French "Classes Duo" Student in Search of Beauford in NYC
Simon, one of the French students in the Classes Duo Paris / Knoxville project, recently visited New York City with his family. One of the family's goals was to view as many Beauford Delaney works as possible.
Juliette Blache, the project coordinator in Paris, received an e-mail from Simon's mother with the following photo attached:
Simon and Composition 16 at MoMA
Image courtesy of Simon's mother
The message revealed that the family had just visited MoMA and that Simon was excited to stand next to an original Beauford Delaney abstract.
The family had visited the Metropolitan Museum of Art and learned that the Met's Beauford Delaney work is not currently on display. They had also planned to visit the Studio Museum of Harlem, but learned that the museum is undergoing renovation.
Blache immediately contacted me to share the photo and said Simon's mother wanted me to recommend other places where they could view Beauford's work. I told them about the five works held by the Whitney Museum of American Art and suggested that they go to the Michael Rosenfeld Gallery (MRG) as well.
Simon and his family did visit the gallery and they had a wonderful experience there. Simon and his mom shared the information below:
Simon and MRG Senior Associate Zachary Ross "swapped stories" about Beauford - with Simon sharing many of the things he has learned about Beauford through Classes Duo. As an example, he told Ross that Beauford modeled with Tennessee red clay when he was a child. Ross told Simon that he / she was aware of this and shared that Beauford lived on rue Vercingétorix (a street that is very near Simon's school) in Paris.
Ross invited Simon and his family to go "behind the scenes" to visit the area where many of Beauford's paintings are stored. Simon reported that they saw a portrait, a "painting of a man and a woman," and two abstract paintings, one of which is an "enormous" yellow painting found in the Liquid Light: Paris Abstractions catalog from the exhibition of the same name organized by MRG in 1999.
Liquid Light catalog cover
Image courtesy of Simon's mother
Image of yellow abstract painting in Liquid Light catalog
Image courtesy of Simon's mother
Simon said that Ross explained that "Beauford looked out his window to paint what he saw, but 'in abstract.'"
Simon's mother has exchanged e-mails with Ross and has given him the link for the Classes Duo timeline so everyone at MRG can follow the project's progress. Ross has shared the link for the timeline with everyone at the gallery and is excited that Beauford has so many young fans!
Last week, Simon proudly returned to school bearing a copy of the Liquid Light catalog, which Ross graciously offered to Simon. The children at Jean Zay Elementary Public School now have the Resonance of Form and Liquid Light catalogs to use for inspiration when they create art during the Classes Duo project.
Juliette Blache, the project coordinator in Paris, received an e-mail from Simon's mother with the following photo attached:
Image courtesy of Simon's mother
The message revealed that the family had just visited MoMA and that Simon was excited to stand next to an original Beauford Delaney abstract.
The family had visited the Metropolitan Museum of Art and learned that the Met's Beauford Delaney work is not currently on display. They had also planned to visit the Studio Museum of Harlem, but learned that the museum is undergoing renovation.
Blache immediately contacted me to share the photo and said Simon's mother wanted me to recommend other places where they could view Beauford's work. I told them about the five works held by the Whitney Museum of American Art and suggested that they go to the Michael Rosenfeld Gallery (MRG) as well.
Simon and his family did visit the gallery and they had a wonderful experience there. Simon and his mom shared the information below:
Simon and MRG Senior Associate Zachary Ross "swapped stories" about Beauford - with Simon sharing many of the things he has learned about Beauford through Classes Duo. As an example, he told Ross that Beauford modeled with Tennessee red clay when he was a child. Ross told Simon that he / she was aware of this and shared that Beauford lived on rue Vercingétorix (a street that is very near Simon's school) in Paris.
Ross invited Simon and his family to go "behind the scenes" to visit the area where many of Beauford's paintings are stored. Simon reported that they saw a portrait, a "painting of a man and a woman," and two abstract paintings, one of which is an "enormous" yellow painting found in the Liquid Light: Paris Abstractions catalog from the exhibition of the same name organized by MRG in 1999.
Image courtesy of Simon's mother
Image courtesy of Simon's mother
Simon said that Ross explained that "Beauford looked out his window to paint what he saw, but 'in abstract.'"
Simon's mother has exchanged e-mails with Ross and has given him the link for the Classes Duo timeline so everyone at MRG can follow the project's progress. Ross has shared the link for the timeline with everyone at the gallery and is excited that Beauford has so many young fans!
Last week, Simon proudly returned to school bearing a copy of the Liquid Light catalog, which Ross graciously offered to Simon. The children at Jean Zay Elementary Public School now have the Resonance of Form and Liquid Light catalogs to use for inspiration when they create art during the Classes Duo project.
Delia Delaney - Beauford's Beloved Mother
In celebration of Mother's Day 2018, I decided to devote this week's blog post to Beauford's beloved mother, Delia Delaney.
The first three pages of the first chapter in Beauford's biography, Amazing Grace: A Life of Beauford Delaney
, are devoted to "Delia Johnson Delaney, a strict, proud woman who upheld what she saw as the Christian virtues."
Image of 1953 portrait of Delia Delaney from
Amazing Grace: A Life of Beauford Delaney
In reading these pages, we learn that Delia was born into slavery in February 1865, that she never learned to read or write, and that she loved singing old songs and telling stories about plantation life and the Civil War days. She instilled in her children the value of education and the evils of racism.
We also learn that she was naturally artistic and that she never revealed her sufferings to the world at large. These are two traits that she passed on to Beauford.
Beauford captured his mother's likeness many times, from a 1922 watercolor that he created under Lloyd Branson's tutelage in Knoxville, to later portraits done from memory after Delia's passing in 1958.
I have posted images of two of these portraits on this blog several times over the years:
Portrait of Delia Delaney
(1964) Oil on canvas
Knoxville Museum of Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Portrait of Delia Delaney
(1933) Pastel on paper
Knoxville Museum of Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Another portrait of Delia is part of the private collection of painter Danny Simmons:
Portrait of the Artist’s Mother
(1930) Pencil, ink and watercolor on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In Amazing Grace, biographer David Leeming describes Delia as being "the dominant force for stability" in Beauford's life. When she died, he wrote to his friend Larry Wallrich that he hoped to "gather [himself] together" and "use some of the heritage of endurance left me by her."
Happy Mother's Day from Les Amis de Beauford Delaney!
The first three pages of the first chapter in Beauford's biography, Amazing Grace: A Life of Beauford Delaney
, are devoted to "Delia Johnson Delaney, a strict, proud woman who upheld what she saw as the Christian virtues."
Amazing Grace: A Life of Beauford Delaney
In reading these pages, we learn that Delia was born into slavery in February 1865, that she never learned to read or write, and that she loved singing old songs and telling stories about plantation life and the Civil War days. She instilled in her children the value of education and the evils of racism.
We also learn that she was naturally artistic and that she never revealed her sufferings to the world at large. These are two traits that she passed on to Beauford.
Beauford captured his mother's likeness many times, from a 1922 watercolor that he created under Lloyd Branson's tutelage in Knoxville, to later portraits done from memory after Delia's passing in 1958.
I have posted images of two of these portraits on this blog several times over the years:
(1964) Oil on canvas
Knoxville Museum of Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1933) Pastel on paper
Knoxville Museum of Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Another portrait of Delia is part of the private collection of painter Danny Simmons:
(1930) Pencil, ink and watercolor on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In Amazing Grace, biographer David Leeming describes Delia as being "the dominant force for stability" in Beauford's life. When she died, he wrote to his friend Larry Wallrich that he hoped to "gather [himself] together" and "use some of the heritage of endurance left me by her."
Happy Mother's Day from Les Amis de Beauford Delaney!
Beauford and Larry Calcagno: The Letters
In August 2016, Wells International Foundation intern, Sojourner Ahébée, wrote a poignant article about the correspondence between Beauford and his dear friend, Larry Calcagno:
A Boundless Love: Beauford Delaney's Letters to Larry Calcagno
An Artistic Friendship:
Beauford Delaney and Lawrence Calcagno
Catalog cover for art exposition
Palmer Museum of Art (2001)
Calcagno's nephew, Tom Gibson, recently sent me copies of several letters kept at the Calcagno archive in Poughkeepsie, NY that were exchanged by these two men. In reading them, I felt the strong tug at my heartstrings that I did when I read Sojourner's description of the thoughts and feelings that Beauford and Calcagno shared.
