Beauford and James Weldon Johnson
Growing up in Knoxville, Beauford learned about James Weldon Johnson and grew to greatly admire him.
James Weldon Johnson by Carl Van Vechten
Library of Congress, Prints & Photographs Division,
Carl Van Vechten Collection
Public domain
He heard many stories about Johnson, who used to visit the home of Beauford's high school principal, Charles Cansler.
Cansler was well connected in Boston and provided Beauford with letters of introduction to influential people in the city when he learned that Beauford planned to move there in 1923.
Three years later, Beauford had the chance to meet Johnson in that city.
The encounter took place at Boston's Old City Hall, where a performance of Johnson's poem "Creation" was staged on the evening of November 27, 1926.
Old Boston City Hall
Library of Congress, Prints & Photographs Division, MA-860
Public domain
Biographer David Leeming describes the event as follows:
"... Johnson's African-American dramatic musical version of the Creation was presented by Serge Koussevitsky and the Boston Symphony Orchestra to enthusiastic audiences in New York and Boston. Beauford was at a Boston performance and he introduced himself to Johnson afterward."
The New York Times published an extensive account of the performance. It reported that
"An old-time negro "folk-sermon," as embodied in James Weldon Johnson's poem "The Creation," with music by Louis Gruenberg, will be performed by the League of Composers on the evening of Nov. 27 in Town Hall, with Serge Koussevitzky of the Boston Symphony Orchestra as conductor.
Read the full-length NYT article HERE.
Of the numerous contemporary renditions of "The Creation" available for viewing/listening online, I have selected three that I particularly enjoyed.
Find them below.
Beauford Immortalized in Sculpture in Knoxville
A full-body likeness of Beauford now graces the landscape of his hometown of Knoxville, TN.
On April 16, 2026, four new bronze sculptures honoring historic Black figures from Knoxville were unveiled at Covenant Health Park, the city's new multi-purpose sports stadium.
Beauford's was one of them.
Beauford Delaney statue
Image courtesy of the Beck Cultural Exchange Center
Beck Cultural Exchange Center President and City of Knoxville Historian of African American History Rev. Reneé Kesler played an integral role in the creation and placement of the works. She graciously granted Les Amis an exclusive interview to discuss the project.
Rev. Kesler explained that she commissioned these statues and seven additional ones that honor Knoxville's Negro Baseball team, the Giants, as a means of acknowledging and honoring the history of the area.
The new stadium is located a couple of miles from the park where the Giants played from 1920-1932. Situated within the Magnolia Avenue Warehouse District, just east of Knoxville's Old City, it was built on land that was formerly home to a vibrant Black community and essentially razed in the name of urban renewal.
Working with sculptor Brian Hanlon and various stakeholders over the past 5-6 years, Rev. Kesler determined who would be represented in the statues, how they would be represented, and where the finished works would be placed. She elected to have Beauford represented with a likeness of one of his more iconic portraits of his mentee, James Baldwin.
Beauford Delaney statue - detail of Baldwin portrait
Image courtesy of the Beck Cultural Exchange Center
James Baldwin
(c. 1945-1950) 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
Though all were commissioned at the same time, the first seven sculptures were unveiled when the stadium opened last April. Last week's unveiling was timed to coincide with the opening of the Delaney Building, an exclusive, mostly residential complex.
The sculptures that commemorate Black baseball history at Covenant Health Park represent Jerry Benjamin, William M. Brooks, Claude “Steel Arm” Dickey, Forrest “One Wing” Maddox, William Nathaniel “Nat” Rogers, “Big Jim” Tugerson, and Payne Avenue Little League.
The four figures honored by the works unveiled last week are painter Ruth Cobb Brice, singer and “Queen of the Blues” Ida P. Cox, writer and poet Nikki Giovanni, and Beauford.
At the base of each statues is a QR code that allows you to learn more about the individuals represented in the works.
