Beauford at the Artists' Gallery
In Amazing Grace: A Life of Beauford Delaney, biographer David Leeming writes:
By 1948 Beauford was finally recognized as a member of the expressionist movement in New York. He was given a solo exhibit at the Artists Gallery on 57th Street in May. He wrote to Billy Rose in May that the 57th street show meant something special to him because it justified the support by his friends of his "terribly painful efforts to try to be articulate."
Leeming indicates that Beauford's Jazz Quartet was shown at this exhibition. He described it as "an energetic, highly colored depiction of a black jazz quartet dominated by a candy-striped piano played by a woman in an elaborate hat."
Jazz Quartet
(1946) Oil on canvas
Image courtesy of Burt and Patricia Reinfrank
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
During a recent Internet search, I was pleased to find images of the front and back of an invitation card to Beauford's Artists' Gallery show.
Artists' Gallery Invitation Card - recto
Image reproduced with the permission of Jon Glovin, Fenwick Books
Artists' Gallery Invitation Card - verso
Image reproduced with the permission of Jon Glovin, Fenwick Books
Fenwick Books is selling this piece of memorabilia. The blurb on the Web page provides the following information about the gallery:
The Artists' Gallery was a non-profit organization that existed from 1936-1962 in various locations. It showed a wide range of artists including Josef Albers, Lyonel Feininger, Adolph Gottlieb, Hans Hoffmann, Louise Nevelson, etc. It collected no commission from the sale of works, instead relying of financial donors.
Further investigation turned up the following tidbit of information from Getty.edu re: selected dealer archives:
Artists' Gallery, New York. Founded in 1936 by Hugh Stix and directed by Federica Beer-Monti. A nonprofit organization supported by contributions, it exhibited works of artists not represented by a commercial dealer, including Josef Albers and Louis Eilshemius. Closed 1962.
The Getty Website references the Smithsonian's Archives of American Art as its information source.
Upon visiting the archive pages dedicated to the Artists' Gallery, I was only able to find mention of a copy of Henry Miller's The Amazing and Invariable Beauford Delaney among the printed materials in the collection. There may well be a catalog for Beauford's 1948 show and/or papers related to the show in the collection, but one would need to visit the Smithsonian to peruse the six boxes of archived items to find and review them.
I have not been able to find any images of the gallery's façade or interior. The space it occupied is now part of the address of the Four Seasons Hotel.
Winter (the Fourth Season) at Sainte-Anne’s Hospital
Over the past couple of years, I have written about the landscape at Sainte-Anne's Hospital* in the spring, summer, and fall.
Today, I'm rounding out this series of articles with a post about Sainte-Anne's in the wintertime.
In December 2025, the view of the hospital from boulevard Saint-Jacques was somewhat marred by the construction on rue Ferrus.
View of Sainte-Anne's Hospital from boulevard Saint-Jacques
© Entrée to Black Paris
But the grounds behind the entrance on rue Cabanis did not disappoint.
The wall next to the small door for pedestrian entry to the campus bears a plaque that declares the premises a certified Eco-jardin.
Eco-jardin plaque
© Entrée to Black Paris
Organizations that successfully earn this qualification are committed to following a management plan that includes elements such as proper soil protection, responsible water use, respect for flora and fauna, and staff training on the sustainability of green spaces.
Sainte-Anne's earned its certification in 2025.
I made my usual rounds of the campus on the day after Christmas.
Near the path leading to the medieval garden, I was surprised to see a sign that congratulated visitors on completing a 9-stage exercise course (balade sportive) that has been created on the campus.
Congratulations on completing the balade sportive
© Entrée to Black Paris
I learned that the hospital has encouraged staff and visitors to follow this course for several years, but I have never seen this signage before.
Walking past the Coteau "Les Contemplations," I noted that the grape vines planted there and around the statue of Victor Hugo were bare. One lonely rose swayed in the wind next to the path near the sculpture.
Grape vines near Victor Hugo sculpture
© Entrée to Black Paris
Rose near Victor Hugo sculpture
© Entrée to Black Paris
On the other side of campus, I discovered another garden area that had been planted with a single row of grapevines. A cluster of drying grapes clung to one of these vines; the rest of them were bare.
A cluster of grapes
© Entrée to Black Paris
The CGT (Conféderation Générale du Travail - General Confederation of Labor) union office had multiple announcements posted next to the entrance. One in particular called for donations to support its cause.