Today, I'm sharing a few lines from an undated letter that Beauford wrote to Larry, which he likely penned in early 1970. Calcagno had recently undergone surgery.
Beauford opens with the following:
"Just received your wonderful letter [—] 'wonderful' because all of your letters are ...
"Your going to beautiful Porto [sic] Rico naturally restores your physical and creative sources and the rest among those wonderful people together with the marvelous ocean and Sun is where you should remain as long as you feel like letting nature, embrace you and all her magic will remake you free and happy living a great physical and creative life."
In this passage, the kinship between these soul mates is tangible.
Beauford goes on to talk of his recent visit to Knoxville to see his family and the work that occupied his life and sustained his morale after his return to Paris. He mentions the demolition of the Gare Montparnasse and its replacement by "an enormous Bldg 55 stories high."
Tour Montparnasse seen from Arc de Triomphe (2012)
CC-BY-SA 3.0
Author: Ввласенко
He acknowledges that changes in the city landscape are necessary but notes that "the ancient charm makes many of us nostalgie 'smile'."
He then addresses the subject of art and what it means to him and Calcagno:
"...I believe that all that we are now has always been and the exploration of working with our art and of course its also our way of life bringing to it as much of its inimgma [sic] is deathless and teaches us patience and courage ... I begin to believe that the various visions and dreams release themselves so we may be fecund and capable of creating sometimes that which is universal."
This letter, which is signed
"Love, Love, Love to you dear Larry and write when you can[.] be well and happy Beauford"
is but one of many in the Calcagno archive that sing with the deep love and respect that these two artists had for each other.
Portrait of a Young Man (Larry Calcagno)
(1953) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
For more articles about Beauford and Larry Calcagno, click on the links below.
Beauford and Larry Calcagno
Larry Calcagno's Portrait of Beauford
Beauford in Spain
A Boundless Love: Beauford Delaney's Letters to Larry Calcagno
Beauford Delaney and Lawrence Calcagno
Catalog cover for art exposition
Palmer Museum of Art (2001)
Calcagno's nephew, Tom Gibson, recently sent me copies of several letters kept at the Calcagno archive in Poughkeepsie, NY that were exchanged by these two men. In reading them, I felt the strong tug at my heartstrings that I did when I read Sojourner's description of the thoughts and feelings that Beauford and Calcagno shared.
Today, I'm sharing a few lines from an undated letter that Beauford wrote to Larry, which he likely penned in early 1970. Calcagno had recently undergone surgery.
Beauford opens with the following:
"Just received your wonderful letter [—] 'wonderful' because all of your letters are ...
"Your going to beautiful Porto [sic] Rico naturally restores your physical and creative sources and the rest among those wonderful people together with the marvelous ocean and Sun is where you should remain as long as you feel like letting nature, embrace you and all her magic will remake you free and happy living a great physical and creative life."
In this passage, the kinship between these soul mates is tangible.
Beauford goes on to talk of his recent visit to Knoxville to see his family and the work that occupied his life and sustained his morale after his return to Paris. He mentions the demolition of the Gare Montparnasse and its replacement by "an enormous Bldg 55 stories high."
CC-BY-SA 3.0
Author: Ввласенко
He acknowledges that changes in the city landscape are necessary but notes that "the ancient charm makes many of us nostalgie 'smile'."
He then addresses the subject of art and what it means to him and Calcagno:
"...I believe that all that we are now has always been and the exploration of working with our art and of course its also our way of life bringing to it as much of its inimgma [sic] is deathless and teaches us patience and courage ... I begin to believe that the various visions and dreams release themselves so we may be fecund and capable of creating sometimes that which is universal."
This letter, which is signed
"Love, Love, Love to you dear Larry and write when you can[.] be well and happy Beauford"
is but one of many in the Calcagno archive that sing with the deep love and respect that these two artists had for each other.
(1953) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
For more articles about Beauford and Larry Calcagno, click on the links below.
Beauford and Larry Calcagno
Larry Calcagno's Portrait of Beauford
Beauford in Spain
Teaching Creativity and Science through Beauford's Abstract Expressionist Art - Part 2
In Part 1 of this article, I presented images of abstract works created by French and American students who are participating in Classes Duo Paris / Knoxville, the project that has been inspired by Beauford's life and art.
This week, I'm sharing additional images of works created by students at Jean Zay Elementary Public School in Paris. These were inspired by Beauford's abstract entitled Les Embruns:
Les Embruns
(1963) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
While some students strove to model the forms and angles in Beauford's work,
Les Embruns-inspired work - 4
Oil pastel and watercolor on paper
Image courtesy of Jean Zay Elementary Public School
Les Embruns-inspired work - 1
Mixed oil / watercolor on paper
Image courtesy of Jean Zay Elementary Public School
others let their imaginations run free.
Les Embruns-inspired work - 1
Oil pastel and watercolor on paper
Image courtesy of Jean Zay Elementary Public School
Les Embruns-inspired work - 3
Mixed oil / watercolor on paper
Image courtesy of Jean Zay Elementary Public School
Jean Zay project leader, Juliette Blache, organized the painting session with the intent to have the students learn firsthand the different properties of oil-based and water-based paints and pigments and how the two behave when they are combined (solubility).
For certain works, they began by tracing lines and forms onto paper using oil-based crayons. They then painted over their lines with watercolors and saw how the oil repelled the colors, leaving white traces.
For other works, they stirred oil into watercolor and applied the resulting mixture onto paper.
To create the red, orange, and ochre works shown in last week's blog post, they stirred water into oil-based paint and used the resulting mixture.
Blache described the session as follows:
Exciting scientific experience for children … They had a lot of fun … And they love to paint abstracts more and more. They are finally daring to express their emotions through their paintbrushes!
This week, I'm sharing additional images of works created by students at Jean Zay Elementary Public School in Paris. These were inspired by Beauford's abstract entitled Les Embruns:
(1963) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
While some students strove to model the forms and angles in Beauford's work,
Oil pastel and watercolor on paper
Image courtesy of Jean Zay Elementary Public School
Mixed oil / watercolor on paper
Image courtesy of Jean Zay Elementary Public School
others let their imaginations run free.
Oil pastel and watercolor on paper
Image courtesy of Jean Zay Elementary Public School
Mixed oil / watercolor on paper
Image courtesy of Jean Zay Elementary Public School
Jean Zay project leader, Juliette Blache, organized the painting session with the intent to have the students learn firsthand the different properties of oil-based and water-based paints and pigments and how the two behave when they are combined (solubility).
For certain works, they began by tracing lines and forms onto paper using oil-based crayons. They then painted over their lines with watercolors and saw how the oil repelled the colors, leaving white traces.
For other works, they stirred oil into watercolor and applied the resulting mixture onto paper.
To create the red, orange, and ochre works shown in last week's blog post, they stirred water into oil-based paint and used the resulting mixture.
Blache described the session as follows:
Exciting scientific experience for children … They had a lot of fun … And they love to paint abstracts more and more. They are finally daring to express their emotions through their paintbrushes!
Teaching Creativity and Science through Beauford's Abstract Expressionist Art - Part 1
As the Classes Duo Paris / Knoxville project unfolds, the student participants on both sides of the Atlantic are exercising their imaginations and learning about science as they create works inspired by Beauford's Abstract Expressionist works.
The Jean Zay students in Paris began their venture into abstraction with Beauford's Untitled (1961):
Untitled
(1961) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
First, they decided to use red, orange, and ochre tones to create works made from a mixture of water-based and oil-based pigments. Here are a couple of examples of them:
Jean Zay mixed media on paper
Image courtesy of Jean Zay Elementary Public School
The fact that the students chose to use a color scheme different than the one Beauford chose allowed them to create spontaneously and to appreciate their work.
Later, they wanted to "copy" Untitled using blue and green hues similar to those in the original painting.
Jean Zay students creating watercolors on paper
Images courtesy of Jean Zay Elementary Public School
Many were frustrated with their inability to accurately reproduce Beauford's lines and colors. Project leader Juliette Blache encouraged them not to worry about making an exact replica and to "let themselves go" during this exercise, as they had done before. But some of the students remained unsatisfied with their results.
