôtel Le M - Beauford Delaney commemorative plaque
J Rêve International is bringing eight U.S. teachers to Paris for a workshop on incorporating the arts into teaching practices for multiple disciplines. Beauford's life and art are the focal point for the workshop.
Among the activities planned are an educator meet-and-greet that will permit teachers in the French and U.S. systems to exchange information and ideas:
and a panel discussion on STEAM and Multiple Intelligences that is open to the public:
Next week - the opening!
To whet your appetite for them, I'm sharing behind-the-scenes images of the preparation of the show.
It took three days to hang the exhibition.
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
Professor Bryan Carter and students from the University of Arizona spent the morning of February 1 video-ing spoken word artist Mike Ladd and me to create Blippar video augments for 20 of the 40+ paintings that are being displayed at the exhibition.
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
In the meantime, J Rêve International founder, Jacqueline Cofield, was checking out the hotel where the teachers participating in her Global Educator Program will stay during the week of February 15.
Jacqueline Cofield, founder of J Rêve International
© Discover Paris!
© Discover Paris!
Hôtel Le M is one of the two sites in Montparnasse that bears a Beauford Delaney commemorative plaque on the façade.
© Discover Paris!
J Rêve International is bringing eight U.S. teachers to Paris for a workshop on incorporating the arts into teaching practices for multiple disciplines. Beauford's life and art are the focal point for the workshop.
Among the activities planned are an educator meet-and-greet that will permit teachers in the French and U.S. systems to exchange information and ideas:
and a panel discussion on STEAM and Multiple Intelligences that is open to the public:
Next week - the opening!
Beauford: News from the Net
We are five days away from the opening of
Beauford Delaney: Resonance of Form and Vibration of Color!
While I concentrate on the final organizational details for the exhibition, I want to share a couple of news bytes about Beauford from the Internet.
Art of Jazz: Form/Performance/Notes is a three-part exhibition at The Ethelbert Cooper Gallery of African & African American Art held in collaboration with the Harvard Art Museums. Consisting of three exhibits at two venues, its mission is to explore the interaction between jazz music and the visual arts. "Performance" will be located in Cooper Gallery's lobby and front galleries. Works by Beauford will be displayed alongside photographs by Hugh Bell and Van Vechten. There will also be a sound installation accompanying an exhibition of album covers. The exhibition will run from February 3 through May 8.
Norfolk, Virginia's Chrysler Museum of Art has acquired a Beauford Delaney portrait of James Baldwin:
Portrait of James Baldwin
(1965) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The museum's Board of Trustees voted unanimously on December 10, 2015 to purchase this work. It goes on public view this month in Gallery 221 of the Chrysler’s Roberts Wing for American and European Art.
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Beauford Delaney: Resonance of Form and Vibration of Color!
While I concentrate on the final organizational details for the exhibition, I want to share a couple of news bytes about Beauford from the Internet.
Art of Jazz: Form/Performance/Notes is a three-part exhibition at The Ethelbert Cooper Gallery of African & African American Art held in collaboration with the Harvard Art Museums. Consisting of three exhibits at two venues, its mission is to explore the interaction between jazz music and the visual arts. "Performance" will be located in Cooper Gallery's lobby and front galleries. Works by Beauford will be displayed alongside photographs by Hugh Bell and Van Vechten. There will also be a sound installation accompanying an exhibition of album covers. The exhibition will run from February 3 through May 8.
Norfolk, Virginia's Chrysler Museum of Art has acquired a Beauford Delaney portrait of James Baldwin:
(1965) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The museum's Board of Trustees voted unanimously on December 10, 2015 to purchase this work. It goes on public view this month in Gallery 221 of the Chrysler’s Roberts Wing for American and European Art.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Beauford and Howard Swanson
The Museum of Modern Art in New York holds two works by Beauford, one of which is a portrait of his dear friend, Howard Swanson:
Portrait of Howard Swanson
(1967) Oil on canvas
Image courtesy of Levis Fine Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Howard Swanson was an acclaimed composer who received grants and fellowships that allowed him to travel to Europe before and after the Second World War. In 1952, awards from the National Academy of Arts and Letters and a Guggenheim Fellowship enabled him to settle in Paris a year before Beauford's arrival. He remained in Europe until 1966, when he returned to New York.