CGT flier
© Entrée to Black Paris
I had fun snapping photos of the few flowering plants I found and trying to identify those I didn't recognize using my PlantNet app. (I am no botanist, so if any of the labels below are erroneous, feel free to let me know!)
Camelia
© Entrée to Black Paris
Nipplewort
© Entrée to Black Paris
Honeysuckle
© Entrée to Black Paris
Winter daphne
© Entrée to Black Paris
Saint Martin’s Lily and Spanish Dagger
© Entrée to Black Paris
Compared to what I remembered from my visit last summer, many more trees were identified by plaques. My guess is that the signage is part of the hospital's eco-jardin initiative.
Incense cedar
© Entrée to Black Paris
Incense cedar plaque
© Entrée to Black Paris
Golden rain tree
© Entrée to Black Paris
Golden rain tree plaque
© Entrée to Black Paris
Poplar tree
© Entrée to Black Paris
Poplar tree plaque
© Entrée to Black Paris
The signage for the poplar tree in the Parc Charles Baudelaire states that this tree is the oldest and largest on the hospital's campus.
A sign on another tree nearby indicates that the park is the starting point for the balade sportive.
Starting point for the balade sportive
© Entrée to Black Paris
My most striking discovery during this visit had nothing to do with plants.
On a wall near the Alesia entrance to the campus, the Museum of Art and History of Sainte-Anne's Hospital (MAHHSA) was displaying a portrait gallery from its collection of works created by patients. The dated artworks were created between 1905 and 1986; most of them were works on paper.
A selection of portraits from MAHHSA's collection
All images © Entrée to Black Paris
None of the 27 works on display were attributed to Beauford. To the best of my ability to determine, the museum does not hold any of his work in its collection.
To read the articles about my spring, autumn, and summer visits to Sainte-Anne's, click on the links below.
Early Spring at Sainte-Anne's Hospital
Entrance to Sainte-Anne's Hospital - rue Cabanis
© Entrée to Black Paris
*Sainte-Anne's Hospital is the place where Beauford died after spending four years as a psychiatric inpatient.
Two Buildings for Beauford
As 2025 comes to a close, Knoxville continues to honor Beauford and his family in one of the most auspicious ways possible—by working on buildings named after them.
That's right - buildings (in plural)!
In August 2021, ground was broken on the Delaney Museum at Beck.
The Beck Cultural Exchange Center acquired the Delaney family's last homestead in 2015 with the intent to restore the home and grounds. Since that time, Beck President Reneé Kesler has led the effort to turn the property into an international museum that will honor Beauford, his brother, Joseph (who was also a painter), and the entire Delaney family.
Watch Reverend Kesler tell the story of how she acquired the home HERE.
The museum was originally projected to open in Autumn 2022. But due to the Covid-19 pandemic and escalating construction costs, work on the project has been postponed several times.
Construction finally began in earnest on November 18, 2025.
Beck released the following photos when it announced the commencement of work.
All images courtesy of the Beck Cultural Exchange Center
See images of the work being done at the Delaney Museum at Beck by clicking HERE.
In another area of Knoxville, a much larger project is now nearing completion.
The Beauford Delaney Building is part of the Knoxville Multi-Use Stadium project in Knoxville's Old City. We first wrote about it in February 2022.
Construction had not begun at that time.
Today, the nine-story, mixed-use building, which has been dubbed "The DELANEY," has 47 one- or two-bedroom condominiums and over 20,000 square feet of retail and restaurant space. Advertisements boast of indoor and outdoor entertainment areas, stadium and city views in every direction, large terraces and spacious balconies, and a state-of-the-art fitness center.
The condos range in price from $750,000 to $2.5 million.
All images courtesy of David Butler
Though construction is not quite complete, some residents are already moving into the building.
See images of the condos HERE and watch a local news report about the building HERE.
This is Les Amis' last posting for 2025. We wish you the happiest of holiday seasons and look forward to seeing you in the New Year!
Sweet 16 - Celebrating Les Amis' Milestone Anniversary
On December 14, Les Amis de Beauford Delaney will celebrate sixteen years of honoring Beauford's brilliance through the Les Amis blog.
This anniversary is important because it marks a major transition in the life of the blog, which has grown into both a beloved source of stories for casual readers and a valuable reference for scholars wishing to explore Beauford’s life and art.
To honor this journey and better serve our worldwide community, we are bringing Les Amis into a new era.
We’re working on a major upgrade: moving the blog (which has approximately 750 posts to date) to a modern platform that will improve accessibility, allow interactive features, and safeguard our content for the future.