Meanwhile, across the ocean, the Nature's Way children selected Beauford's Greece (1967) as their inspiration:
Grèce
(1967) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
They created watercolors and oils based on their views of this painting.
Nature's Way Watercolor on paper by Meah
Image courtesy of Nature's Way Montessori School
Nature's Way oil on canvasboard by MaKenna
Image courtesy of Nature's Way Montessori School
Back in Paris, the Jean Zay kids selected another abstract to model. This time, it was Beauford's Les Embruns (1963):
Les Embruns
(1963) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Next week, I'll present images of the art the students created based on this mixed media work as well as the science behind this creativity exercise.
The Jean Zay students in Paris began their venture into abstraction with Beauford's Untitled (1961):
(1961) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
First, they decided to use red, orange, and ochre tones to create works made from a mixture of water-based and oil-based pigments. Here are a couple of examples of them:
Image courtesy of Jean Zay Elementary Public School
The fact that the students chose to use a color scheme different than the one Beauford chose allowed them to create spontaneously and to appreciate their work.
Later, they wanted to "copy" Untitled using blue and green hues similar to those in the original painting.
Images courtesy of Jean Zay Elementary Public School
Many were frustrated with their inability to accurately reproduce Beauford's lines and colors. Project leader Juliette Blache encouraged them not to worry about making an exact replica and to "let themselves go" during this exercise, as they had done before. But some of the students remained unsatisfied with their results.
Meanwhile, across the ocean, the Nature's Way children selected Beauford's Greece (1967) as their inspiration:
(1967) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
They created watercolors and oils based on their views of this painting.
Image courtesy of Nature's Way Montessori School
Image courtesy of Nature's Way Montessori School
Back in Paris, the Jean Zay kids selected another abstract to model. This time, it was Beauford's Les Embruns (1963):
(1963) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Next week, I'll present images of the art the students created based on this mixed media work as well as the science behind this creativity exercise.
Beauford's Playlist
Over the years, I've posted several articles about Beauford's love of music. He appreciated all kinds of music, from classical to gospel.
The children who participate in the Classes Duo Paris / Knoxville project are learning about Beauford's life as well as his art. As they begin to explore abstract painting, they are being inspired by the works shown in the 2016 Resonance of Form and Vibration of Color exhibition.
To further inspire them, I sent the Classes Duo educators YouTube links to several recordings of music that Beauford appreciated with the intent of having them share the songs with the students. One of the educators - Elise Brunet of the CASPE 6/14 office in Paris - was inspired to create a Beauford Delaney playlist on YouTube so the kids can listen to an uninterrupted medley of songs while they paint!
The selections are based on information found in the Beauford Delaney biography, Amazing Grace: A Life of Beauford Delaney. They include specific songs mentioned in the book, such as "I'm Glad Salvation is Free" and "Saturday Night Function," as well as other songs by artists that Beauford loved.
Mahalia Jackson - "I"m Glad Salvation is Free"
Screenshot from YouTube video
Listen to the playlist here: Beauford Delaney's Playlist.
The children who participate in the Classes Duo Paris / Knoxville project are learning about Beauford's life as well as his art. As they begin to explore abstract painting, they are being inspired by the works shown in the 2016 Resonance of Form and Vibration of Color exhibition.
To further inspire them, I sent the Classes Duo educators YouTube links to several recordings of music that Beauford appreciated with the intent of having them share the songs with the students. One of the educators - Elise Brunet of the CASPE 6/14 office in Paris - was inspired to create a Beauford Delaney playlist on YouTube so the kids can listen to an uninterrupted medley of songs while they paint!
The selections are based on information found in the Beauford Delaney biography, Amazing Grace: A Life of Beauford Delaney
. They include specific songs mentioned in the book, such as "I'm Glad Salvation is Free" and "Saturday Night Function," as well as other songs by artists that Beauford loved.
Screenshot from YouTube video
Listen to the playlist here: Beauford Delaney's Playlist.
Sold for $557,000! - Beauford's Village Street Scene
Beauford's Untitled (Village Street Scene) sold for $557,000 at Swann Auction Galleries' April 5 African American Fine Art sale.
Untitled (Village Street Scene)
(1948) Oil on canvas
737x1016 mm; 29x40 inches
Signed and dated in oil, lower left.
Image from Swann Auction Galleries Web site
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The sale price includes a buyer's premium of 25%*. The hammer price of $460,000 far exceeded the estimated value of the painting ($150,000 - $250,000).
According to the Swann Auction Galleries' Web site, large canvases from Beauford's New York period are extremely scarce - this is only the second to come to auction in the past thirty years.
Nigel Freeman, director of the African-American Fine Art department at Swann, shared that the previous auction record for Beauford's work is $176,250 for Street Scene, a 1950 oil on canvas sold at Clarke Auction Gallery, Larchmont, NY, on October 27, 2008. This work is now called Untitled (Greene Street). See an image of the painting in the Les Amis blog post entitled "La Vie en Rose".
*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 in addition to 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.
For more information, contact Nigel Freeman at
.
(1948) Oil on canvas
737x1016 mm; 29x40 inches
Signed and dated in oil, lower left.
Image from Swann Auction Galleries Web site
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The sale price includes a buyer's premium of 25%*. The hammer price of $460,000 far exceeded the estimated value of the painting ($150,000 - $250,000).
According to the Swann Auction Galleries' Web site, large canvases from Beauford's New York period are extremely scarce - this is only the second to come to auction in the past thirty years.
Nigel Freeman, director of the African-American Fine Art department at Swann, shared that the previous auction record for Beauford's work is $176,250 for Street Scene, a 1950 oil on canvas sold at Clarke Auction Gallery, Larchmont, NY, on October 27, 2008. This work is now called Untitled (Greene Street). See an image of the painting in the Les Amis blog post entitled "La Vie en Rose".
*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 in addition to 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.
For more information, contact Nigel Freeman at
.
Beauford at Swann Auction Galleries' 5 April 2018 African American Fine Art Sale
A single, magnificent Beauford Delaney landscape painting is available for purchase at Swann Auction Galleries' April 5 African American Fine Art sale.
Untitled (Village Street Scene)
(1948) Oil on canvas
737x1016 mm; 29x40 inches
Signed and dated in oil, lower left.
Image from Swann Auction Galleries Web site
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Beauford lived at 181 Greene Street in Greenwich Village in 1948. Among his accomplishments that year were a solo exhibition at the Artists Gallery on 57th Street and being awarded second prize in the Village Art Center's annual competition for a portrait of James Baldwin. In November 1948, Baldwin would depart for Paris.
Beauford combined vibrant colors and geometric circles and angles to create this singular work. The almost inconspicuous shadow of a single, anonymous human provides the only sign of life in this cityscape.
According to the Swann Auction Galleries' Web site, large canvases from Beauford's New York period are extremely scarce - this is only the second to come to auction in the past thirty years.
The estimated value of Untitled (Village Street Scene) is $150,000 - $250,000.
The auction will take place at 2:30 PM on Thursday, April 5, 2018. Preview dates are as follows: March 31, 12-5 PM; April 2 to 4, 10-6 PM; April 5, 10-12 PM.
For more information, contact Nigel Freeman at
.
(1948) Oil on canvas
737x1016 mm; 29x40 inches
Signed and dated in oil, lower left.
Image from Swann Auction Galleries Web site
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Beauford lived at 181 Greene Street in Greenwich Village in 1948. Among his accomplishments that year were a solo exhibition at the Artists Gallery on 57th Street and being awarded second prize in the Village Art Center's annual competition for a portrait of James Baldwin. In November 1948, Baldwin would depart for Paris.
Beauford combined vibrant colors and geometric circles and angles to create this singular work. The almost inconspicuous shadow of a single, anonymous human provides the only sign of life in this cityscape.
According to the Swann Auction Galleries' Web site, large canvases from Beauford's New York period are extremely scarce - this is only the second to come to auction in the past thirty years.
The estimated value of Untitled (Village Street Scene) is $150,000 - $250,000.
The auction will take place at 2:30 PM on Thursday, April 5, 2018. Preview dates are as follows: March 31, 12-5 PM; April 2 to 4, 10-6 PM; April 5, 10-12 PM.