Swanson is mentioned nine times in Amazing Grace: A Life of Beauford Delaney
. Biographer David Leeming describes him as a "source of good counsel and friendship" and says that Beauford frequently shared meals with him and could talk with him more freely than with most people. Swanson was present at the gathering organized by Beauford at the Hôtel des Ecoles in December 1955, which resulted in a conflict with the hotel's owners that caused Beauford to move to the Paris suburb of Clamart.
Beauford's Portrait of Howard Swanson was shown in the 1973 solo exhibition of Beauford's work at the Galerie Darthea Speyer in Paris. More recently, it was shown in the Internal Light exhibition at Levis Fine Arts in 2013 and was acquired by MoMA in 2013.
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
(1967) Oil on canvas
Image courtesy of Levis Fine Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Howard Swanson was an acclaimed composer who received grants and fellowships that allowed him to travel to Europe before and after the Second World War. In 1952, awards from the National Academy of Arts and Letters and a Guggenheim Fellowship enabled him to settle in Paris a year before Beauford's arrival. He remained in Europe until 1966, when he returned to New York.
Swanson is mentioned nine times in Amazing Grace: A Life of Beauford Delaney
. Biographer David Leeming describes him as a "source of good counsel and friendship" and says that Beauford frequently shared meals with him and could talk with him more freely than with most people. Swanson was present at the gathering organized by Beauford at the Hôtel des Ecoles in December 1955, which resulted in a conflict with the hotel's owners that caused Beauford to move to the Paris suburb of Clamart.Beauford's Portrait of Howard Swanson was shown in the 1973 solo exhibition of Beauford's work at the Galerie Darthea Speyer in Paris. More recently, it was shown in the Internal Light exhibition at Levis Fine Arts in 2013 and was acquired by MoMA in 2013.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Beauford at Swann Auction Galleries: December 2015 Sale Results
The results of Swann Auction Galleries' African-American Fine Art winter sale are in.
Three of the four Beauford Delaney paintings offered at auction were sold.
The watercolor entitled Untitled (Abstraction in Pink) (Lot 72) sold for $8,750.
Untitled (Abstraction in Pink)
(1964) Watercolor on Arches paper
572 x 394 mm; 22 1/2 x 15 1/2 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The gouache entitled Untitled (Yellow Field) (Lot 73) sold for $6,250.
Untitled (Yellow Field)
(1966) Gouache on thin wove paper
336 x 222 mm; 13 1/4 x 8 3/4 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The oil monotype entitled Untitled (Woman in an Abstract Field) (Lot 74) sold for $7,000.
Untitled (Woman in an Abstract Field)
(1966) Oil monotype, with hand-painted additions in oil,
on cream wove paper
616 x 483 mm; 24 x 19 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
All sale prices mentioned above include Swann's buyer's premium.*
Lot 71, a watercolor abstraction in green and blue, remains unsold.
*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. The buyer’s premium for items purchased directly through Swann is 25%. Swann Auction Galleries now reports the "hammer price" and the price that include the buyer's premium in its online catalog.
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Three of the four Beauford Delaney paintings offered at auction were sold.
The watercolor entitled Untitled (Abstraction in Pink) (Lot 72) sold for $8,750.
(1964) Watercolor on Arches paper
572 x 394 mm; 22 1/2 x 15 1/2 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The gouache entitled Untitled (Yellow Field) (Lot 73) sold for $6,250.
(1966) Gouache on thin wove paper
336 x 222 mm; 13 1/4 x 8 3/4 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The oil monotype entitled Untitled (Woman in an Abstract Field) (Lot 74) sold for $7,000.
(1966) Oil monotype, with hand-painted additions in oil,
on cream wove paper
616 x 483 mm; 24 x 19 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
All sale prices mentioned above include Swann's buyer's premium.*
Lot 71, a watercolor abstraction in green and blue, remains unsold.
*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. The buyer’s premium for items purchased directly through Swann is 25%. Swann Auction Galleries now reports the "hammer price" and the price that include the buyer's premium in its online catalog.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Beauford at Swann Auction Galleries: December 2015 Sale
Swann Auction Galleries is having a winter sale of African-American Fine Art this year. It will take place at 2:30 PM on Tuesday, December 15, 2015.