This platform will be hosted by the Wells International Foundation (WIF).
WIF is the U.S. nonprofit that raised the money for and organized the Resonance of Form and Vibration of Color exhibition, which launched Beauford's renaissance in 2016.*
Great progress has been made on this project, and as of this writing, we are on track to complete the transition by the end of December 2025.
Once this has been accomplished, we will perform a final series of tests for functionality and go live early in 2026.
Today, we want to reflect on and celebrate what has transpired since our first post on December 14, 2009.
How It All Began
Les Amis de Beauford Delaney is a small, French non-profit organization (Association 1901) that was created in November 2009.
(1953) Carl Van Vechten
The goals of the organization are as follows:
1) Placement and maintenance of a tombstone for the grave of painter Beauford Delaney, who is buried at the Parisian Cemetery of Thiais
2) Payment of the renewal fees for his grave
3) Organization of commemorative or educational events in his honor
4) Informing the press and the media of his life and accomplishments.
For several years, the French nonprofit pursued all four goals on its own.
We launched the blog to raise awareness of Beauford's story in support of the fundraising effort to place a tombstone at his previously unmarked grave at Thiais Cemetery outside of Paris.
With the support of the U.S. Embassy and numerous private donors, we succeeded in this effort and laid the stone over the summer of 2010.
We organized a graveside ceremony, which was followed by a U.S. Embassy-hosted reception in Paris on October 14, 2010.
Because of the passion ignited by this effort, we continued to delve into his life and art and bring these stories to the public through the blog.
Beginning with the 2016 Resonance of Form exhibition, we have partnered with WIF on various events.
When the blog is transferred to the new platform, we will work with WIF in an advisory capacity on the selection of content that will be uploaded alongside the blog.
We are excited that what started as a modest online publication has grown into a key resource supporting the global renaissance of interest in Beauford’s work.
Sixteen Years of Milestones and Achievements
Across these sixteen years, Les Amis has supported and documented major developments in the reclamation and expansion of Beauford’s artistic legacy.
We have
- Featured exhibitions of his work around the world and highlighted new acquisitions of his works by major museums
- Reported on the sale of his work by numerous auction houses and celebrated record breaking transactions
- Shared anecdotes from personal friends and acquaintances that shed light on Beauford's personal life
- Documented initiatives to preserve Beauford Delaney archival materials
- Exposed readers to the vast depth and breadth of his artistic practice
- Provided support for scholars wanting to investigate his life and work as well as the life and work of his famous mentee, James Baldwin.
© Entrée to Black Paris
(1944) Oil on canvas
Acquired by the Los Angeles County Museum of Art in 2022
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator,
Image: Michael Rosenfeld Gallery LLC, New York, NY
(1967) Oil on canvas
Record-breaking sale by Christie's in November 2025
$1.2 million (hammer price)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Through these efforts, Les Amis has played a significant role in shifting Beauford from the margins to the center of conversations on 20th century artists.
Moments That Resonated the Most
Among the many posts that have filled the blog over the years, certain stories have left an enduring mark.
These include profiles and posts about
- Beauford’s friendships, particularly his life-changing bond with James Baldwin
- Projects inspired by Beauford's life and work, including the Classes Duo partnership with the City of Paris and the play, Amazing Grace is Yellow
- Lesser-known moments of Beauford's life in Knoxville and Boston
- Deep dives into specific paintings that helped newcomers connect emotionally with his work
- Scholarly commentary and exchanges about Beauford's œuvre.
These posts remind us that the blog is more than an archive—it is a space for discovery, memory, conversation, and connection.
The Community That Keeps the Blog Alive
We cannot honor this milestone anniversary without recognizing the vibrant community that has sustained this project:
- The readers who come back year after year
- The students and scholars who find information and images to support their work on the blog
- The educators who use our posts in their classrooms
- The friends of Beauford who read the blog and are inspired to contribute their own stories about him
- The museum curators, auction houses, and archivists who share research or request information.
Cover Art: Portrait of James Baldwin
(1965) Oil on canvas
Chrysler Museum of Art, Norfolk, VA
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
We especially thank the Estate of Beauford Delaney, the Knoxville Museum of Art, Galerie Intemporel, the Beck Cultural Exchange Center, the University of Arizona, the University of Tennessee Knoxville, and the Michael Rosenfeld Gallery for their unwavering support over the lifetime of the blog.
Looking Forward
Sixteen years is a milestone, but it is also a beginning. We continue to work—joyfully and intentionally—to expand Beauford's legacy.