For more information, contact Nigel Freeman at
.
Beauford - "La Vie en Rose"
As I sat down to write this post and contemplated the approach of the 39th anniversary of Beauford's death (he passed away on March 26, 1979), I found myself thinking of his indomitable spirit and the myriad ways that he used color to express it.
For some reason, the Edith Piaf song, "La Vie en Rose," as recorded by Louis Armstrong popped into my head and I decided to look through images of Beauford's work to see how he used this color throughout the years. I share a few examples below.
Central Park
(1950) Oil on canvas
Image from Pomegranate Note Card
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled
(1958) Gouache on paper
25 1/2" x 19 5/8", 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
Untitled (Greene Street)
(1950) Oil on canvas
signed and dated lower left: B. Delaney. 1950
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled (Grape Motif)
(1946) Pastel on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled
(1964) Oil on canvas
Collection of Elliot & Kimberly Perry
Image courtesy of Ashley Phifer
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Man in African Dress
(1972) Watercolor on Paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Charlie Parker Yardbird
(1958) Oil on canvas
Smithsonian American Art Museum
Gift of the James F. Dicke Family
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
For some reason, the Edith Piaf song, "La Vie en Rose," as recorded by Louis Armstrong popped into my head and I decided to look through images of Beauford's work to see how he used this color throughout the years. I share a few examples below.
(1950) Oil on canvas
Image from Pomegranate Note Card
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1958) Gouache on paper
25 1/2" x 19 5/8", 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
(1950) Oil on canvas
signed and dated lower left: B. Delaney. 1950
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1946) Pastel on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1964) Oil on canvas
Collection of Elliot & Kimberly Perry
Image courtesy of Ashley Phifer
© 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
(1958) Oil on canvas
Smithsonian American Art Museum
Gift of the James F. Dicke Family
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Beauford Viewed through the Eyes of Children
The Classes Duo Paris / Knoxville project that connects children at the Jean Zay Elementary Public School in Paris' 14th arrondissement with children at the Nature's Way Montessori School in Knoxville, Tennessee through Beauford's life and art continues to exceed expectations! The American kids are learning French, the French kids are learning English, and both groups are anticipating being able to meet face-to-face in the fall.
Between the video conference held on February 2 and the one held on March 9, the students created clay sculptures of Josephine Baker and her cheetah, Chiquita. These were inspired by the story about Beauford and his brother, Joseph, modeling red clay during their youth and the information presented about how Beauford admired Baker and followed her career.
Jean Zay sculptures of Josephine Baker
Image courtesy of Jean Zay Elementary School
Jean Zay sculptures of Josephine Baker
Image courtesy of Jean Zay Elementary School
The Knoxville students even glazed their sculptures.
Nature's Way sculptures of Josephine Baker and Chiquita
Image courtesy of Nature's Way Montessori School
Nature's Way sculptures in kiln
Image courtesy of Nature's Way Montessori School
During the March 9 videoconference, the children asked each other numerous personal questions, such as whether they have pets, whether they prefer painting to sculpting, what kinds of sports they play... Jean Zay kids had their questions written in English with French phonetics to help them pronounce their words properly.
Jean Zay sculptures of Josephine Baker
© Wells International Foundation
On the Knoxville side, the children told coordinator Mary Campbell what they wanted to say and she instructed them how to say it in French.
Nature's Way kids and coordinator Mary Campbell on screen
© Wells International Foundation
There was more talk of food as well, with kids sharing that they enjoy eating spaghetti and meatballs, samoussas, and apples, among other things.
The Jean Zay children sang two songs for the Knoxville kids: "J'ai Deux Amours" by Josephine Baker, and Ten Little Witches!
Announcement for Witches song
© Wells International Foundation
Children singing "Ten Little Witches"
© Wells International Foundation
Just before wrapping up this session, the Jean Zay kids shared their pastel portraits of Beauford, inspired by the self-portrait that graces the cover of the catalog for the Resonance of Form and Vibration of Color art exhibition.
Jean Zay student holding Resonance of Form catalog
© Wells International Foundation
Displaying Beauford Delaney Portraits for Nature's Way kids
© Wells International Foundation
Posing with Beauford Delaney Portraits
© Wells International Foundation
For more images of these portraits and the clay sculptures of Josephine and Chiquita, click on the links below:
Nature's Way - Working with Clay
Jean Zay - Working with Clay
9 March 2018 Session
Beauford Delaney Portraits
And continue to watch this blog for updates on the project!
Between the video conference held on February 2 and the one held on March 9, the students created clay sculptures of Josephine Baker and her cheetah, Chiquita. These were inspired by the story about Beauford and his brother, Joseph, modeling red clay during their youth and the information presented about how Beauford admired Baker and followed her career.
Image courtesy of Jean Zay Elementary School
Image courtesy of Jean Zay Elementary School
The Knoxville students even glazed their sculptures.
Image courtesy of Nature's Way Montessori School
Image courtesy of Nature's Way Montessori School
During the March 9 videoconference, the children asked each other numerous personal questions, such as whether they have pets, whether they prefer painting to sculpting, what kinds of sports they play... Jean Zay kids had their questions written in English with French phonetics to help them pronounce their words properly.
© Wells International Foundation
On the Knoxville side, the children told coordinator Mary Campbell what they wanted to say and she instructed them how to say it in French.
© Wells International Foundation
There was more talk of food as well, with kids sharing that they enjoy eating spaghetti and meatballs, samoussas, and apples, among other things.
The Jean Zay children sang two songs for the Knoxville kids: "J'ai Deux Amours" by Josephine Baker, and Ten Little Witches!
© Wells International Foundation
© Wells International Foundation
Just before wrapping up this session, the Jean Zay kids shared their pastel portraits of Beauford, inspired by the self-portrait that graces the cover of the catalog for the Resonance of Form and Vibration of Color art exhibition.
© Wells International Foundation
© Wells International Foundation
© Wells International Foundation
For more images of these portraits and the clay sculptures of Josephine and Chiquita, click on the links below:
Nature's Way - Working with Clay
Jean Zay - Working with Clay
9 March 2018 Session
Beauford Delaney Portraits
And continue to watch this blog for updates on the project!
Beauford at the Anita Shapolsky Gallery
Focus on Abstract Gems is the current exhibition being shown at the Anita Shapolsky Gallery in New York.
A description of the exhibition on the gallery Web site indicates the following:
Among the works on paper is Beauford's Untitled (Ibiza).
Untitled (Ibiza)
(1956) gouache and watercolor
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It came from the traveling exhibition An Artistic Friendship: Beauford Delaney and Lawrence Calcagno, which originated at the Palmer Museum of Art (Pennsylvania State University) in February 2001.
Anita Shapolsky has exhibited works by Lawrence Calcagno for many years. She purchased this Beauford Delaney work while it was in a joint exhibition with Lawrence Calcagno works at her gallery.
She commented on Beauford's art as follows:
"From the works that I have seen, I feel that they are lyrical, colorfield abstractions."
Focus on Abstract Gems will be on display through April 7, 2018.
Anita Shapolsky Gallery
AS Art Foundation
152 East 65th Street
New York, NY 10065
Telephone: 212.452.1094
Internet: http://www.anitashapolskygallery.com/
A description of the exhibition on the gallery Web site indicates the following:
Our charming exhibit of small paintings, paper pieces, and sculptures are worth the trip. These works adhere to the gallery’s focus of abstract expressionist style, but offers an eclectic variety of genre, medium and eras. It exposes rare drawings, prints, photographs and paintings from some of the most significant artists of the 1950’s and 1960’s.
Among the works on paper is Beauford's Untitled (Ibiza).
(1956) gouache and watercolor
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It came from the traveling exhibition An Artistic Friendship: Beauford Delaney and Lawrence Calcagno, which originated at the Palmer Museum of Art (Pennsylvania State University) in February 2001.
Anita Shapolsky has exhibited works by Lawrence Calcagno for many years. She purchased this Beauford Delaney work while it was in a joint exhibition with Lawrence Calcagno works at her gallery.
She commented on Beauford's art as follows:
"From the works that I have seen, I feel that they are lyrical, colorfield abstractions."
Focus on Abstract Gems will be on display through April 7, 2018.