Rev. Kesler said that the Beck Cultural Exchange Center worked in close collaboration with Randy Boyd, the Boyd Family Foundation, Boyd Sports, and the Knoxville Smokies baseball team to move the sculpture project forward. She explained that ever since the renovation of the area began, Beck came in as a partner with the responsibility to hold onto and reclaim names and spaces to preserve its history.
(L to R) sculptor Brian Hanlon,
Rev. Reneé Kesler, Derek Spratley, court-appointed administrator
of the Beauford Delaney estate, and Jenny and Randy Boyd
with Beauford Delaney statue
Image courtesy of the Beck Cultural Exchange Center
Covenant Health Park serves as the home park for the Smokies as well as the city's Division III soccer team, One Knoxville SC. It opened on April 15, 2025.
The new Delaney building overlooks the stadium.
Beauford Delaney statue and entrance to the Delaney Building
Image courtesy of the Beck Cultural Exchange Center
Click on the links below to read previous Les Amis articles about the Delaney Building:
The Calypso
Run by Trinidad-native Connie Williams, the Calypso is described by biographer David Leeming as "a small restaurant across from the Provincetown Playhouse on MacDougal Street" in Greenwich Village.
Provincetown Playhouse, 133 MacDougal Street, Manhattan
29 December 1936
Berenice Abbott for Works Progress Administration
Image in public domain
A photograph of its façade, published by Trinidad & Tobago Newsday, shows a modest, basement-level storefront with a worn street number and tropical decor on either side of the entrance (view image HERE).
Find images of Connie Williams inside the Calypso by Berenice Abbott (circa 1948) HERE ...
... and HERE (Williams is wearing a patterned dress).
Leeming devotes a single paragraph to the restaurant (which he calls a "café) in Amazing Grace, his biography of Beauford. He devotes almost two entire pages to the establishment in James Baldwin, his biography of Baldwin.
Beauford introduced Baldwin to Williams in 1943 after Baldwin's stepfather died and Baldwin moved from Harlem to Greenwich Village. Williams hired Baldwin as a waiter, and Leeming indicates that she became a surrogate mother to him. He says that Baldwin, Beauford, and a young Black writer named Smith Oliver "held court" at the Calypso after hours.
Beauford produced at least three portraits of Baldwin during this period.
Portrait of James Baldwin
(1944) Pastel on paper
Knoxville Museum of Art
© 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
(1945) Oil on canvas
Philadelphia Museum of Art
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
James Baldwin
(1945) Pastel on paper
Photo credit: Ben Conant
Courtesy of Macdowell
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
In Amazing Grace, Leeming describes Beauford's fondness for the Calypso due to the multiple races of people with various sexual proclivities who made up its clientele. He provides a "laundry list" of intellectuals and celebrities who frequented the place, including C. L. R. James, Claude McKay, Alain Locke, Malcolm X, and Henry Miller. Even Beauford's brother, Joseph, was an occasional customer, though the two did not socialize when they were both present.
Leeming also describes costume parties that Williams organized and that Beauford loved to attend. He says that Beauford often played the guitar and sang at these events.
In Baldwin: A Love Story, Nicholas Boggs states that Beauford and Williams threw Baldwin a goodbye party at the Calypso before he left for France in November 1948.
Beauford in Six Minutes or Less
Last week, I came across a well crafted, 4:19-minute video about Beauford in a recently launched series about art history. Catherine, the creator of the series, chose to feature Beauford in her first episode.
Artist Series Ep.1 - Beauford Delaney
Viewing this video inspired me to look for others that grasped the essence of Beauford's life and/or work in a relatively short period of time.
Below are links to videos that do so in six minutes or less.
Some talk about Beauford biographically and some feature specific works of art.
Beauford Delaney: The Artist's Artist
A Modern Icon: Beauford Delaney's Marian Anderson
Beauford Delaney, Can Fire in the Park, 1946
Gathering Light
The video short called BLACK HISTORY MONTH 2026! Daily Drawing Day Eight Beauford Delaney depicts an artist sketching a portrait of an older Beauford, which I believe was inspired by Errol Sawyer's 1973 photo portrait.