Because Beauford deserves more ...
... more recognition, more scholarship, and more space in the global conversation about modern art.
Looking ahead, Les Amis aims to
- Launch new digital features, examples of which include exclusive interviews, digital stories, and curated reading lists.
- Expand access to resources for students, educators, and Black and other cultural institutions.
- Support new research that deepens our understanding of Beauford’s artistic evolution.
- Continue collaborating with museums and scholars on exhibitions and archival projects.
- Continue nurturing the community of Beauford's supporters around the world.
Our overarching mission remains the same: to keep the light shining brightly on Beauford’s work and to ensure his story is never again pushed to the edges of art history.
In Gratitude
To everyone who has walked this sixteen-year journey with us—thank you!
Your curiosity, your engagement, your passion, and your love for Beauford’s art make this blog a living tribute.
His legacy continues because you choose to be part of keeping it alive.
(1965) Oil on canvas
Whitney Museum of American Art, New York City
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
*WIF is raising $3200 to support the cost of transitioning the Les Amis blog to its new home.
If you'd like to donate, click HERE to access WIF's giving page.
Enter "Beauford Delaney" in the donor note so your gift is directed to this project.
Beauford's Portrait of Peter Eyre
Hauser and Wirth in London has a Beauford Delaney portrait for sale.
The sitter was Peter Eyre.
(1960) Oil on canvas
67.5 x 56.5 x 4.3 cm / 26 5/8 x 22 1/4 x 1 3/4 inches (framed)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Eyre is a U.S.-born stage and screen actor who has lived in Great Britain since the age of twelve. He has performed numerous times in London's West End and on Broadway as well as in multiple feature films and television shows.
In 1959 and 1960, Eyre studied drama in Paris. Through his friendship with Belgian theater director Robert Cordier, he came to know James Baldwin.
Through Baldwin, he came to know Beauford.
Eyre wrote the following about Beauford:
Beauford was a very quiet gentle man, almost Buddha-like in his often silent observation of the lively crowd in the bars who surrounded the very volatile Jimmy. We made friends and I loved his wise pronouncements. I think I was an oddity to him. I was a 19 year-old English school kid seeking some kind of validation in Paris.
I loved his illuminating abstract paintings infused with light, and I was flattered when he suggested he paint my portrait. Being with him was a lovely tranquil time.
When we went out after the sittings, I would take him back to his apartment. I was always amused when he would show his address to the taxi driver, on a tiny piece of paper ... 53 rue Vergingetorix ... which is a bit of a mouthful for someone not at ease in the French language!
Beauford’s portrait and loving friendship made me feel that my very insecure youthful self held a possibility to be someone.
Now looking back I am especially happy to realise Beauford Delaney has taken place as one of the great artists of the twentieth century. Yes... a very great artist and a pure soul.
I had the opportunity to interview Eyre about his experience meeting Beauford and sitting for his portrait.
He told me that he and Cordier hung out at Les Nuages and KevVillage near rue de Rennes in the 6th arrondissement and said this is where they would meet up with "Jimmy" and Beauford. He believes Beauford asked him to sit for a portrait during a meeting in a cafe and remembers shyly agreeing to the request.
He sat with Beauford "maybe seven times" for the portrait.
Eyre recounted the story of the work hanging in the office of Paul Facchetti during Beauford's 1960 solo exhibition of abstract paintings at the Facchetti gallery on rue de Lille. He said it was hung there as a favor because Beauford wanted Henry Miller to see it.
Eyre and Beauford were in the office when Miller arrived at the exhibition, and Beauford brought Miller into the office to introduce the two men and present Eyre's portrait.
© Paul Facchetti
Eyre (who was known as "Oscar" in England) remembers being stunned when Miller viewed the painting, looked at him, then turned to Beauford and asked "Is he the new Oscar Wilde?"
Eyre inherited the portrait from his mother. He said she never met Beauford, and he is not sure when she purchased the painting.
When I asked about his favorite memory of Beauford, he replied, "I loved his composure, sweetness, and kindness."
To view a photo portrait of a young Peter Eyre (1961), click HERE.
The sale price for Beauford's portrait of Peter Eyre is GBP 250,000.00, excluding VAT.
For information, contact Aileen Corkery at aileen@hauserwirth.com.
Additional Recent Sales of Beauford's Work
Last week, Les Amis reported on the record breaking sale of Beauford's portrait of James Baldwin entitled The Sage Black.