Anita Shapolsky Gallery
AS Art Foundation
152 East 65th Street
New York, NY 10065
Telephone: 212.452.1094
Internet: http://www.anitashapolskygallery.com/
Beauford Delaney Abstract Finds Permanent Home at the Mint Museum
One of my favorite Beauford Delaney abstracts is Untitled (1959), an oil on canvas that Beauford gave to a private collector in Paris.
Untitled
(1959) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In April 2017, the Mint Museum in Charlotte, NC purchased the painting with funds from The Katherine and Thomas Belk Acquisition Fund. It now hangs in the new re-installation of the museum's modern and contemporary galleries, where it hangs alongside works by Grace Hartigan, Elaine deKooning, Lynne Drexler, and other American artists who explored many avenues of abstraction. It is the first Beauford Delaney work that the museum has acquired.
Mint Museum Modern and Contemporary Galleries
(Untitled is shown at the far right)
Image courtesy of Mint Museum
Jonathan Stuhlman, Senior Curator of American, Modern, and Contemporary Art, graciously granted me an interview about the acquisition. He told me that he selected this piece from 5-6 large scale Beauford Delaney abstracts that he was fortunate enough to have viewed simultaneously.
One of the considerations for the purchase of this particular work was the desire to acquire something unique compared to the other Beauford Delaney paintings that could be seen in the region at the time. Museums in Atlanta, GA; Norfolk, VA; Richmond, VA; Greenville, SC; and Greensboro, NC own works by Beauford and the majority of these are portraits.
Other considerations included the Mint's desire to add to its collection of Post-war abstractions, to continue to collect works by artists from North Carolina and the surrounding region, and to diversify its collection of works by African-American artists. (The Mint Museum has an impressive collection of works by Romare Bearden but not many works by other African-American artists.)
When Stuhlman saw Untitled, his "eyes were opened" to the wide variety of ways that Beauford applied paint to canvas. He was drawn to the "energy and vibrancy" of the brushwork and the colors in this painting and he expressed how he appreciates the "interactivity" among the colors in the work. In describing it, he said:
Stuhlman included the following statement in the label that is affixed to the wall next to Untitled:
Untitled was shown at the Beauford Delaney: Resonance of Form and Vibration of Color exhibition in Paris in 2016. It is one of the works that is "augmented" with the Blippar app. The Mint Museum is considering making the app's content available to visitors so they can view spoken word artist Mike Ladd reciting the poem he was inspired to write when he viewed the work. The museum has obtained a catalog from Resonance of Form for its library and is considering offering it for purchase in its gift shops.
Catalog cover
Soon after it was purchased, Untitled was hung in the museum's atrium for 4-5 months in a space reserved for new acquisitions. In January 2018, it was placed on permanent display in the modern and contemporary galleries and will remain there for the foreseeable future.
(1959) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
In April 2017, the Mint Museum in Charlotte, NC purchased the painting with funds from The Katherine and Thomas Belk Acquisition Fund. It now hangs in the new re-installation of the museum's modern and contemporary galleries, where it hangs alongside works by Grace Hartigan, Elaine deKooning, Lynne Drexler, and other American artists who explored many avenues of abstraction. It is the first Beauford Delaney work that the museum has acquired.
(Untitled is shown at the far right)
Image courtesy of Mint Museum
Jonathan Stuhlman, Senior Curator of American, Modern, and Contemporary Art, graciously granted me an interview about the acquisition. He told me that he selected this piece from 5-6 large scale Beauford Delaney abstracts that he was fortunate enough to have viewed simultaneously.
One of the considerations for the purchase of this particular work was the desire to acquire something unique compared to the other Beauford Delaney paintings that could be seen in the region at the time. Museums in Atlanta, GA; Norfolk, VA; Richmond, VA; Greenville, SC; and Greensboro, NC own works by Beauford and the majority of these are portraits.
Other considerations included the Mint's desire to add to its collection of Post-war abstractions, to continue to collect works by artists from North Carolina and the surrounding region, and to diversify its collection of works by African-American artists. (The Mint Museum has an impressive collection of works by Romare Bearden but not many works by other African-American artists.)
When Stuhlman saw Untitled, his "eyes were opened" to the wide variety of ways that Beauford applied paint to canvas. He was drawn to the "energy and vibrancy" of the brushwork and the colors in this painting and he expressed how he appreciates the "interactivity" among the colors in the work. In describing it, he said:
[Beauford] has a fabulous sense for all different shades of color ... there's strong yellow to this work, but the way it interacts with the rich variety of turquoise blues and the rose colors ... this is a fabulously active and energetic canvas. It's bursting with energy!
Stuhlman included the following statement in the label that is affixed to the wall next to Untitled:
Delaney poured all of himself into his art, a quality that is almost palpable in this dynamic canvas. Writing about Delaney’s paintings in 1962, artist and critic Paul Jenkins could easily have been referring to Untitled: “The structure was there in each painting, but one senses more of a veil than a grid. It was as if he had cut hundreds of flowers and crushed them. Stems and all.”
Untitled was shown at the Beauford Delaney: Resonance of Form and Vibration of Color exhibition in Paris in 2016. It is one of the works that is "augmented" with the Blippar app. The Mint Museum is considering making the app's content available to visitors so they can view spoken word artist Mike Ladd reciting the poem he was inspired to write when he viewed the work. The museum has obtained a catalog from Resonance of Form for its library and is considering offering it for purchase in its gift shops.
Soon after it was purchased, Untitled was hung in the museum's atrium for 4-5 months in a space reserved for new acquisitions. In January 2018, it was placed on permanent display in the modern and contemporary galleries and will remain there for the foreseeable future.
East Tennessee History Center Acquires Part of Beauford Delaney Archives
On January 27, 2018, Case Antiques of Knoxville, Tennessee sold a bundle of Beauford Delaney memorabilia during its Historic Winter Auction.
Paintbrushes and pencils, French Lesson, Letters
Image from Case Antiques Web site
The successful bidder was the East Tennessee History Center, which is also located in Knoxville.
East Tennessee History Center
© Wells International Foundation
The Calvin M. McClung Historical Collection at the East Tennessee History Center is the sponsor for an historical marker that will honor Beauford and his brother, Joseph, in Knoxville. The center aspires to eventually house the entire archive held by the Beauford Delaney estate and thereby contribute to the fulfillment of the mission of Knoxville's "Gathering Light" project to make Knoxville a center of excellence for the study of the Delaney brothers' art.
The purchase consisted of the following:
(The Schomburg Center in NYC also has a Beauford Delaney archive.)
Image from Case Antiques Web site
The successful bidder was the East Tennessee History Center, which is also located in Knoxville.
© Wells International Foundation
The Calvin M. McClung Historical Collection at the East Tennessee History Center is the sponsor for an historical marker that will honor Beauford and his brother, Joseph, in Knoxville. The center aspires to eventually house the entire archive held by the Beauford Delaney estate and thereby contribute to the fulfillment of the mission of Knoxville's "Gathering Light" project to make Knoxville a center of excellence for the study of the Delaney brothers' art.
The purchase consisted of the following:
- three letters, all of which were written by Beauford and addressed to his brother, Samuel (Emery) Delaney
- a greeting card sent to Beauford's niece, Ogust Delaney Stewart, from his friends, Dolly and Al Hirschfeld
- an 14 1/8" H x 8 5/8" W card (unsigned) on which is drawn a pencil sketch of figures that illustrate the mathematical sum of "2+2"
- numerous paintbrushes and drawing pencils
(The Schomburg Center in NYC also has a Beauford Delaney archive.)
Knoxville Museum of Art Is Now Largest Museum Repository for Beauford Delaney Works
Since making the acquaintance of 11 Knoxvillians who came to Paris in February 2016 to see the Resonance of Form and Vibration of Color exhibition and visit Beauford's old haunts on the "Beauford Delaney's Montparnasse" walking tour, the trajectories of this blog and the Knoxville Museum of Art (KMA) have been intertwined.
I have visited Knoxville twice since that time and have come to know Executive Director David Butler, Barbara W. and Bernard E. Bernstein Curator Stephen Wicks, former KMA trustee Sylvia Peters, and many others at the museum as we have worked in parallel on both sides of the Atlantic to preserve and extend Beauford's legacy.