Four Beauford Delaney paintings will be auctioned at the event. All are untitled.
Lot 71 is an abstraction in green and blue.
Untitled (Abstraction in Green and Blue)
(1963) Watercolor on thick wove paper
660 x 508 mm; 26 x 20 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It is signed, dated and inscribed "Clermont Seine" in blue ink at the lower left.
Beauford gave this work on paper to James and Gloria Jones in Paris. It was exhibited at the Studio Museum in Harlem and is currently part of a private collection in New York. Its estimated value is $7,000 - 10,000.
Lot 72 is an abstraction in pink that was owned by Beauford's friend Al Hirschfeld prior to being held by Philippe Briet and two subsequent private collectors.
Untitled (Abstraction in Pink)
(1964) Watercolor on Arches paper
572 x 394 mm; 22 1/2 x 15 1/2 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This work is signed, inscribed "Paris" and dated "July 1964" in blue ink at the lower right. Its estimated value is $8000 - $12000.
Lot 73 is a gouache on thin wove paper.
Untitled (Yellow Field)
(1966) Gouache on thin wove paper
336 x 222 mm; 13 1/4 x 8 3/4 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signed and dated in ink at the lower right, it is currently held by a private collector in New York. Its estimated worth is $4000 - $6000.
Lot 74 is a portrait.
Untitled (Woman in an Abstract Field)
(1966) Oil monotype, with hand-painted additions in oil,
on cream wove paper
616 x 483 mm; 24 x 19 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This oil monotype is signed and dated in ink at the lower corners. With an estimated value of $10000 - $15000, it is part of a private collection in New York.
Preview dates for the show are as follows: Saturday, December 12 from 12 PM - 5 PM; Monday, December 14 from 10 AM - 6 PM; and Tuesday, December 15 from 10 AM - noon.
For more information, contact Nigel Freeman at
.
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Four Beauford Delaney paintings will be auctioned at the event. All are untitled.
Lot 71 is an abstraction in green and blue.
(1963) Watercolor on thick wove paper
660 x 508 mm; 26 x 20 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It is signed, dated and inscribed "Clermont Seine" in blue ink at the lower left.
Beauford gave this work on paper to James and Gloria Jones in Paris. It was exhibited at the Studio Museum in Harlem and is currently part of a private collection in New York. Its estimated value is $7,000 - 10,000.
Lot 72 is an abstraction in pink that was owned by Beauford's friend Al Hirschfeld prior to being held by Philippe Briet and two subsequent private collectors.
(1964) Watercolor on Arches paper
572 x 394 mm; 22 1/2 x 15 1/2 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This work is signed, inscribed "Paris" and dated "July 1964" in blue ink at the lower right. Its estimated value is $8000 - $12000.
Lot 73 is a gouache on thin wove paper.
(1966) Gouache on thin wove paper
336 x 222 mm; 13 1/4 x 8 3/4 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signed and dated in ink at the lower right, it is currently held by a private collector in New York. Its estimated worth is $4000 - $6000.
Lot 74 is a portrait.
(1966) Oil monotype, with hand-painted additions in oil,
on cream wove paper
616 x 483 mm; 24 x 19 inches
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This oil monotype is signed and dated in ink at the lower corners. With an estimated value of $10000 - $15000, it is part of a private collection in New York.
Preview dates for the show are as follows: Saturday, December 12 from 12 PM - 5 PM; Monday, December 14 from 10 AM - 6 PM; and Tuesday, December 15 from 10 AM - noon.
For more information, contact Nigel Freeman at
.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Where to Find Beauford's Art: Art Basel Miami Beach and Treadway Toomey Auctions
Beauford's art is being featured in two major events this week.
The art world is abuzz over the annual Art Basel Miami Beach art fair, North America's "foremost international modern and contemporary art fair". It takes place from December 3-6 this year.
Michael Rosenfeld Gallery (Booth K4 at the fair) is displaying the Beauford Delaney work below:
Untitled
(c.1958), Oil on canvas
30" x 25" / 76.2 x 63.5 cm
signed and dated
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
and has included nine additional Beauford Delaney works in its MRG Art Basel 2015 checklist (see pages 15-17).