This week, we're announcing additional recent sales of Beauford's work.
Phillips held its Modern and Contemporary Art Day Sale, Morning Session in New York on November 21, 2025. Lot 183 was a beautiful Beauford Delaney watercolor on paper, the provenance of which lists the Gloria and James Jones Collection.
Lot 183
Untitled
(1961) watercolor on paper
signed, inscribed and dated "Beauford Delaney 1961 Mallorca" lower right
25 3/4 x 19 3/4 in. (65.4 x 50.2 cm)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Beauford traveled to San Telmo in Mallorca with Charlie and Gita Boggs and Joe and Bernice O'Reilly during the summer of 1961. This trip took place after Beauford's suicide attempts in Greece.
In Amazing Grace: A Life of Beauford Delaney, biographer David Leeming states that "In San Telmo, he did eat well and rest, and, with the help of soothing talks with Bernice and Gita especially, managed to maintain a surface calm and even began to do some watercolors."
The estimated sale price of Untitled was $20,000-$30,000.
The actual sale price was $41,280, including a 29% buyer's premium.
Galerie Setze in Paris privately sold several sketches that Beauford executed in the 1930s.
Unnamed portrait
(circa 1935) Charcoal
28 x 44 cm
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Portrait of James Baldwin
(circa 1938) Pencil on paper
27 x 37 cm
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Though the title of this work indicates that the sitter for the portrait was James Baldwin, the date attributed to the work and Beauford's own cryptic inscription make this highly unlikely. Baldwin reportedly met Beauford when he was sixteen years old—this means he could not have sat for Beauford prior to 1940.
Galerists Sandra and Eric Setze reported that Beauford gifted these works to Professor Michel Fabre, whose son, Pierre Fabre, received them through inheritance.
The sale price of these works is undisclosed.
The Sage Black - Sold by Christie's
During its 20th Century Evening Sale on November 17, 2025, Christie's sold Beauford's The Sage Black from the Collection of Robert and Faye Davidson.
The Sage Black
(1967) Oil on canvas
signed, inscribed, titled and dated
'The Sage Black Beauford Delaney Paris 1967'
(on the reverse)
35 ½ x 33 in. (90.2 x 83.8 cm.)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Two fairly recent descriptions of this bold work resonate with me.
The first, written by curator Stephen C. Wicks of the Knoxville Museum of Art, was published in the museum's Beauford Delaney and James Baldwin: Through the Unusual Door catalog in 2020:
"Of Delaney's many images of Baldwin, The Black Sage represents one of his most powerfully expressive portrayals. The writer's larger than live visage exceeds the canvas's vertical span. The painting's title and the sitter's enlarged eyes suggest Delaney's recognition of his protégé's emergence as a cultural and artistic visionary. Delaney's use of swirling color and dripping black paint to define the contours of Baldwin's face brings to mind the writer's recollection of the artist calling to his attention the strange beauty of an oily reflection 'moving like mercury in the black water of the gutter.'"
The other description was written by Rachel Cohen and published in Amy J. Elias' 2025 anthology of scholarly essays entitled Speculative Light: The Arts of Beauford Delaney and James Baldwin:
"... the head of the sitter stretches up to the very top of the canvas and seemingly beyond, suggesting that the viewer might be within that person—or the whole world might be.Lines of a striking periwinkle blue course aruond the face and shoulders and through the background, as does an ochre yellow .... A pattern of colors is running through the atmosphere and the person.
To read a full essay that provides additional painterly description of The Sage Black and information about Beauford's life at the time he created this work, visit Christie's Website and click on Lot Essay.
The estimated sale price for this celebrated work was $500,000 to $700,000.
The actual sale price was $1,524,000, including a 27% buyer's premium.
The hammer price of $1.2 million is a new record for a Beauford Delaney sale at auction.
Christie's to Auction The Sage Black
Christie's will auction Beauford's iconic portrait of James Baldwin entitled The Sage Black during its 20th Century Evening Sale on November 17, 2025.
The Sage Black
(1967) Oil on canvas
signed, inscribed, titled and dated
'The Sage Black Beauford Delaney Paris 1967'
(on the reverse)
35 ½ x 33 in. (90.2 x 83.8 cm.)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Les Amis has published posts that mention or feature this painting many times before:
Beauford's Portraits of James Baldwin - Part 2
Beauford and Free Lunch - Part 2
Romare Beardon and Harry Henderson on Beauford
Beauford and the Civil Rights Movement
Christie's estimates the sale price to be between $500,000 and $700,000.