Beauford Delaney
Rue Guilleminot
France 1973
© Errol Sawyer
Click HERE to view it.
Swann Auction Galleries Sells Four Beauford Delaney Works
Swann Auction Galleries sold all four of the Beauford Delaney works it offered during its April 2, 2026 African American Art auction.
Two were figurative portraits and two were abstracts. All were works on paper.
Untitled (Portrait of a Young Man in Suit and Tie) was valued at $7,000 - $10,000.
Lot 9
Untitled (Portrait of a Young Man in Suit and Tie)
(circa 1940) Color pastels on pale gray wove paper
23 1/2 x 18 1/2 in. (59.7 x 47 cm.)
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
It sold for $24,130.
Untitled (Portrait of a Young Man) was also valued at $7,000 - $10,000.
Lot 10
Untitled (Portrait of a Young Man)
(circa 1937-40) Color pastels on pale green wove paper
24 1/2 x 18.875 in. (62.5 x 48 cm.)
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
It sold for $35,560.
The estimated sale prices for the abstract works were 3-4 times more than those assigned to the portraits.
Ibiza sold for $69,850 (estimated sale price - $30,000 - $40,000).
Lot 55
Ibiza
(1956) Watercolor on heavy wove paper
Signed, titled and dated ‘56 in ball point pen and ink, lower right
18 x 11 3/4 in. (45.7 x 29.8 cm.)
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 untitled abstract sold for $45,720 (estimated sale price - $20,000 - $30,000).
Lot 63
Untitled (Abstract Composition)
Watercolor on cream laid paper, 1963
Signed, dated and inscribed "Paris" in graphite, lower right
17 1/2 x 12 in. (44.5 x 30.5 cm.)
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
All sale prices include a 27% buyer's premium.
For information about the results of this auction, click HERE.
A Sleeping Beauty
David Byrne - award-winning musician, writer, visual artist, and filmmaker - performed his David Byrne - Who Is The Sky? concert yesterday at the Big Ears Festival in Beauford's home town of Knoxville, TN.
David Byrne - Everybody Laughs
Photo credit: Shervin Lainez
Byrne is featuring Beauford in his upcoming book, Sleeping Beauties, which is all about brilliant ideas that got overlooked or forgotten but can be / are being revived.
He found Beauford’s renaissance over the last 10 years to be a "sleeping beauty," and he reached out to Les Amis to set up a fact checking call for the chapter he is writing about Beauford's rediscovery.
Byrne experienced Beauford's work for the first time when he visited the Be Your Wonderful Self: The Portraits of Beauford Delaney exhibition at the Michael Rosenfeld Gallery in NYC.
The Portraits of Beauford Delaney
Catalog cover
Artwork © Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator,
Courtesy of the Michael Rosenfeld Gallery, LLC, New York, NY
He told me that he and his wife went to the show because it had "gotten a nice review in the Times." The magnificence of Beauford's paintings notwithstanding, they were greatly impressed with his writing, which they discovered in a display of his correspondence that had been included in the show. (One of the vitrines was filled with handwritten letters to Larry Calcagno, Al Hirshfeld, Palmer and Miriam Hayden, and other friends and acquaintances.)
Installation view 28 of Be Your Wonderful Self: The Portraits of Beauford Delaney
(September 8–December 23, 2021) at Michael Rosenfeld Gallery, New York, NY
Artworks © Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator,
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Installation view 24 of Be Your Wonderful Self: The Portraits of Beauford Delaney
(September 8–December 23, 2021) at Michael Rosenfeld Gallery, New York, NY
Artworks © Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator,
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Installation view 25 of Be Your Wonderful Self: The Portraits of Beauford Delaney
(September 8–December 23, 2021) at Michael Rosenfeld Gallery, New York, NY
Artworks © Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator,
Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
They subsequently saw Be Your Wonderful Self at the Ogden Museum of Southern Art in New Orleans. Byrne told me, "By then we realized - oh, he's back."