Meanwhile:
In the Chicago area, Beauford’s portrait of his dear friend, Larry Calcagno, is up for sale in the 20th Century Art & Design Auction by Treadway Toomey Gallery.
Portrait of a Young Man (Larry Calcagno)
(1953) Oil on canvas
Signed and dated, 31.75" x 25.5"
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was shown in the Beauford Delaney: From New York to Paris exhibition organized by the Minneapolis Institute of Arts. It hung there from November 21, 2004 – February 20, 2005 and was subsequently presented by the Knoxville Museum of Art (April 8 – June 25, 2005), the Greenville County Museum of Art (August 3 – October 2, 2005), and the Philadelphia Museum of Art (November 12, 2005 – January 28, 2006).
Its estimated value for the current sale, which takes place today (December 5, 2015), is between $15,000 and $20,000.
Treadway Toomey, which represents an affiliation between the John Toomey Gallery in Oak Park, IL and the Treadway Gallery in Cincinnati, OH, has sold art by African Americans since the 1990s. The organization began formally offering a collective African-American art sale in June 2014. During that first event, one of Beauford’s abstract paintings from his Paris years sold for $54,900*.
Untitled
(c. 1968-1973) Oil on canvas
Signed, 8.66" x 12.99"
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Thom Pegg is the African-American art specialist for the auction house. He has been working with museums and important private collectors for many years to help them develop their collections of African-American art.
*Including Buyer's Premium - an additional service charge for which the buyer is responsible, to be added to the price of the item.
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
The art world is abuzz over the annual Art Basel Miami Beach art fair, North America's "foremost international modern and contemporary art fair". It takes place from December 3-6 this year.
Michael Rosenfeld Gallery (Booth K4 at the fair) is displaying the Beauford Delaney work below:
(c.1958), Oil on canvas
30" x 25" / 76.2 x 63.5 cm
signed and dated
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
and has included nine additional Beauford Delaney works in its MRG Art Basel 2015 checklist (see pages 15-17).
Meanwhile:
In the Chicago area, Beauford’s portrait of his dear friend, Larry Calcagno, is up for sale in the 20th Century Art & Design Auction by Treadway Toomey Gallery.
(1953) Oil on canvas
Signed and dated, 31.75" x 25.5"
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was shown in the Beauford Delaney: From New York to Paris exhibition organized by the Minneapolis Institute of Arts. It hung there from November 21, 2004 – February 20, 2005 and was subsequently presented by the Knoxville Museum of Art (April 8 – June 25, 2005), the Greenville County Museum of Art (August 3 – October 2, 2005), and the Philadelphia Museum of Art (November 12, 2005 – January 28, 2006).
Its estimated value for the current sale, which takes place today (December 5, 2015), is between $15,000 and $20,000.
Treadway Toomey, which represents an affiliation between the John Toomey Gallery in Oak Park, IL and the Treadway Gallery in Cincinnati, OH, has sold art by African Americans since the 1990s. The organization began formally offering a collective African-American art sale in June 2014. During that first event, one of Beauford’s abstract paintings from his Paris years sold for $54,900*.
(c. 1968-1973) Oil on canvas
Signed, 8.66" x 12.99"
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Thom Pegg is the African-American art specialist for the auction house. He has been working with museums and important private collectors for many years to help them develop their collections of African-American art.
*Including Buyer's Premium - an additional service charge for which the buyer is responsible, to be added to the price of the item.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Beauford's Art: Reminiscence of the Painting "Portrait of a Young Man (Burton D. Reinfrank)"
I recently had the pleasure of viewing Burt Reinfrank's private collection of Beauford Delaney paintings and was surprised to find this portrait:
Portrait of Burt Reinfrank
(1971) Charcoal on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
© Discover Paris!
hanging next to the color portrait of Burt that I know so well:
Portrait of Burt Reinfrank
(1968) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo: © Discover Paris!
Here's the "back story" as told by Burt Reinfrank:
Photo of Beauford and Burt Reinfrank
holding his second charcoal portrait
Image courtesy of Burton Reinfrank
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
(1971) Charcoal on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
© Discover Paris!
hanging next to the color portrait of Burt that I know so well:
(1968) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo: © Discover Paris!