For information about the auction, click HERE.
Finding Higher Ground: Beauford at the Bistro at the Bijou
The Knoxville Museum of Art (KMA) has the largest public collection of Beauford's work in the world.
© Wells International Foundation
It has created a space dedicated to works by Beauford and his brother, Joseph, as part of its permanent exhibition entitled Higher Ground: A Century of the Visual Arts in East Tennessee.
© Wells International Foundation
As part of its public programming to increase awareness of the exhibition, KMA has organized an event in collaboration with a local downtown restaurant called Bistro at the Bijou, where Knoxvillians will celebrate Beauford's life, his art, and his...
GUMBO!
In 2012, Les Amis published an article about Beauford's gumbo recipe, which appeared in a 1949 edition of the Greenwich Village Gourmet.
Bistro at the Bijou will reproduce this recipe during dinner service from 8:00 pm - 10:00 pm on November 18, 2025. Attendees will enjoy a live performance of jazz by the Greg Hardy Trio.
To read the gumbo recipe, click HERE.
The Bistro at the Bijou
807 South Gay Street
Knoxville, TN 37902
Phone: (865) 544-0537
Following Love...
In October 1954, Beauford wrote:
"The privilege and right of choice and following love in all its difficult and painful rhythm, knowing the satisfaction that comes from the power of feeling and stimulation that comes from those we love; it's the essence of our work."
Today, I am presenting images of several of Beauford's abstracts, currently held by the Knoxville Museum of Art, that evoke this sentiment for me.
(1959) Watercolor and gouache on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1960) Watercolor on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1956) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1963) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(c. 1962-1963) Watercolor on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Two Jazz Abstracts
A couple of days ago, I attended the vernissage (opening) for a retrospective show of work by sculptor Melvin Edwards at the Palais de Tokyo Contemporary Art Center in Paris' 16th arrondissement.
The space used to be occupied by the Musée National d'Art Moderne, which may be where Beauford attended a 1967 course in modern art featuring Braque, Picasso, and Vlaminck.
(The other possibility is that Beauford took the course at the Musée d'Art Moderne de Paris, which is located in the Palais de Tokyo's east wing.)
Across the street from the Palais de Tokyo is the Musée Galliera. I have written about this museum before in the context of Beauford's painting entitled Portrait of Marian Anderson, Jazz.
As I once again contemplated Beauford's naming of this completely abstract work after Anderson, I suddenly remembered that he did the same thing with Charlie Parker.
Jazz, 1966
FNAC 29060
Centre national des arts plastiques
© droits réservés / Cnap /
Crédit photo : Yves Chenot
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
I always presumed that Charlie Parker Yardbird was a portrayal of Parker's music.
(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
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
I now wonder if Beauford intended it to be a portrait of Parker.
Beauford painted figurative portraits of Anderson and Parker, making the evaluation of the abstracts bearing their names even more intriguing.
Beauford created his "musical portrait" of Parker in 1958, whereas he created Portrait of Marian Anderson, Jazz in 1966.
He painted his figurative portraits of Parker and Anderson in 1968 and 1965, respectively.
(1968) Oil on canvas
Memorial Art Gallery, University of Rochester
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photograph by Joshua Nefsky
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
(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
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Piasa Sells Beauford Delaney Abstract
On October 16, 2025, Piasa auctioned a single yellow abstract painting during its Modern and Contemporary Art sale.
(1967) Oil on panel
Signed lower left
Counter-signed, dated and located on the reverse
94.5×70.5cm / 37.2x27.7in
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
The estimated sale price for the work was 100,000€ to 150,000€.
It sold for 124,630€—including a 24% buyer's premium.
In Amazing Grace, biographer David Leeming states that the Musée Galliera showed several of Beauford's works in their exhibition called L'Age du Jazz in May 1967.
He says that among these works were "abstractions that were attempts to convey in light and color the dynamics of jazz."
Perhaps Untitled, Paris was one of them.
For more information about the Piasa Modern and Contemporary Art auction, click HERE.
Piasa Offers a Beauford Delaney Abstract for Sale
Piasa is no stranger to Beauford's work, having sold six of his paintings and works on paper during its June 2023 Modern and Contemporary Art sale.
On October 16, 2025, the auction house will offer a single yellow abstract painting during its upcoming Modern and Contemporary Art sale.
(1967) Oil on panel
Signed lower left
Counter-signed, dated and located on the reverse
94.5×70.5cm / 37.2x27.7in
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
The Web page showcasing this piece describes Beauford's impasto as appearing "to dance like tiny sparks on the canvas."