So it is with great pleasure that I write this post to announce that KMA is now the world's largest public repository for Beauford Delaney oils, watercolors, and pastels.
Knoxville Museum of Art at Twilight
Photo courtesy of the Knoxville Museum of Art
Leading museum collections of Beauford Delaney’s work
The expansion of the collection has been gathering steam since 2014, when KMA acquired two works with funds provided by the KMA Collectors Circle. In August 2014, it acquired nineteen additional works, including the abstract oil entitled Scattered Light (1963). A subsequent purchase brought the total number of works owned to thirty-seven (37).
In 2016, the museum purchased two portraits: Portrait of Delia Delaney (1933) and Dante Pavone as Christ (1948).
In 2017, it acquired twelve (12) major works from the Delaney estate. Three of the twelve were obtained through a partnership between KMA and the Knoxville chapter of The Links, Incorporated.
“This purchase represents the highest and best expression of the museum’s commitment to the visual culture of our region,” states KMA Executive Director David Butler. “A broad spectrum of the community responded generously and with alacrity and enthusiasm to this once-in-a-lifetime opportunity to make the KMA a vital resource for the study, preservation, and promotion of Beauford Delaney’s work.”
The following images represent some of the works purchased in 2017.
Blue Light Abstraction
(ca. 1962) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled (African Figure)
(ca. 1965) Oil on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Abstraction #12
(1963) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
KMA plans to mount a major international exhibition of Beauford Delaney’s work in the fall of 2019, and is participating with a growing roster of local cultural organizations operating collectively as “The Delaney Project” to organize events to celebrate the achievements of Beauford and his brother, artist Joseph Delaney, in their hometown.
Selections from the 2017 purchase will be on view at the KMA beginning this spring.
I have visited Knoxville twice since that time and have come to know Executive Director David Butler, Barbara W. and Bernard E. Bernstein Curator Stephen Wicks, former KMA trustee Sylvia Peters, and many others at the museum as we have worked in parallel on both sides of the Atlantic to preserve and extend Beauford's legacy.
So it is with great pleasure that I write this post to announce that KMA is now the world's largest public repository for Beauford Delaney oils, watercolors, and pastels.
Photo courtesy of the Knoxville Museum of Art
Leading museum collections of Beauford Delaney’s work
The expansion of the collection has been gathering steam since 2014, when KMA acquired two works with funds provided by the KMA Collectors Circle. In August 2014, it acquired nineteen additional works, including the abstract oil entitled Scattered Light (1963). A subsequent purchase brought the total number of works owned to thirty-seven (37).
In 2016, the museum purchased two portraits: Portrait of Delia Delaney (1933) and Dante Pavone as Christ (1948).
In 2017, it acquired twelve (12) major works from the Delaney estate. Three of the twelve were obtained through a partnership between KMA and the Knoxville chapter of The Links, Incorporated.
“This purchase represents the highest and best expression of the museum’s commitment to the visual culture of our region,” states KMA Executive Director David Butler. “A broad spectrum of the community responded generously and with alacrity and enthusiasm to this once-in-a-lifetime opportunity to make the KMA a vital resource for the study, preservation, and promotion of Beauford Delaney’s work.”
The following images represent some of the works purchased in 2017.
(ca. 1962) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(ca. 1965) Oil on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1963) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
KMA plans to mount a major international exhibition of Beauford Delaney’s work in the fall of 2019, and is participating with a growing roster of local cultural organizations operating collectively as “The Delaney Project” to organize events to celebrate the achievements of Beauford and his brother, artist Joseph Delaney, in their hometown.
Selections from the 2017 purchase will be on view at the KMA beginning this spring.
Classes Duo Paris/Knoxville - A Successful Debut
In the Les Amis blog post dated December 16, 2017, I shared news about Classes Duo Paris/Knoxville - a collaborative project between the Wells International Foundation (WIF) and the City of Paris' CASPE* administrative service that has emerged from the Beauford Delaney: Resonance of Form and Vibration of Color exhibition.
Sixteen (16) students from Jean Zay Elementary Public School in Paris and sixteen (16) students from Nature's Way Montessori School in Knoxville, TN are connecting via video conference to learn about each other's language and culture through Beauford's life and art.
The first video conference was held on January 12, 2018. It was an unqualified success, with the French and American students taking turns introducing themselves by name and stating their ages on camera. Having practiced ahead of time, the French students were able to introduce themselves in English and the American students were able to do so in French.
Jean Zay students
© Wells International Foundation
Nature's Way students
Image courtesy of Nature's Way Montessori School
With the adult leaders translating, each group then asked questions of the other – things such as whether they like school, where they have traveled, whether they have seen popular landmarks (Eiffel Tower and Empire State Building), and whether they like candy. The French students showed two posters they created that displayed small portrait drawings and a photo of Beauford Delaney. Both posters bore Delaney's name, acknowledging the man whose legacy is binding the students together.
Jean Zay students proudly show their Beauford Delaney poster
© Wells International Foundation
The second video conference was held on February 2, 2018. Students from both schools focused their artistic talents on creating drawings of Martin Luther King, Jr. and images of various modes of travel inspired by Beauford's maiden voyage from the U.S. to France on the S.S. Liberté. Students from Jean Zay also drew portraits of Rosa Parks and Josephine Baker, inspired by these women's roles in the U.S. Civil Rights Movement and the sites named after them in Paris. They wrote reports about King, Parks, and Baker and read them to the Nature's Way students during the conference.
Jean Zay students' portraits of Rosa Parks
© Wells International Foundation
Nature's Way student's portrayal of modes of travel
between the U.S. and France
Image courtesy of Nature's Way Montessori School
To get to know each other better during the second conference, the students shared what they had for breakfast that morning. The Nature's Way students asked if the Jean Zay students had been to the Eiffel Tower and a lively exchange ensued as the Jean Zay students revealed that the Eiffel Tower can be seen from a vantage point near their school. Several students also talked about the view they have of the Eiffel Tower from their apartment buildings.
Both groups are growing increasingly excited about the prospect of the Nature's Way students paying a visit to Paris to visit the Jean Zay students. The target date for this trip is Autumn 2018.
The next video conference is scheduled for March 9, 2018. In preparation for this meeting, the students will create sculptures from red clay—just as Beauford and his brother, Joseph, did during their youth.
To see additional images of the students' artwork, click on the links below:
Martin Luther King, Jr. by Nature's Way students
MLK, Rosa Parks, Josephine Baker by Jean Zay students
Travel by Nature's Way and Jean Zay students
Watch this blog for updates on how the program progresses!
*CASPE - Circonscription des Affaires Scolaires et de la Petite Enfance
Sixteen (16) students from Jean Zay Elementary Public School in Paris and sixteen (16) students from Nature's Way Montessori School in Knoxville, TN are connecting via video conference to learn about each other's language and culture through Beauford's life and art.
The first video conference was held on January 12, 2018. It was an unqualified success, with the French and American students taking turns introducing themselves by name and stating their ages on camera. Having practiced ahead of time, the French students were able to introduce themselves in English and the American students were able to do so in French.
© Wells International Foundation
Image courtesy of Nature's Way Montessori School
With the adult leaders translating, each group then asked questions of the other – things such as whether they like school, where they have traveled, whether they have seen popular landmarks (Eiffel Tower and Empire State Building), and whether they like candy. The French students showed two posters they created that displayed small portrait drawings and a photo of Beauford Delaney. Both posters bore Delaney's name, acknowledging the man whose legacy is binding the students together.
© Wells International Foundation
The second video conference was held on February 2, 2018. Students from both schools focused their artistic talents on creating drawings of Martin Luther King, Jr. and images of various modes of travel inspired by Beauford's maiden voyage from the U.S. to France on the S.S. Liberté. Students from Jean Zay also drew portraits of Rosa Parks and Josephine Baker, inspired by these women's roles in the U.S. Civil Rights Movement and the sites named after them in Paris. They wrote reports about King, Parks, and Baker and read them to the Nature's Way students during the conference.
© Wells International Foundation
between the U.S. and France
Image courtesy of Nature's Way Montessori School
To get to know each other better during the second conference, the students shared what they had for breakfast that morning. The Nature's Way students asked if the Jean Zay students had been to the Eiffel Tower and a lively exchange ensued as the Jean Zay students revealed that the Eiffel Tower can be seen from a vantage point near their school. Several students also talked about the view they have of the Eiffel Tower from their apartment buildings.