Here's the "back story" as told by Burt Reinfrank:
One afternoon in September 1966 I called at Beauford's studio and saw an almost completed portrait on his easel. It was of James Speyer. In the portrait, Speyer wore a yellow turtleneck sweater against a brown background. I passed by the studio a week later and was surprised to see the color of the sweater and that of the background had been reversed. Beauford explained that when Speyer saw the painting, he asked him to reverse the colors.
Portrait of James Speyer
(1966) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
I liked the portrait and asked Beauford if he would paint one of me that same size (60 francs). He said yes, if I would bring him the canvas.
In December, I went by an art supply shop in Montparnasse, picked up a canvas, and brought it to Beauford's studio. He immediately put it on his easel, sat me in his "sitters" chair facing the back of the easel, sat down in front, and started drawing in charcoal. He drew for more than an hour, recounting different episodes in his life.
Suddenly he stopped and said, "It's finished. Come have a look."
Photo of Beauford Delaney drawing of Burton Reinfrank
Photo courtesy of Burton Reinfrank
When I saw the drawing, I said: "It's great, keep if for me just as it is. I will bring you another canvas for the painting." But when I came by the studio a week later, the drawing had disappeared under paint.
I said: "Beauford, I wanted the drawing as it was." He replied: "I'll do you another."
He did, a smaller charcoal drawing on canvas in 1971.
holding his second charcoal portrait
Image courtesy of Burton Reinfrank
At the outset I had told Beauford that what I wanted was a great painting, not necessarily a likeness. Beauford proceeded to paint Portrait of a Young Man (Burton Reinfrank) with no further sitting.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation (WIF) are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! WE VALUE YOUR SUPPORT!
To contribute to the show, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Where to Find Beauford's Art: Minneapolis Institute of Arts
During a recent trip to Minneapolis, I had the pleasure of visiting the Minneapolis Institute of Arts. This extraordinary museum holds several Beauford Delaney works.
Currently on display is the "famous" raincoat painting, a vibrant abstract that Beauford created using a raincoat fragment for canvas.
Untitled (raincoat painting)
(1954) Oil on raincoat fragment
Gift of Jacques and Solange du Closel
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It sits on a pedestal that allows visitors to view the rear of the painting, which reveals the seam (center) and pocket (upper right) that bear witness to the origin of the canvas.
Rear of Untitled (raincoat painting)
(1954) Oil on raincoat fragment
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Also on display is one of many paintings in which Beauford depicts Greenwich Village's Washington Square Park. It is being shown as part of a special exhibition entitled American Modernism: Selections from the Kunin Collection.
Untitled (Washington Square Park)
(1952) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The Myron Kunin Collection of American Art is widely considered to be one of the most important privately held collections of American art in the world. Untitled (Washington Square Park) was selected as one of 80 works that the Kunin family has placed on long-term loan to the museum from the ~550 pieces of art in its collection.
MIA holds four additional Beauford Delaney works, all of which are currently on reserve. All were shown in the MIA exhibition From New York to Paris.
Jazz Quartet
(1946) Oil on canvas
On loan from a private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Clamart Red
(1958) Oil on canvas
On loan from a private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Abstract Composition
(1955) Gouache and watercolor
Gift of the Harriet Hanley Estate
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Ciel (Sky)
(1960) Color screenprint
Gift of the Harriet Hanley Estate
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
************
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Currently on display is the "famous" raincoat painting, a vibrant abstract that Beauford created using a raincoat fragment for canvas.
(1954) Oil on raincoat fragment
Gift of Jacques and Solange du Closel
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It sits on a pedestal that allows visitors to view the rear of the painting, which reveals the seam (center) and pocket (upper right) that bear witness to the origin of the canvas.
(1954) Oil on raincoat fragment
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Also on display is one of many paintings in which Beauford depicts Greenwich Village's Washington Square Park. It is being shown as part of a special exhibition entitled American Modernism: Selections from the Kunin Collection.
(1952) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The Myron Kunin Collection of American Art is widely considered to be one of the most important privately held collections of American art in the world. Untitled (Washington Square Park) was selected as one of 80 works that the Kunin family has placed on long-term loan to the museum from the ~550 pieces of art in its collection.