During a second call, I spoke to Byrne at length about Beauford and Sleeping Beauties. He reiterated how impressed he and his wife were by Beauford's writing, saying that many visual artists are challenged when it comes to expressing themselves in writing. He said that after visiting the exhibition at Ogden, he began seeing more references about Beauford.
I mentioned that one of the essays in the catalog for the Resonance of Form and Vibration of Color exhibition that the Wells International Foundation organized in Paris in 2016 is all about Beauford's writing and noted that this exhibition is credited by some as being the beginning of Beauford's renaissance.*
Our conversation turned to the reason Byrne is including Beauford in Sleeping Beauties. He said that after seeing Beauford's work at Ogden, he asked himself "How in the world did this go missing?" and "How did it get rediscovered?" His search for the response to that question brought him to Les Amis and to me.
Byrne talked about how the people of Knoxville had known so little about Beauford before Resonance of Form, and I told him about the "Knoxville 11," the eleven people from Knoxville who came to Paris to see the show. I also told him that the September 2016 article the NYTimes published about Beauford was a direct result of the Paris exhibition.
Sleeping Beauties is a work in progress, and Byrne said that he may reach out for additional information as he finishes up his writing.
As soon as the book is published, Les Amis will read the chapter about Beauford and post a review!
**Resonance of Form was part of a much larger, multi-layered tapestry of scholarship and advocacy that has specifically helped anchor his brilliance in his hometown of Knoxville, Tennessee. One of the most significant contributions to 2016 catalog for the show was Levi Prombaum’s essay, "Reading Beauford Delaney’s Words and Letters: Three Thoughts." By meticulously exploring Delaney’s literacy and intellectual life, Prombaum shifted the focus away from a reductive "struggling artist" persona, reframing him instead as a master of both the brush and the pen whose prose was as "vibrating" as his abstractions.
The renewed appreciation for Delaney’s genius is the result of a massive, collective effort involving decades of work from numerous scholars and academics. The intellectual groundwork was laid by foundational figures like David Leeming, whose definitive biography remains a touchstone, and Richard J. Powell, whose rigorous art historical analysis elevated Delaney’s profile within the canon of Modernism. Deep critical analysis from scholars such as Mary Campbell, Adrienne L. Childs, and Monika Gehlawat has provided the essential lenses through which we now view Delaney’s transition from portraiture into his transcendent yellow abstractions.
The cultural and literary context of Delaney’s life has been further enriched by the insightful perspectives of Hilton Als, Rachel Cohen, and Amy Elias, who have bridged the gap between his visual output and his profound connections to the 20th-century literary world. This scholarly movement has been bolstered by the institutional stewardship of the Smithsonian American Art Museum and the Knoxville Museum of Art, where Stephen Wicks has been a pivotal force in celebrating Delaney’s legacy on a local level. Together, these voices have ensured that Delaney is recognized not just as a figure of the past, but as a central player in International Modernism.
Much of the specific historical detail and research that allows for such a deep understanding of Delaney’s career today is owed to the tireless, decades-long service of Michael Rosenfeld and halley k harrisburg of the Michael Rosenfeld Gallery. Their unwavering commitment to Delaney’s oeuvre and their willingness to share their extensive archives have been essential to the recovery effort. Through their work and the combined efforts of the academic community, the "vibration of color" that Delaney captured on canvas continues to resonate from the galleries of Paris to the streets of Knoxville.
Four Beauford Delaney Works to be Auctioned on April 2, 2026
On April 2, 2026, Swann Auction Galleries will offer two of Beauford's early portraits and two of his vibrant abstracts—all works on paper—for auction at its African American Art Sale.
Swann offered both portraits for purchase at its Autumn 2017 sale of African American Fine Art.
