Beauford Enters the Carnetta and Norm Davis Collection
Carnetta and Norm Davis placed the winning bid for the Beauford Delaney pastel entitled Portrait of a Young Man during the Case Antiques auction house on July 14.
Carnetta Davis graciously granted Les Amis the following interview about this latest acquisition.
Carnetta Davis and Portrait of a Young Man
Image courtesy of Carnetta Davis
Portrait of a Young Man
(1938) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Les Amis: Why are you so passionate about collecting art?
C. D.: After learning of the struggles of the early African-American artists to be recognized equally with their peers of other races, my husband Norm and I decided in our own way to try to help forgotten and underappreciated artists, mostly due to discrimination, receive long overdue recognition. We welcome people into our home and loan works to museums and galleries to help educate the public on this genre of work. We also desire to call attention to the works of living African American artists whose past experiences are unique and helped to define their unique brand of American Art.
Les Amis: How long have you been collecting?
C. D.: My husband, Norm and I have always collected, but not always art. About fourteen (14) years ago, we shifted our focus to art by African American artists.
Les Amis: Do you have a selection process for the pieces you collect?
C. D.: Yes. We have an ever-changing list of artists that we are interested in collecting. Recently we have specifically focused on artists who were educators and artists from Alabama and the South, but we have significant artists from all over the United States in our collection.
Les Amis: What makes your collection distinctive?
C. D.: The collection includes more than 150 works of African-American art, spanning the 19th to the 21st centuries and with this collection, we attempt to show the evolution of African American Art. We also collect works by artists who at one time were significant when living but are currently off the radar. We also have works in our collection that are not by African Americans or American artists but are simply items that we were drawn to or inherited from family members.
Carnetta Davis with Portrait of a Young Man and
other pieces from the Davis Collection
Image courtesy of Carnetta Davis
Les Amis: What about Beauford Delaney's art is appealing to you?
C. D.: In addition to pleasing aesthetics, I enjoy art that tells stories. I love the fact that if you examine his works over the years and study his life story, you can distinctively see how his work evolved. His use of color is especially appealing.
Les Amis: Why is it important to you to have his work in your collection?
C. D.: Beauford Delaney seemed to be a free spirit who did not conform to what was expected of African American artists of the times. He learned and grew from experiences shared with people from a very wide range of ethnicities and cultures. He followed his dreams and relocated to Paris. This fluidity of his spirit shows in his work over time. His story is just as significant as his art.
Les Amis: Does the fact that Beauford is from the South play a role in your interest in his art?
C. D.: Most definitely. As a daughter of the South, born and reared in Birmingham, Alabama, I feel a connection to other Southerners who create and appreciate art.
Les Amis: Do you have a preference for his abstract or figurative works?
C. D.: I prefer his abstract works but Portrait of a Young Man, a figurative expressionism work, speaks to me. Characteristics of this work provide insight on the direction his work would take.
Les Amis: What attracted you to Portrait of a Young Man?
C. D.: It fits perfectly into our collecting “sweet spot”. It is an early work (1938) that is unlike anything we own. It helps tell the story and illustrate how his work evolved. In 1938, Delaney was photographed painting in Washington Square in New York City by Life magazine. This work could have been painted by him there.
Les Amis: Does this piece tell a story to you?
C. D.: I have the desire to want to know more about how the young man came to be a subject for this painting.
Les Amis: Do you have other Beauford Delaney works?
C. D.: No, but I would like to acquire others, especially one of his abstracts. We have two (2) paintings by his brother, Joseph Delaney.
Les Amis: Do you have any comments to add?
C. D.: I am happy the planets aligned, and we were able to add this work to our collection. We look forward to sharing it along with what we have learned about Beauford Delaney and his work with others.
Carnetta Davis graciously granted Les Amis the following interview about this latest acquisition.
Image courtesy of Carnetta Davis
Portrait of a Young Man
(1938) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Les Amis: Why are you so passionate about collecting art?
C. D.: After learning of the struggles of the early African-American artists to be recognized equally with their peers of other races, my husband Norm and I decided in our own way to try to help forgotten and underappreciated artists, mostly due to discrimination, receive long overdue recognition. We welcome people into our home and loan works to museums and galleries to help educate the public on this genre of work. We also desire to call attention to the works of living African American artists whose past experiences are unique and helped to define their unique brand of American Art.
Les Amis: How long have you been collecting?
C. D.: My husband, Norm and I have always collected, but not always art. About fourteen (14) years ago, we shifted our focus to art by African American artists.
Les Amis: Do you have a selection process for the pieces you collect?