Both groups are growing increasingly excited about the prospect of the Nature's Way students paying a visit to Paris to visit the Jean Zay students. The target date for this trip is Autumn 2018.
The next video conference is scheduled for March 9, 2018. In preparation for this meeting, the students will create sculptures from red clay—just as Beauford and his brother, Joseph, did during their youth.
To see additional images of the students' artwork, click on the links below:
Martin Luther King, Jr. by Nature's Way students
MLK, Rosa Parks, Josephine Baker by Jean Zay students
Travel by Nature's Way and Jean Zay students
Watch this blog for updates on how the program progresses!
*CASPE - Circonscription des Affaires Scolaires et de la Petite Enfance
Beauford Delaney Works Sold at Case Antiques Historic Winter Auction
Case Antiques successfully sold two Beauford Delaney abstracts and a bundle of Beauford's letters and other memorabilia on Saturday, January 27.
The estimated sale price for Abstract on Paper No. 351 was $5,800 - $6,200.
Lot 484: Abstract on Paper No. 351
(1964) Watercolor on paper
22 1/2" x 16"
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Lot 484: Abstract on Paper No. 351
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It sold for $7,440.
The estimated sale price for Abstract on Paper No. 313 is $6,400 - $7,000.
Lot 485: Abstract on Paper No. 313
(1962) Watercolor on paper
25 1/2" x 19 1/4 "
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Lot 485: Abstract on Paper No. 313
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It sold for $15,000.
The estimated sale price for the "Archive of Beauford Delaney Letters and Related Objects" (comprised of 29 items, most of which are paintbrushes and drawing pencils) was $800 - $900.
Lot 487: Paintbrushes and pencils, French Lesson, Letters
Image from Case Antiques Web site
It sold for $4,800.
All sale prices indicated include a 20% buyer's premium. In auctions, the buyer's premium is a percentage additional charge on the hammer price (winning bid at auction) of the purchased item that must be paid by the winner. It is charged by the auctioneer to cover administrative expenses. The buyer's premium goes directly to the auction house and not to the seller.
For additional information, contact Case Antiques at
.
The estimated sale price for Abstract on Paper No. 351 was $5,800 - $6,200.
(1964) Watercolor on paper
22 1/2" x 16"
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It sold for $7,440.
The estimated sale price for Abstract on Paper No. 313 is $6,400 - $7,000.
(1962) Watercolor on paper
25 1/2" x 19 1/4 "
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
It sold for $15,000.
The estimated sale price for the "Archive of Beauford Delaney Letters and Related Objects" (comprised of 29 items, most of which are paintbrushes and drawing pencils) was $800 - $900.
Image from Case Antiques Web site
It sold for $4,800.
All sale prices indicated include a 20% buyer's premium. In auctions, the buyer's premium is a percentage additional charge on the hammer price (winning bid at auction) of the purchased item that must be paid by the winner. It is charged by the auctioneer to cover administrative expenses. The buyer's premium goes directly to the auction house and not to the seller.
For additional information, contact Case Antiques at
.
A Toast to the Arts
By Sylvia L. Peters, Chairman of Gathering Light: The Delaney Project
Images courtesy of Sylvia L. Peters
Program for "A Toast to the Arts"
On Saturday, January 13, 2018, more than 150 people gathered at the Knoxville Museum of Art to celebrate the acquisition and unveiling of art by Beauford Delaney. It was a stellar affair attended by a diverse audience of citizens who contributed funds to bring home the work of this native son.
The event was the result of a partnership between The Knoxville (TN) Chapter of The Links, Incorporated and the Knoxville Museum of Art (KMA). The purpose of this unique relationship is to increase awareness of Beauford Delaney’s place in the international art world and to raise funds to bring a critical mass of his work home to Knoxville, TN to allow it to be placed in a Center of Excellence for the study of his art.
The Links, Incorporated is one of the oldest African American professional women’s organizations in the world. In 2016, the Knoxville (TN) Chapter became a significant partner in a unique community-wide effort to promote and honor Beauford and his brother, artist Joseph Delaney.
Members of the Knoxville, TN chapter of
The Links, Incorporated
The reception, "A Toast to the Arts," took place on the weekend that most Americans celebrate the birth of Dr. Martin Luther King Jr. In the minds and hearts of those who attended, this event became one to not only honor Beauford Delaney and Martin Luther King, but to also bring together people from diverse backgrounds to celebrate the goodness of the values and culture that are the hallmarks of a civil democratic society.
Table setting for "A Toast to the Arts"
The brief program included remarks by David Butler, Executive Director of the museum, and Avice Evans Reid, President of the Knoxville (TN) Chapter of The Links, Incorporated,
David Butler, Executive Director at KMA
Avice Evans Reid, President of the Knoxville Links Chapter
as well as a presentation by Stephen Wicks, KMA curator, which highlighted three new Delaney acquisitions that were made possible by the KMA/Links partnership and donors who attended the event.
Curator Stephen Wicks presents the acquired works
Bass Baritone Dominick White sang a stirring rendition of Amazing Grace; and Michael Delaney, a close relative of Beauford Delaney, sang two vocals and accompanied himself on acoustic guitar. He was introduced to the audience by Derek Spratley, who is the attorney for the Delaney Estate.
Bass Baritone Dominick White
Michael Delaney
The evening was a glorious one of “Amazing Grace” in Knoxville - one that showed the promise and power of celebrating culture, the arts and diversity.
Attendees at table
Full house
Derek Spratley presents Michael Delaney
It was an evening that Beauford would have enjoyed.
Jan and Sylvia Peters
The acquisitions
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esq.,
Court Appointed Administrator
Delaney Project logo
Images courtesy of Sylvia L. Peters
On Saturday, January 13, 2018, more than 150 people gathered at the Knoxville Museum of Art to celebrate the acquisition and unveiling of art by Beauford Delaney. It was a stellar affair attended by a diverse audience of citizens who contributed funds to bring home the work of this native son.
The event was the result of a partnership between The Knoxville (TN) Chapter of The Links, Incorporated and the Knoxville Museum of Art (KMA). The purpose of this unique relationship is to increase awareness of Beauford Delaney’s place in the international art world and to raise funds to bring a critical mass of his work home to Knoxville, TN to allow it to be placed in a Center of Excellence for the study of his art.
The Links, Incorporated is one of the oldest African American professional women’s organizations in the world. In 2016, the Knoxville (TN) Chapter became a significant partner in a unique community-wide effort to promote and honor Beauford and his brother, artist Joseph Delaney.
The Links, Incorporated
The reception, "A Toast to the Arts," took place on the weekend that most Americans celebrate the birth of Dr. Martin Luther King Jr. In the minds and hearts of those who attended, this event became one to not only honor Beauford Delaney and Martin Luther King, but to also bring together people from diverse backgrounds to celebrate the goodness of the values and culture that are the hallmarks of a civil democratic society.
The brief program included remarks by David Butler, Executive Director of the museum, and Avice Evans Reid, President of the Knoxville (TN) Chapter of The Links, Incorporated,
as well as a presentation by Stephen Wicks, KMA curator, which highlighted three new Delaney acquisitions that were made possible by the KMA/Links partnership and donors who attended the event.
Bass Baritone Dominick White sang a stirring rendition of Amazing Grace; and Michael Delaney, a close relative of Beauford Delaney, sang two vocals and accompanied himself on acoustic guitar. He was introduced to the audience by Derek Spratley, who is the attorney for the Delaney Estate.
The evening was a glorious one of “Amazing Grace” in Knoxville - one that showed the promise and power of celebrating culture, the arts and diversity.
It was an evening that Beauford would have enjoyed.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esq.,
Court Appointed Administrator
Case Antiques Offers Beauford Abstracts and Memorabilia for Auction
On Saturday, January 27, Case Antiques in Knoxville, TN is auctioning two Beauford Delaney abstracts and a bundle of Beauford's letters and other memorabilia.
Both abstracts are works on paper:
Lot 484: Abstract on Paper No. 351
(1964) Watercolor on paper
22 1/2" x 16"
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Lot 484: Abstract on Paper No. 351
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Lot 485: Abstract on Paper No. 313
(1962) Watercolor on paper
25 1/2" x 19 1/4 "
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Lot 485: Abstract on Paper No. 313
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The estimated sale price for Abstract on Paper No. 351 is $5,800 - $6,200.