Lot 9
Untitled (Portrait of a Young Man in Suit and Tie)
(circa 1940) Color pastels on pale gray wove paper
23 1/2 x 18 1/2 in. (59.7 x 47 cm.)
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
Lot 10
Untitled (Portrait of a Young Man)
(circa 1937-40) Color pastels on pale green wove paper
24 1/2 x 18.875 in. (62.5 x 48 cm.)
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
Both works are valued at $7,000 - $10,000.
Biographer David Leeming writes of Beauford having two solo exhibitions in Autumn 1938—one at the 8th Street Playhouse in NYC and one at Gallery C in Washington—where most of the works shown were portraits. I have not been able to determine whether Untitled (Portrait of a Young Man) was one of them.
Regarding the abstracts to be auctioned, Ibiza is a signed and dated watercolor on heavy wove paper. It is depicted in the catalog for the Beauford Delaney: From New York to Paris exhibition mounted by the Minneapolis Institute of Arts in 2004.
Lot 55
Ibiza
(1956) Watercolor on heavy wove paper
Signed, titled and dated ‘56 in ball point pen and ink, lower right
18 x 11 3/4 in. (45.7 x 29.8 cm.)
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
This work is dissimilar to others for which Beauford expressly mentioned Ibiza in the title. Read about them HERE.
The second abstract is untitled. It is a signed and dated watercolor on paper as well. Swann reports that Beauford gave it to Ruth Watt Métraux, a friend of Gloria and James Jones (who were great supporters of Beauford), and that the work was passed on to the current owner by descent.
Lot 63
Untitled (Abstract Composition)
Watercolor on cream laid paper, 1963
Signed, dated and inscribed "Paris" in graphite, lower right
17 1/2 x 12 in. (44.5 x 30.5 cm.)
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 colors of the untitled abstract fairly glow. For me, they evoke the life and hope of spring.
The estimated sale price of Ibiza is $30,000 - $40,000.
The estimated sale price of Untitled (Abstract Composition) is $20,000 - $30,000.
For information about the sale, click HERE.
More of Beauford's Blues
I recently came across an article on color psychology that described various reactions to and interpretations of the color "blue."
It reminded me that Les Amis has published two articles about Beauford's use of this color:
And it inspired me to look for additional works that feature light blue, a color that is frequently associated with relaxation, tranquility, and peace.
Untitled
(1960) 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
Self-portrait
(Undated) Oil on board
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Untitled
(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, NY
Beauford’s Geographies
The Light Beyond the Canvas catalog for The Beauford Delaney Papers—the largest existing archive for Beauford's life and work—provides an intriguing glimpse into the wonders of this archive, which is held by the Betsey B. Creekmore Special Collections and University Archives at the University of Tennessee Knoxville University Libraries.
The catalog places considerable emphasis on Beauford's "geographies"—the places and spaces he navigated in Knoxville, New York, and Paris. A sketchbook map of the Odéon and Saint Germain districts of Paris illustrates this beautifully.
Seeing this image in the catalog reminded me of the Beauford Delaney in Saint-Germain-des-Prés walking tour that Entrée to Black Paris tours created to support the exhibition the library has curated to celebrate the acquisition of the archive.
It also inspired me to look up the article about Beauford in Saint Germain that Les Amis published in April 2015:
Beauford's Paris: Saint Germain des Prés
This is one of many articles that fall under the category "Beauford's Paris." Les Amis has published numerous articles about Beauford's haunts in Knoxville, Boston, and New York City as well.
Light Beyond the Canvas will be on display in the exhibit area of the University Libraries through May 2026.
Nadeau's Sells Beauford's Abstract Composition in Red
On February 21, 2026, Nadeau's Auction Gallery of Windsor, CT offered Beauford's Abstract Composition in Red for sale during its 2026 Custom Furnishings, Antiques, Fine Art, & Decor auction.
Abstract Composition in Red
(undated) Oil on paper
Marked lower right Beauford Delaney
24″ x 17 1/2″ sheet
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
The estimated sale price for the work was $800 to $1200.