MIA holds four additional Beauford Delaney works, all of which are currently on reserve. All were shown in the MIA exhibition From New York to Paris.
(1946) Oil on canvas
On loan from a private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1958) Oil on canvas
On loan from a private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1955) Gouache and watercolor
Gift of the Harriet Hanley Estate
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1960) Color screenprint
Gift of the Harriet Hanley Estate
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Beauford's Art: Portraits of Donors to the Reid Hall Exhibition
The February 2016 exhibition of Beauford Delaney works at Reid Hall would not be possible without the generosity and passion of several Paris art collectors. Beauford painted portraits of four of them:
Burt Reinfrank,
Burton Reinfrank
(1968) Oil on canvas
Image courtesy of Burton Reinfrank
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Solange du Closel,
Mme du Closel No. 4
(1972) Pastel on paper
G. R. N'Namdi Gallery
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Geneviève Brouard,
Portrait of Geneviève Brouard
(1964) Oil on canvas
Signed on back: Beauford Delaney 1964
Image © Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
and Robert Tricoire.
Portrait of Robert Tricoire
(1969) Oil on canvas
Image © Discover Paris!
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Portraits of Mme du Closel (now deceased), Robert Tricoire, and Geneviève Brouard will be part of the Reid Hall exhibition. Robert Tricoire, Geneviève Brouard, the family of Mme du Closel, and the daughter of Burt Reinfrank are expected to attend the show.
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Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Burt Reinfrank,
(1968) Oil on canvas
Image courtesy of Burton Reinfrank
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Solange du Closel,
(1972) Pastel on paper
G. R. N'Namdi Gallery
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Geneviève Brouard,
(1964) Oil on canvas
Signed on back: Beauford Delaney 1964
Image © Discover Paris!
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
and Robert Tricoire.
(1969) Oil on canvas
Image © Discover Paris!
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Portraits of Mme du Closel (now deceased), Robert Tricoire, and Geneviève Brouard will be part of the Reid Hall exhibition. Robert Tricoire, Geneviève Brouard, the family of Mme du Closel, and the daughter of Burt Reinfrank are expected to attend the show.
Les Amis de Beauford Delaney, Reid Hall, and the Wells International Foundation are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Beauford's Pablo Picasso Portrait for Auction
Artcurial in Paris has placed Beauford's portrait of Pablo Picasso up for auction.
Portrait of Pablo Picasso
Oil on canvas, 46 cm x 38 cm
Private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Christian Parramon
The painting is on view at Artcurial on the following dates:
16 October, 11 AM - 7 PM
17 October, 11 AM - 6 PM
18 October, 2 PM - 6 PM
19 October, 11 AM - 6 PM
in preparation for the Impressionist & Modern Art auction (Sale 2796) that will take place on 20 October at 11 AM.
I wrote an article about Beauford and Pablo Picasso last summer. Click HERE to read about Picasso's influence on Beauford's work.
Artcurial is located at 7, rond-point des Champs-Élysées 75008 Paris, France. For more information, contact:
Elodie Landais
E-mail:
Phone: +33 1 42 99 20 84
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Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Oil on canvas, 46 cm x 38 cm
Private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Christian Parramon
The painting is on view at Artcurial on the following dates:
16 October, 11 AM - 7 PM
17 October, 11 AM - 6 PM
18 October, 2 PM - 6 PM
19 October, 11 AM - 6 PM
in preparation for the Impressionist & Modern Art auction (Sale 2796) that will take place on 20 October at 11 AM.
I wrote an article about Beauford and Pablo Picasso last summer. Click HERE to read about Picasso's influence on Beauford's work.
Artcurial is located at 7, rond-point des Champs-Élysées 75008 Paris, France. For more information, contact:
Elodie Landais
E-mail:
Phone: +33 1 42 99 20 84
Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Charlie Parker Acquired by Rochester's Memorial Art Gallery
Beauford's painting of Charlie Parker was recently acquired by the Memorial Art Gallery in Rochester, NY. It hung in a show that celebrating the opening of the museum's new galleries in August 2015.