It offers a lyrical portrayal of Beauford’s abstracts as “luminous” and interprets his artistic spirit as follows:
"Beauford Delaney in Paris is the story of light transformed into colour and colour transcended by light. His painting rises to the level of meditation, exploring the spaces between figuration and abstraction, between personal and universal experience. Through this prism, he defines a visual language in which every nuance, every sparkle speaks of hope and resilience, reinvention and liberation."
The estimated sale price for Untitled, Paris is 100,000€ to 150,000€.
For information about the sale, click HERE.
Beauford's Nature Landscapes
Beauford rarely painted figurative or abstract works that depict only nature (no definitively identifiable dwellings or people).
Today I am sharing images of the ones I know about.
(1922) Watercolor on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1945) Watercolor on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1950) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(ca. 1962) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1966) Oil monotype on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1967) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1968) Oil monotype on cream wove paper laid down to illustration board
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1969) Watercolor on wove paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1969) Knoxville Downtown Wrap
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1971) Watercolor on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
It's Hard to Work in Yellow
Beauford's masterful use of the color "yellow" is inevitably mentioned when people talk about his art.
It wasn't until I watched artists in the YouTube video Art Matters NY (55:18-57:04 minutes) discussing his recent solo exhibition at The Drawing Center that I began to understand the level of his mastery.
Shown at In the Medium of Life at The Drawing Center:
(1962) Gouache on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
Comments in the video such as "if you try to ... make something look 3D with yellow ... give it some volume with yellow paint, you almost immediately figure out that yellow wants to sit there and be flat" incited me to research painting with yellow.
So, I did an Perplexity AI search using the following prompt:
"I recently watched a YouTube video during which an artist expressed her admiration for Beauford Delaney's masterful use of the color yellow in his paintings and described the difficulty she has painting with yellow.
"Is this difficulty something that is "known" among painters?
"Might it be peculiar to her?"
Here was the response:
Yes, difficulty painting with the color yellow is a recognized challenge among painters and is not peculiar to the artist you watched; yellow is widely considered one of the trickiest colors to handle in both technical and expressive terms.
Yellow pigments tend to be less opaque compared to other colors, making it hard to achieve bright, smooth coverage without multiple layers. Many yellow paints are described as overly transparent or even "clumpy," leading artists to struggle with getting an even, vivid finish. Classic solutions include starting with a white or light primer to boost vibrancy or layering over ochre or brown bases to build depth.
The issues with yellow extend beyond opacity: yellow is highly sensitive to contamination by other colors during wet-on-wet techniques, easily muddying toward green, brown, or dull tones with accidental mixing. Many botanical artists and portrait painters report avoiding yellow subjects purely because of how hard the pigment is to control, highlighting this as a shared experience across painting communities.
Artists like Beauford Delaney and Van Gogh became famous for overcoming these obstacles and using yellow to powerful effect, mastering layering and pigment selection to create luminous, spiritual, and expressive works. Delaney’s yellow, for example, is described as interwoven with other colors to create a lyrical, layered brushwork that captures both light and emotion.
Having read the above, I am looking at Beauford's yellows in a new light.
Here are just a few examples of his work in which this color predominates. (Note the texture in these paintings!)
(1966) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, N. Y.
(1968) Oil on canvas
Signed and dated "BEAUFORD DELANEY 1968" lower right
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery LLC, New York, N. Y.
(ca. 1971) Oil on canvas
Private collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery LLC, New York, N. Y.
Signed, inscribed and dated "Beauford Delaney Paris 1965 midday" on the reverse
(1965) Oil on canvas
25 1/2 x 21 in. (64.8 x 53.3 cm.)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery LLC, New York, N. Y.
Untitled (Portrait of a Young Man)(c. 1963) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery LLC, New York, N. Y.
A $5 Blues for Beauford Delaney
The Hodges Library at the University of Tennessee Knoxville recently hung an exhibition entitled Beauford Delaney: Light Beyond the Canvas. It complements the Beauford Delaney Papers they hold in their Special Collections archive.
In an article published about the exhibition, a link to a YouTube video about jazz pianist Donald Brown leads to a delightful look at the Beauford-inspired song Brown composed after spending time in the archive:
Les Amis published an article about Brown's time in the archive in March 2025: Jazz Pianist Donald Brown Creates Music Inspired by Beauford
To read other Les Amis articles that present Beauford-inspired contemporary music, click on the links below:
Beauford Delaney and Free Lunch - Part 1
Beauford Delaney and Free Lunch - Part 2
To read the announcement for the July 2025 concert by trumpeter Wadada Leo Smith organized by The Drawing Center as a tribute to Beauford, click HERE.