It sold for $20,740, including a 22% buyer's premium.
For details about the sale, click HERE.
Beauford’s Jean-Claude Killy-Inspired Works
As the 2026 Winter Olympics come to a close in Italy and France prepares to host the 2030 Winter Games, my thoughts turn to Beauford's paintings of Olympic medalist Jean-Claude Killy.
In 2014, Les Amis posted about an abstract work entitled Jean-Claude Killy that Beauford painted in 1962.
Jean-Claude Killy
(1962) Gouache on paper
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of the Michael Rosenfeld Gallery, LLC, New York, NY
Killy was featured in Paris Match magazine in January of that year. He subsequently broke his leg and was unable to compete in the 1962 World Cup competition.
Six years later, he made Olympic history when he won the "Triple Crown" of alpine skiing by taking the gold in the downhill, giant slalom, and slalom competitions.
Beauford's 1968 portrait of Killy was inspired this success.
Jean-Claude Killy
(1968) Oil on canvas
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of the Michael Rosenfeld Gallery, LLC, New York, NY
He referenced two press images of the athlete to create this work—one from the cover of Historia Magazine and the other from a photo of Killy in mid-air during a ski run at the Grenoble games.
There is no mention of Killy in the biography entitled Amazing Grace: A Life of Beauford Delaney by David Leeming.
Abstracts Sold, To Be Sold, and on Display
SOLD
On February 12, 2026, Sotheby's sold Beauford's untitled 1960 abstract for the sum of ???, including a 27% buyer's premium.
Lot 299
Untitled
(1961) Gouache on paper
signed and dated (lower right)
63,9 x 50 cm; 25 x 19 ½ in.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
The estimated sale price was 8,000€ to 12,000€.
See last week's blog post for information about this work.
TO BE SOLD
Nadeau's Auction Gallery is offering Abstract Composition in Red for sale on February 21, 2026 during its 2026 Custom Furnishings, Antiques, Fine Art, & Decor auction.
Abstract Composition in Red
(undated) Oil on paper
Marked lower right Beauford Delaney
24″ x 17 1/2″ sheet
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Seeing the intensity of the red in this work immediately brought three paintings to mind—a red all-over abstract that was shown during the Internal Light exhibition mounted by Levis Fine Art in 2013, Beauford's Portrait of Michael Freilich, and the iconic Sage Black, which recently sold at auction for $1,524,000, including a 27% buyer's premium.
Abstraction #12
(1963) Oil on canvas
Knoxville Museum of Art
Image courtesy of Levis Fine Art
© 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 a man in red / Michael Freilich
(1965) Oil on canvas
Signed on reverse
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
The Sage Black
(1967) Oil on canvas
signed, inscribed, titled and dated
'The Sage Black Beauford Delaney Paris 1967'
(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
The estimated sale price for Abstract Composition in Red is $800 to $1200.
For more information about this auction, click HERE.
ON DISPLAY
Dozens of Beauford's most vibrant works are now on display at the Michael Rosenfeld Gallery.
The Light Contained in Everything is the gallery’s fourth solo presentation of Beauford's work. Featuring paintings and works on paper that date from 1954 and 1968, the exhibition's title is inspired by James Baldwin's introduction to Beauford’s 1964 solo exhibition at Galerie Lambert in Paris.
Many of the works in The Light Contained in Everything were loaned to The Drawing Center for its phenomenal In the Medium of Life: The Drawings of Beauford Delaney solo exhibition last year.
Untitled
(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
Chartres
(1954) Oil on paperboard
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
The Light Contained in Everything will be on display through April 4, 2026.
Visit the exhibition Web page HERE.
Beauford Delaney Abstract at Sotheby's Paris Contemporary Discoveries Sale
On February 12, 2026, Sotheby's Paris will auction a Beauford Delaney abstract work on paper.