Untitled (aka Charlie "Bird" Parker), 1968
Oil on canvas
28 3/4" x 23 1/2", signed and dated
Photograph by Joshua Nefsky; Courtesy of
Michael Rosenfeld Gallery LLC, New York , NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The museum's information page about the painting lists its name simply as Charlie Parker.
Charlie Parker and several other paintings by Beauford were shown in the Whitney Museum of Art's show Blues for Smoke in 2013. Actor Billy Dee Williams purchased this portrait from Beauford during a visit that he and James Baldwin paid to Beauford's studio.
************
Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Oil on canvas
28 3/4" x 23 1/2", signed and dated
Photograph by Joshua Nefsky; Courtesy of
Michael Rosenfeld Gallery LLC, New York , NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The museum's information page about the painting lists its name simply as Charlie Parker.
Charlie Parker and several other paintings by Beauford were shown in the Whitney Museum of Art's show Blues for Smoke in 2013. Actor Billy Dee Williams purchased this portrait from Beauford during a visit that he and James Baldwin paid to Beauford's studio.
Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Where to Find Beauford's Art: Bonhams
It seems that Beauford is "on the radar" in Great Britain these days!
After last week's article on Beauford at the Tate Liverpool, I'm pleased to report that one of his abstract paintings is going up for auction at Bonhams in London, Knightsbridge.
Untitled
(1961) Watercolor and mixed media on paper
65 x 50 cm (25 9/16 x 19 11/16 in)
Signed and dated, lower right
Image courtesy of Bonhams
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The auction (Sale 22806) will take place on September 22, 2015.
It is entitled:
British and European Art
Part I: Victorian & British Impressionist Art
Part II: 19th Century European, Impressionist & Modern Art
The estimated sale price for this work (Lot 207) is £1,000 - £1500 / 1400€ - 2100€.
Bonhams had the occasion to offer another Beauford Delaney painting for auction - this time, during a sale of American Art in New York in 2014:
Portrait of a Young Man
(1953) Oil on canvas
80.65 x 64.77 cm (31 3/4 x 25 1/2 in)
Signed and dated on verso
Image courtesy of Bonhams
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This portrait was shown in the Beauford Delaney: From New York to Paris exhibition organized by the Minneapolis Institute of Arts. It hung there from November 21, 2004 – February 20, 2005 and was subsequently presented by the Knoxville Museum of Art (April 8 – June 25, 2005), the Greenville County Museum of Art (August 3 – October 2, 2005), and the Philadelphia Museum of Art (November 12, 2005 – January 28, 2006). A notation in the catalog for the show indicates that the subject of the portrait may be Beauford's dear friend, Larry Calcagno.
The estimated value of the painting for the auction was $12,000 - $18,000. It was "bought in" (it did not sell).
According to Emma Gordon, the art specialist at Bonhams who shared the information about these paintings, Beauford's work has been offered for sale at other auction houses in the UK, such as Christie’s South Kensington and Sotheby’s London. She hopes that his UK profile is expanding.
To learn more about the works shown above and about the September 2015 auction, contact:
Emma Gordon
Specialist - 19th Century Paintings
London, United Kingdom
Tel: +44 20 7393 3960
Fax: +44 20 7393 3863
************
Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
After last week's article on Beauford at the Tate Liverpool, I'm pleased to report that one of his abstract paintings is going up for auction at Bonhams in London, Knightsbridge.
(1961) Watercolor and mixed media on paper
65 x 50 cm (25 9/16 x 19 11/16 in)
Signed and dated, lower right
Image courtesy of Bonhams
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The auction (Sale 22806) will take place on September 22, 2015.
It is entitled:
British and European Art
Part I: Victorian & British Impressionist Art
Part II: 19th Century European, Impressionist & Modern Art
The estimated sale price for this work (Lot 207) is £1,000 - £1500 / 1400€ - 2100€.
Bonhams had the occasion to offer another Beauford Delaney painting for auction - this time, during a sale of American Art in New York in 2014:
(1953) Oil on canvas
80.65 x 64.77 cm (31 3/4 x 25 1/2 in)
Signed and dated on verso
Image courtesy of Bonhams
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This portrait was shown in the Beauford Delaney: From New York to Paris exhibition organized by the Minneapolis Institute of Arts. It hung there from November 21, 2004 – February 20, 2005 and was subsequently presented by the Knoxville Museum of Art (April 8 – June 25, 2005), the Greenville County Museum of Art (August 3 – October 2, 2005), and the Philadelphia Museum of Art (November 12, 2005 – January 28, 2006). A notation in the catalog for the show indicates that the subject of the portrait may be Beauford's dear friend, Larry Calcagno.