C. D.: Yes. We have an ever-changing list of artists that we are interested in collecting. Recently we have specifically focused on artists who were educators and artists from Alabama and the South, but we have significant artists from all over the United States in our collection.
Les Amis: What makes your collection distinctive?
C. D.: The collection includes more than 150 works of African-American art, spanning the 19th to the 21st centuries and with this collection, we attempt to show the evolution of African American Art. We also collect works by artists who at one time were significant when living but are currently off the radar. We also have works in our collection that are not by African Americans or American artists but are simply items that we were drawn to or inherited from family members.
other pieces from the Davis Collection
Image courtesy of Carnetta Davis
Les Amis: What about Beauford Delaney's art is appealing to you?
C. D.: In addition to pleasing aesthetics, I enjoy art that tells stories. I love the fact that if you examine his works over the years and study his life story, you can distinctively see how his work evolved. His use of color is especially appealing.
Les Amis: Why is it important to you to have his work in your collection?
C. D.: Beauford Delaney seemed to be a free spirit who did not conform to what was expected of African American artists of the times. He learned and grew from experiences shared with people from a very wide range of ethnicities and cultures. He followed his dreams and relocated to Paris. This fluidity of his spirit shows in his work over time. His story is just as significant as his art.
Les Amis: Does the fact that Beauford is from the South play a role in your interest in his art?
C. D.: Most definitely. As a daughter of the South, born and reared in Birmingham, Alabama, I feel a connection to other Southerners who create and appreciate art.
Les Amis: Do you have a preference for his abstract or figurative works?
C. D.: I prefer his abstract works but Portrait of a Young Man, a figurative expressionism work, speaks to me. Characteristics of this work provide insight on the direction his work would take.
Les Amis: What attracted you to Portrait of a Young Man?
C. D.: It fits perfectly into our collecting “sweet spot”. It is an early work (1938) that is unlike anything we own. It helps tell the story and illustrate how his work evolved. In 1938, Delaney was photographed painting in Washington Square in New York City by Life magazine. This work could have been painted by him there.
Les Amis: Does this piece tell a story to you?
C. D.: I have the desire to want to know more about how the young man came to be a subject for this painting.
Les Amis: Do you have other Beauford Delaney works?
C. D.: No, but I would like to acquire others, especially one of his abstracts. We have two (2) paintings by his brother, Joseph Delaney.
Les Amis: Do you have any comments to add?
C. D.: I am happy the planets aligned, and we were able to add this work to our collection. We look forward to sharing it along with what we have learned about Beauford Delaney and his work with others.
Beauford and the James Baldwin Writers' Colony in Paris
The James Baldwin Writers' Colony is a Global Pathways study abroad program offered by Emerson College at its Kasteel Well facility in the Netherlands.
Running from July 5 - August 2, the course description invites participating students to "write, workshop and revise short works of creative fiction and nonfiction inspired by the literature of African Americans who lived and work in Europe." It further indicates that "Excursions to Amsterdam and Paris, France will enable you to walk in the footsteps of literary giants such as James Baldwin, Richard Wright and Chester Himes.
The Paris excursion included a luncheon at the Café Select. Program Cultural Architect Charles Reese invited me to share in this meal and talk about the relationship between Beauford and James Baldwin. He also asked me to explain the significance of the café in their lives.
Café Select
© Discover Paris!
James Baldwin Writer's Colony at the Café Select
© Discover Paris!
Serendipitously, the group was seated in the same space where Les Amis celebrated the first anniversary of the laying of Beauford's tombstone at Thiais Cemetery.
Monique addressing the crowd at 1st anniversary celebration
© Discover Paris!
The luncheon meeting was sandwiched between a black Paris history tour given by Julia Browne of Walking the Spirit tours and an encounter at the U.S. Embassy.
I spoke about the first encounter between Beauford and Baldwin in NYC, how Beauford became a mentor for Baldwin during his formative years, and how the "tables turned" when Beauford moved to Paris and became part of Baldwin's entourage. Baldwin felt increasingly responsible for Beauford as Beauford suffered bouts of physical and mental illness, and was eventually named as part of the tutelle (trusteeship) that managed Beauford's affairs when he was committed to the Hôpital Sainte-Anne in 1975.
I also spoke about the Select as one of Beauford's last favorite hangouts in Montparnasse and how the café figures into Baldwin's novel, Giovanni's Room.