Lot 299
Untitled
(1961) Gouache on paper
signed and dated (lower right)
63,9 x 50 cm; 25 x 19 ½ in.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
This work is created in the same style as two works on paper shown in the 2016 Resonance of Form and Vibration of Color exhibition mounted by Les Amis and the Wells International Foundation in Paris
Sans titre
(1961) Technique mixte/papier
signed and dated (lower right)
65 x 49,5 cm
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Sans titre
(1961) Technique mixte/papier
signed and dated (lower right)
64 x 49,5 cm
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
as well as a work shown in the 2020 Through the Unusual Door exhibition mounted by the Knoxville Museum of Art.
Untitled
(1960) Watercolor on paper
signed and dated (lower right)
26 x 19 ¾ in.
Knoxville Museum of Art
2014 purchase with funds provided by Brenda and Larry Thompson
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Because the earliest of these works is dated 1960, one can speculate that the 1961 works may have been produced prior to Beauford's life-altering voyage to Greece that July.
The estimated sale price of the work offered by Sotheby's is 8,000€ - 12,000€.
For information about the auction, click HERE.
Fun Facts about Beauford: The Boston Years
Compared to other periods of Beauford Delaney’s life, his years in Boston (1923 - 1929) are the least well documented in the historical record.
Today, in the first of a series of articles that present "fun facts" about him, I am taking a look at this critical period of his adult life.
Almost immediately upon moving to Boston, Beauford entered into a circle of "high society folks"—White and Black—who would "direct his sociopolitical education." He met and socialized with people such as Mr. and Mrs. William Shakespeare Sparrow (Black), Mr. and Mrs. Bryant (relatives of poet William Cullen Bryant - White), and George and Josephine St-Pierre Ruffin (Black).
Beauford met writer Countee Cullen in Boston, long before he or Cullen would meet and deeply influence a young James Baldwin. It was Cullen who first introduced to Beauford the idea of going to Paris.
Countee Cullen
1927 R. W. Bullock
Image in the public domain
Source: Wikimedia Commons
Roland Hayes and James Weldon Johnson were two singers that Beauford greatly admired. He had the temerity to introduce himself to both of them after concerts in Boston - Hayes in 1923 and Johnson in 1926.
Roland Hayes
1929 J. Willis Sayre Collection of Theatrical Photographs
Image in the public domain
Source: Wikimedia Commons
James Weldon Johnson
1932 Carl Van Vechten
Image in the public domain
Source: Wikimedia Commons
Biographer David Leeming reports that Beauford saw Josephine Baker perform in Boston "early in his Boston stay," admired her, and followed her career from that point forward.
Josephine Baker
1927 Photographer unknown
Image in the public domain
Source: Wikimedia Commons
Baker performed in Sissle and Blake's In Bamville (eventually renamed The Chocolate Dandies) in 1924, and the show was staged at Boston's Tremont Theater in June of that year.
Because of his profound modesty, Beauford turned down several opportunities to serve as a live model for artists in exchange for an opportunity to paint.
Read about Beauford's Boston haunts here:
Withdrawn and Working and Thinking...
In Amazing Grace: A Life of Beauford Delaney, biographer David Leeming presents a quote from a letter that Beauford wrote to his friend, Larry Wallrich, on January 8, 1957.
In the letter, Beauford said that he had been
withdrawn and working and thinking these past several months and plan somehow to even withdraw more, as deep introspection and [the] search for me is vitally necessary ....
Upon (re)reading this chapter in the biography, I decided to look at images of the works Beauford created in 1956—the year he moved to his Clamart studio—to see what being "withdrawn and working and thinking" allowed him to produce.
Below are a few examples of his work from that year.
Untitled
(circa 1956) Gouache, watercolor and charcoal 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, NY
Untitled (Abstract Circles)
(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
Untitled (Ibiza)
(1956) gouache and watercolor
18" H x 11 7/8" W
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Untitled
(1956) Aquarelle on paper
Private collection
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
Untitled
(1956) Gouache on illustration board
PFF Collection
Signed and dated in ink, lower right
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY
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.