The estimated value of the painting for the auction was $12,000 - $18,000. It was "bought in" (it did not sell).
According to Emma Gordon, the art specialist at Bonhams who shared the information about these paintings, Beauford's work has been offered for sale at other auction houses in the UK, such as Christie’s South Kensington and Sotheby’s London. She hopes that his UK profile is expanding.
To learn more about the works shown above and about the September 2015 auction, contact:
Emma Gordon
Specialist - 19th Century Paintings
London, United Kingdom
Tel: +44 20 7393 3960
Fax: +44 20 7393 3863
Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.
Beauford at the Tate Liverpool
I first heard the names "Beauford Delaney" and "Glenn Ligon" coupled when Dr. Catherine St. John, former professor at Berkeley College in New Jersey, shared with me an article that she wrote in 2004 about these artists:
Born sixty years apart, artists Beauford Delaney and Glenn Ligon communicate narratives of belonging. The immutable link that connects them is James Baldwin, the writer, whose essay "Stranger in the Village" inspired Ligon to lift words off the page and onto canvas...
- from an abstract for "A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon"
When I learned that Tate Liverpool and Nottingham Contemporary in the United Kingdom were presenting a major exhibition curated by Ligon that was to include works by artists who have influenced him or with whom he feels an affinity, I searched eagerly for a mention of Beauford. I found an online article about the exhibition, entitled Encounters and Collisions, which cited the names of a few of the artists who would be represented in the show. Beauford's name was among them.
Upon contacting Tate Liverpool for details, I learned that two of Beauford's paintings are part of the exhibition. One is a portrait of James Baldwin and the other is an untitled abstract:
Oil on canvasboard
24" x 18"
Collection of halley k harrisburg and Michael Rosenfeld, New York, NY
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Oil on canvas
30" x 25", 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
Beauford painted both of these works during his Paris years.
What was even more exciting for me was to read Ligon's "Letter to Beauford," one of several that he wrote to exhibition participants as part of his written contribution to the catalog. This personal missive explains in simple, personal terms why he selected these two paintings from the show - the critical influence that Baldwin had in both their lives and the inspiration that he, Beauford, and Baldwin drew from jazz and blues music. Ligon comments that "the line between figuration and abstraction is always porous" in Beauford's paintings and that this has inspired "a similar fluidity" in his work. He expresses his hope that his letter isn’t "too presumptuous" and how meaningful Beauford's work is to him personally.
Ligon has also selected literary and critical texts that punctuate the images in the catalog as part of his responsibilities as curator of the show. He includes Baldwin's essay "Stranger in the Village"; an excerpt from Amazing Grace: A Life of Beauford Delaney
, where biographer David A. Leeming recounts the story of how he met Beauford; and a scholarly essay called Voices/Forces by Fred Moten, which explores the idea of a black avant-garde through a "trip to Paris" that focuses on the life and work of Beauford, jazz composer and musician Billy Strayhorn, and French dramatist and theater director, Antonin Artaud.Beauford's portrait of James Baldwin hangs in Room 4 of the exhibition at Tate Liverpool; his abstract hangs in Room 3.
until 18 October 2015
© Tate Liverpool, Roger Sinek
Tickets for Glenn Ligon: Encounters and Collisions are priced at £10.00 (£7.50 concessions, £5 student ticket). Includes entrance into Jackson Pollock: Blind Spots (also open through October 18, 2015).
To book your tickets in advance, book online at www.tate.org.uk/tickets, call 0151 702 7400 (booking fee applies), or book in person at any Tate gallery.
Tate Liverpool
Albert Dock
Liverpool L3 4BB
Les Amis de Beauford Delaney and Reid Hall are partnering to bring an exhibition of original Beauford Delaney works to Reid Hall in Paris in February 2016! To sign-up to receive information about this show, click HERE.