Dr. Anthony Pinder, Associate Vice President of Academic Affairs, Internationalization, & Global Engagement, was one of the professors on the excursion. He opened the floor to questions with one of his own about how, as travel professionals who specialize in black Paris history, Browne and I determine the "truth" of what we present to our audiences and how we decide to present information so that it is best received by audiences with different levels of understanding regarding this information. This sparked a lively discussion!
Browne passed a couple of images around - one of Beauford, James Baldwin, and Wilmer Baldwin at the American Cultural Center and one of a painting that Beauford created during his New York years.
Beauford and the Baldwin brothers at the American Cultural Center
Photo: U.S. Information Service
The conversation then turned to how Beauford's work is valued and whether his estate is benefiting from the use of his work for commercial purposes.
My part of the event ended with me taking photos with Reese, Browne, and Dr. Pinder.
From left to right:
Charles Reese, Monique Y. Wells, and Dr. Anthony Pinder
© Discover Paris!
Julia Browne and Monique Y. Wells
© Discover Paris!
It is always my privilege and pleasure to share information about Beauford's life and art with study abroad students!
Running from July 5 - August 2, the course description invites participating students to "write, workshop and revise short works of creative fiction and nonfiction inspired by the literature of African Americans who lived and work in Europe." It further indicates that "Excursions to Amsterdam and Paris, France will enable you to walk in the footsteps of literary giants such as James Baldwin, Richard Wright and Chester Himes.
The Paris excursion included a luncheon at the Café Select. Program Cultural Architect Charles Reese invited me to share in this meal and talk about the relationship between Beauford and James Baldwin. He also asked me to explain the significance of the café in their lives.
© Discover Paris!
© Discover Paris!
Serendipitously, the group was seated in the same space where Les Amis celebrated the first anniversary of the laying of Beauford's tombstone at Thiais Cemetery.
© Discover Paris!
The luncheon meeting was sandwiched between a black Paris history tour given by Julia Browne of Walking the Spirit tours and an encounter at the U.S. Embassy.
I spoke about the first encounter between Beauford and Baldwin in NYC, how Beauford became a mentor for Baldwin during his formative years, and how the "tables turned" when Beauford moved to Paris and became part of Baldwin's entourage. Baldwin felt increasingly responsible for Beauford as Beauford suffered bouts of physical and mental illness, and was eventually named as part of the tutelle (trusteeship) that managed Beauford's affairs when he was committed to the Hôpital Sainte-Anne in 1975.
I also spoke about the Select as one of Beauford's last favorite hangouts in Montparnasse and how the café figures into Baldwin's novel, Giovanni's Room.
Dr. Anthony Pinder, Associate Vice President of Academic Affairs, Internationalization, & Global Engagement, was one of the professors on the excursion. He opened the floor to questions with one of his own about how, as travel professionals who specialize in black Paris history, Browne and I determine the "truth" of what we present to our audiences and how we decide to present information so that it is best received by audiences with different levels of understanding regarding this information. This sparked a lively discussion!
Browne passed a couple of images around - one of Beauford, James Baldwin, and Wilmer Baldwin at the American Cultural Center and one of a painting that Beauford created during his New York years.
Photo: U.S. Information Service
The conversation then turned to how Beauford's work is valued and whether his estate is benefiting from the use of his work for commercial purposes.
My part of the event ended with me taking photos with Reese, Browne, and Dr. Pinder.
Charles Reese, Monique Y. Wells, and Dr. Anthony Pinder
© Discover Paris!
© Discover Paris!
It is always my privilege and pleasure to share information about Beauford's life and art with study abroad students!
Portrait of a Young Man Sold at Case Antiques Auction
Case Antiques in Knoxville, TN sold Beauford's pastel on paper work entitled Portrait of a Young Man on July 14.
(1938) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The sale price was $3,172, including the buyer's premium.
Len de Rohan, Appraiser for Case's Knoxville Consignment, Research, and Cataloging team, granted me an interview after the sale. She shared that Case has sold eleven (11) lots of Beauford's work since 2015, including Portrait of a Young Man. To find images and information about these works, click HERE.
De Rohan said that John Case, Co-owner and President of Case Antiques, believes that 30% of the buyers of Beauford's work are Tennessee residents, including institutions; 20% more are Southern; and the balance are from the metropolitan areas of NYC and Chicago. The largest amount of consignments come from the Delaney estate.
Because Beauford is a Knoxville native and a very important Tennessee and American artist, and because the Knoxville Museum of Art has accumulated the largest public collection of Beauford's works, Case, as the premier auction house in Tennessee, is making efforts to be known for selling Beauford's works. They pride themselves on their relationship with Beauford's estate as well as with public institutions and private collectors.