Something Has Happened to My Color
In a letter Beauford wrote to Henry Miller in 1965, he said:
"Something has happened to my color and the paintings seem to have sunlight and the feeling sometimes of all you wonderful people it has been my privilege to have as friends and architects of the spirit."
Today, I'm posting several images of works Beauford created in 1965 that evoke for me the emotion conveyed in this sentiment.
(1965) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(aka%20Man%20with%20Medallion),%20c.1965_oil%20on%20canvas_signed.jpg)
(c. 1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(c. 1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Beauford "in Living Color" and Special Programs at The Drawing Center
Only eight days remain to see the magnificent In the Medium of Life exhibition that spotlights Beauford's works on paper at The Drawing Center.
Today, I'm sharing images of a few of the most vividly colored works in this show.
(1956) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1961) Watercolor on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1963) Gouache on paper
signed, inscribed and dated 'Beauford Delaney July 28, 1963 Paris' (lower left);
signed again 'Beauford Delaney' (on the reverse)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1965) Gouache and watercolor on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
(1965) Gouache and watercolor on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
To close out the exhibition, The Drawing Center is hosting two special programs:
On September 6 from 4 PM – 6 PM, Nicholas Boggs will read from and sign copies of his new biography of James Baldwin entitled Baldwin: A Love Story, the first section of which is devoted to Beauford. Boggs will be joined by Terrance Hayes, whom The Drawing Center describes as an "acclaimed poet, writer, and visual artist whose work has long been influenced by both Baldwin and Delaney." Hayes will read from Baldwin's writings and his own during this event.
On September 10 from 6:30 PM – 8 PM, To Move in Light: Literary Offerings to Beauford Delaney will be moderated by writer and art critic Jessica Lynne. During this evening, poet Najee Omar, writer and musician Justin Allen, and writer and theologian Joe Tolbert Jr. will "explore elements of Delaney's life and work, offering multiple insights into how his resilient spirit manifested in both his art and the broader context of his life."
In the Medium of Life: The Drawings of Beauford Delaney will be on display through September 14, 2025.
The Drawing Center
35 Wooster Street
New York, NY, 10013
Open Wednesday through Sunday from 12 PM to 6 PM
Closed Monday and Tuesday
Admission is free.
Portrait of a Woman Sold by Black Art Auction
Black Art Auction offered Beauford's Portrait of a Woman, c. 1970 at its Timed Summer Auction.
(c. 1970) Portrait of a Woman
Oil monoprint on paper (unique)
24 x 19-1/2 in.
unsigned
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
The work proposed is quite similar in form to the one pictured below.
(1966) Oil monotype, with hand-painted additions in oil,
on cream wove paper
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
The Wells International Foundation's 2016 intern, Sojourner Ahébée, wrote a poem inspired by this work.
Les Amis published the poem on August 27, 2016.
Portrait of a Woman is dated c. 1970, but it is entirely possible that he created it at the same time he painted Untitled (Woman in an Abstract Field)
Its estimated sale price was $15,000 - $20,000.
The work sold for $13,000, including a 25% buyer's premium.
Portrait of a Bearded Young Man Sold by Swann Auction Galleries
Portrait of a Bearded Young Man was part of Swann Auction Galleries' LGBTQ+ Art, Material Culture & History auction, which took place on August 21, 2025.
Portrait of a Bearded Young Man Reading
(1971-72) Oil on linen canvas
64.8 x 54 cm.; 25 1/2x21 1/4 inches.
Signed and dated in pencil, lower edge (twice)
Image courtesy of Swann Auction Galleries
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
To my knowledge, this is the first time Swann has offered a Beauford Delaney work in a sale whose theme is not African-American artists.
The blues and greens that dominate the background of this work and the horizontal line behind the subject that virtually bisects the painting evoke a country landscape. White streaks in the upper portion of the painting make me think of clouds.
Perhaps Beauford painted this during one of the first trips he took to Saint Paul de Vence, where, in 1971, James Baldwin had recently moved into what would become his last home.
The estimated sale price of Portrait of a Bearded Young Man was $20,000 - $30,000.
The painting sold for $16,500, including a 25% buyer's premium.
For more information about the auction, click HERE.