The estimated sale price for Abstract on Paper No. 313 is $6,400 - $7,000.
In addition to these works, Case is offering an "Archive of Beauford Delaney Letters and Related Objects" as Lot 487. It is comprised of 29 items, most of which are paintbrushes and drawing pencils.
Lot 487: Paintbrushes and pencils, French Lesson, Letters
Image from Case Antiques Web site
The archive includes three letters, all of which were written by Beauford and addressed to his brother, Samuel (Emery) Delaney. A fourth item of correspondence is a greeting card sent to Beauford's niece, Ogust Delaney Stewart, from his friends, Dolly and Al Hirschfeld.
The most unique item in the lot is an 14 1/8" H x 8 5/8" W card (unsigned) on which is drawn a pencil sketch of figures that illustrate the mathematical sum of "2+2." The title written at the top of the card is Quatrième Leçon Préliminaire, which means "Fourth Preliminary Lesson." Other notations indicate the numbers 1-12, addition and subtraction equations, and the words that indicate how to read these numbers and equations.
The estimated sale price for these letters and memorabilia is $800 - $900.
For additional information, contact Case Antiques at
.
Both abstracts are works on paper:
(1964) Watercolor on paper
22 1/2" x 16"
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1962) Watercolor on paper
25 1/2" x 19 1/4 "
Signed and dated lower right
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Signature and date
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The estimated sale price for Abstract on Paper No. 351 is $5,800 - $6,200.
The estimated sale price for Abstract on Paper No. 313 is $6,400 - $7,000.
In addition to these works, Case is offering an "Archive of Beauford Delaney Letters and Related Objects" as Lot 487. It is comprised of 29 items, most of which are paintbrushes and drawing pencils.
Image from Case Antiques Web site
The archive includes three letters, all of which were written by Beauford and addressed to his brother, Samuel (Emery) Delaney. A fourth item of correspondence is a greeting card sent to Beauford's niece, Ogust Delaney Stewart, from his friends, Dolly and Al Hirschfeld.
The most unique item in the lot is an 14 1/8" H x 8 5/8" W card (unsigned) on which is drawn a pencil sketch of figures that illustrate the mathematical sum of "2+2." The title written at the top of the card is Quatrième Leçon Préliminaire, which means "Fourth Preliminary Lesson." Other notations indicate the numbers 1-12, addition and subtraction equations, and the words that indicate how to read these numbers and equations.
The estimated sale price for these letters and memorabilia is $800 - $900.
For additional information, contact Case Antiques at
.
Beauford and Charlie Parker
Beauford was passionate about jazz and considered the music to be an important art form. He taught his famous mentee, James Baldwin, that jazz was as "sacred" as gospel music.
When both men lived in Paris and the mentor-mentee relationship was reversed, Baldwin and Beauford frequented - and sometimes sang at - jazz clubs such as Inez Cavanaugh's Chez Inez.
During his New York years, Beauford made the acquaintance of many jazz musicians who became subjects for his pastel and charcoal portraiture. Much later, during his Paris years, he captured the essence of iconic jazz musicians in his inimitable, increasingly abstract style.
One of these musicians was Charlie Parker.
In his masterful portrait of Parker, Beauford portrays the saxophonist in regal attire. "Bird" holds a scepter adorned with a musical note as a feathered namesake observes from above. The brilliance of the painting lies in the way Beauford rendered Parker's skin, using colors ranging from black to white.
Charlie Parker
(1968) Oil on canvas
Memorial Art Gallery, University of Rochester
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
This painting is a splendid example of Beauford's use of the color "yellow." The Memorial Art Gallery at the University of Rochester acquired it from the collection of Billy Dee Williams in 2015.
In an earlier homage to Parker, Beauford endeavored to capture the essence of the musician's melodies on canvas.
Charlie Parker Yardbird
(1958) Oil on canvas
Smithsonian American Art Museum
Gift of the James F. Dicke Family
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Beauford was always concerned with how he could best portray jazz through light and color. The rose and blue tones of Charlie Parker Yardbird seem to radiate from the center of the canvas, just as Parker's music emerged from the bell of his saxophone during his 1946 recording of Yardbird Suite.
Charlie Parker Yardbird is currently displayed at the Luce Foundation Center of the Smithsonian American Art Museum (4th Floor 44A).
When both men lived in Paris and the mentor-mentee relationship was reversed, Baldwin and Beauford frequented - and sometimes sang at - jazz clubs such as Inez Cavanaugh's Chez Inez.
During his New York years, Beauford made the acquaintance of many jazz musicians who became subjects for his pastel and charcoal portraiture. Much later, during his Paris years, he captured the essence of iconic jazz musicians in his inimitable, increasingly abstract style.
One of these musicians was Charlie Parker.
In his masterful portrait of Parker, Beauford portrays the saxophonist in regal attire. "Bird" holds a scepter adorned with a musical note as a feathered namesake observes from above. The brilliance of the painting lies in the way Beauford rendered Parker's skin, using colors ranging from black to white.
(1968) Oil on canvas
Memorial Art Gallery, University of Rochester
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
This painting is a splendid example of Beauford's use of the color "yellow." The Memorial Art Gallery at the University of Rochester acquired it from the collection of Billy Dee Williams in 2015.
In an earlier homage to Parker, Beauford endeavored to capture the essence of the musician's melodies on canvas.
(1958) Oil on canvas
Smithsonian American Art Museum
Gift of the James F. Dicke Family
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Beauford was always concerned with how he could best portray jazz through light and color. The rose and blue tones of Charlie Parker Yardbird seem to radiate from the center of the canvas, just as Parker's music emerged from the bell of his saxophone during his 1946 recording of Yardbird Suite.
Charlie Parker Yardbird is currently displayed at the Luce Foundation Center of the Smithsonian American Art Museum (4th Floor 44A).
Beauford's Portrait of Marian Anderson at 2018 Winter Antiques Show
The Virginia Museum of Fine Arts (VMFA) acquired Beauford's magnificent portrait of Marian Anderson for its American Art collection in 2012.
Marian Anderson
(1965) Oil on canvas
Virginia Museum of Fine Arts
J. Harwood and Louise B. Cochrane Fund for American Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The museum is including the painting in a showcase of its most important and recognized pieces in a special exhibition at the Winter Antiques Show, the leading art and antiques fair in the United States.
Collecting for the Commonwealth/Preserving for the Nation: Celebrating a Century of Art Patronage, 1919-2018—Virginia Museum of Fine Arts will be on view from January 19-28, 2018 at the Park Avenue Armory in New York.
VMFA has included Marian Anderson in its educational resource on "African American Dreams," which it describes as follows:
For the purposes of "African American Dreams," the Anderson portrait represents the Interwar Period of the 1930s-1950s. The written selection that accompanies it is an excerpt from Martin Luther King's speech entitled "The Negro and the Constitution," which he presented as a student at Atlanta's Booker T. Washington High School in 1944.
(1965) Oil on canvas
Virginia Museum of Fine Arts
J. Harwood and Louise B. Cochrane Fund for American Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The museum is including the painting in a showcase of its most important and recognized pieces in a special exhibition at the Winter Antiques Show, the leading art and antiques fair in the United States.
Collecting for the Commonwealth/Preserving for the Nation: Celebrating a Century of Art Patronage, 1919-2018—Virginia Museum of Fine Arts will be on view from January 19-28, 2018 at the Park Avenue Armory in New York.
VMFA has included Marian Anderson in its educational resource on "African American Dreams," which it describes as follows:
This art-based adventure explores the African American experience in North America by pairing visual and written primary sources. The works of art have been chosen from the American Art collection at the Virginia Museum of Fine Arts. The written selections include poems, speeches, and other historical documents. Combining images with words provides students with multiple learning pathways for explorations of art, history, and language.
For the purposes of "African American Dreams," the Anderson portrait represents the Interwar Period of the 1930s-1950s. The written selection that accompanies it is an excerpt from Martin Luther King's speech entitled "The Negro and the Constitution," which he presented as a student at Atlanta's Booker T. Washington High School in 1944.