Beauford's Portrait of a Young Man at Case Antiques Auction
A lovely Beauford Delaney portrait is being auctioned by Case Antiques in Knoxville, TN on July 14.
Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The portrait is dated 1938:
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
During that year, Beauford had one-man shows at the 8th Street Playhouse in NYC and the Gallery C in Washington, D.C., which, according to the biography Amazing Grace: A Life of Beauford Delaney
, consisted primarily of portraits. The famous Life Magazine photo of Beauford at the 1938 Washington Square outdoor show in NYC portrays him sitting in front of several portraits.
Image from Life Magazine
Photographer not identified in photo caption*
Perhaps Beauford created Portrait of a Young Man for one of these events.
The pastel portrait is being auctioned as Lot Number 574. The low estimate for acquisition is $5,000.00. The high estimate is $7,000.00.
For more information about the sale, visit the Case Antiques Web page for the July 14 Auction.
*Fair use claimed for the reprinting of this image.
Beauford Potpourri
By receiving Google Alerts about Beauford and messages from persons interested in his life and work, I am able to collect tidbits of information and references to him that add to the growing data base about him. Below are links to some of these references.
The Ubuntu Biography Project - Beauford Delaney
Portrait of Beauford Delaney
(ca. 1950)
Possibly by Gjon Mili
The Ubuntu Biography Project was created by Stephen A. Maglott (1953-2016) to publish biographical tributes to distinguished LGBTQ/SGL people of color/African descent.
Les Amis De Beauford Delaney: Beauford's Paris: Saint Anne's Throughout Paris Benches
This Web page displays a large image of two women sitting on a bench at Saint Anne's Hospital, the place where Beauford spent the last four years of his life.
Beauford Delaney Timeline
David Wright, an undergraduate student at the University of Tennessee Knoxville who won a Paul Pinckney Award from UTK's Department of History this April, has created a timeline of Beauford's life. It includes multiple images of Beauford's work and even mentions the Les Amis blog!
Beauford Delaney and Ted Joans
Art historian and curator Karima Boudou has written a fascinating article about poet / artist Ted Joans and Beauford. It includes a beautiful photo of Joans and a fragile-appearing Beauford in Beauford's rue Vercingétorix studio, taken in 1975.
AZ Quotes
AZ Quotes has created an infographic using a Beauford Delaney quote and one of Beauford's self-portraits*.
The pastel, watercolor, and charcoal on paper self-portrait was painted at Yaddo in 1950.
*Self-portrait, Yaddo
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
The Ubuntu Biography Project - Beauford Delaney
(ca. 1950)
Possibly by Gjon Mili
The Ubuntu Biography Project was created by Stephen A. Maglott (1953-2016) to publish biographical tributes to distinguished LGBTQ/SGL people of color/African descent.
Les Amis De Beauford Delaney: Beauford's Paris: Saint Anne's Throughout Paris Benches
This Web page displays a large image of two women sitting on a bench at Saint Anne's Hospital, the place where Beauford spent the last four years of his life.
Beauford Delaney Timeline
David Wright, an undergraduate student at the University of Tennessee Knoxville who won a Paul Pinckney Award from UTK's Department of History this April, has created a timeline of Beauford's life. It includes multiple images of Beauford's work and even mentions the Les Amis blog!
Beauford Delaney and Ted Joans
Art historian and curator Karima Boudou has written a fascinating article about poet / artist Ted Joans and Beauford. It includes a beautiful photo of Joans and a fragile-appearing Beauford in Beauford's rue Vercingétorix studio, taken in 1975.
AZ Quotes
AZ Quotes has created an infographic using a Beauford Delaney quote and one of Beauford's self-portraits*.
The pastel, watercolor, and charcoal on paper self-portrait was painted at Yaddo in 1950.
*Self-portrait, Yaddo
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Teaching Social Studies Using Beauford's Art
I recently came across a lesson plan for 5th grade students in Knox County Schools* that teaches the Great Migration and the Harlem Renaissance through having students create self-portraits inspired by Beauford's self-portraits.
Students participating in this lesson had been previously introduced to the Harlem Renaissance and Beauford's artwork. In this lesson, they were instructed to use pencils and colored pencils "to create simple self-portraits that show symmetry and personality through exaggerated features....This self-portrait can reflect personality, in the style of Beauford Delaney, by drawing facial features of different sizes and with exaggerated emphasis." The students used colored pencils to "map out" areas in their portraits where they would apply paint in a subsequent lesson.
Here are some examples of Beauford's self-portraiture, which illustrate the exaggerated features that the lesson plan asks the students to emulate.
Self-portrait
(1944) Oil on canvas
Art Institute of Chicago
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Self-portrait
(1972) Gouache on paper
Collection of David Leeming
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Auto-portrait
(1965) Oil on canvas
Whitney Museum of American Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This lesson is described as "a cross-curricular art project featuring 5th grade Social Studies standards..." It is a wonderful example of arts integration!
*Knox County Schools is the school district that operates all public schools in Knox County, Tennessee. It is headquartered in Beauford's hometown of Knoxville.
Students participating in this lesson had been previously introduced to the Harlem Renaissance and Beauford's artwork. In this lesson, they were instructed to use pencils and colored pencils "to create simple self-portraits that show symmetry and personality through exaggerated features....This self-portrait can reflect personality, in the style of Beauford Delaney, by drawing facial features of different sizes and with exaggerated emphasis." The students used colored pencils to "map out" areas in their portraits where they would apply paint in a subsequent lesson.
Here are some examples of Beauford's self-portraiture, which illustrate the exaggerated features that the lesson plan asks the students to emulate.
(1944) Oil on canvas
Art Institute of Chicago
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1972) Gouache on paper
Collection of David Leeming
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1965) Oil on canvas
Whitney Museum of American Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This lesson is described as "a cross-curricular art project featuring 5th grade Social Studies standards..." It is a wonderful example of arts integration!
*Knox County Schools is the school district that operates all public schools in Knox County, Tennessee. It is headquartered in Beauford's hometown of Knoxville.
Yellow is for Summer
Beauford's yellow abstractions remind me of the warmth and sunshine of summer.
Today I'm sharing images of several of my favorites in celebration of the season!
Soullis Toucas
(Beauford's gift to Roy Freeman)
Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Portrait of Ella Fitzgerald
(1968) Oil on canvas
Permanent collection of the SCAD Museum of Art, Savannah
Gift of Dr. Walter O. and Mrs. Linda J. Evans
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Composition 16
(1954-56) Oil on canvas
Private Collection
© 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 (Rainbow Abstraction)
(1962) Watercolor and gouache on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo courtesy of Swann Auction Galleries
Untitled
(not dated) Oil on canvas
Signed on rear of painting
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled (Abstraction I)
(ca. 1960) Oil on prepared fabric
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
We're going to post on a more relaxed schedule over the next several weeks so we can take some time to rest in anticipation of the fall. Be sure to continue to check in here so you can enjoy the latest articles about Beauford's life and art.
Enjoy your summer vacation!
Today I'm sharing images of several of my favorites in celebration of the season!
(Beauford's gift to Roy Freeman)
Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1968) Oil on canvas
Permanent collection of the SCAD Museum of Art, Savannah
Gift of Dr. Walter O. and Mrs. Linda J. Evans
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1954-56) Oil on canvas
Private Collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery, LLC, New York , NY
(1962) Watercolor and gouache on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo courtesy of Swann Auction Galleries
(not dated) Oil on canvas
Signed on rear of painting
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(ca. 1960) Oil on prepared fabric
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
We're going to post on a more relaxed schedule over the next several weeks so we can take some time to rest in anticipation of the fall. Be sure to continue to check in here so you can enjoy the latest articles about Beauford's life and art.
Enjoy your summer vacation!
Beauford at 1964 "Cloudburst" Show in Paris
From 26 May through 1 June 1964, Beauford participated in a group exhibition at the Galerie internationale d'art contemporain at 253 rue Saint Honoré in Paris' 1st arrondissement.
The show was called Le nuage crève (Cloudburst) and the following artists' works were displayed:
Nasser Assar, Beaufort [sic] Delanay, Compard, Duvillier, Graziani, Laubiès, Lerin.
Julien Alvard wrote the introduction for the show's catalog. In Amazing Grace: A Life of Beauford Delaney
, Beauford's biographer, David Leeming, reports that Alvard praised Beauford's submission as an "emanation of the sun" in which one finds all seasons but winter...There were no images included in the catalog and I do not know which painting of Beauford's was exhibited during the show.
But Alvard's description reminded me of the exquisite abstract entitled Scattered Light, which is dated 1964 and owned by the Knoxville Museum of Art.
(1964) Oil on canvas
36 5/8 X 28 3/4 inches
Knoxville Museum of Art, purchase with funds provided by the Rachael Patterson Young Art Acquisition Reserve, 2015
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire, Court Appointed Administrator
One can easily become mesmerized by gazing at this work, in which you can see almost anything your mind can imagine!
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.