Les Amis de Beauford Delaney is supporting the completion of

BEAUFORD DELANEY: SO SPLENDID A JOURNEY,

the first full-length documentary about Beauford.


Join us in making this video tribute to Beauford a reality!

TO MAKE A TAX DEDUCTIBLE DONATION,

CLICK HERE.



Saturday, December 14, 2024

Beauford and the Petrucci Family Foundation

When I learned that the Petrucci Family Foundation (PFF) owns the two Beauford Delaney works being shown in the Bellagio Gallery of Fine Art'sAmerican Duet: Jazz and Abstract Art exhibition, I immediately reached out to the foundation to learn more about its interest in Beauford.

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

Director Claudia Volpe graciously granted Les Amis a live interview to respond to my questions. She told me that PFF was founded by Jim Patrucci in 2006 and that it centers its philanthropic activity on the development of inner city youth.

In 2012, PFF decided to begin collecting art. Petrucci's first advisor was Berrisford Boothe, an artist, art historian, and professor of Art & Design at Lehigh University. Because of their recognition of the enormous disparities in representation of Black artists, they decided to pursue collecting art in support of these artists while fulfilling the foundation's overarching mission of providing education for the communities it serves.

Over 200 artists are currently represented in the PFF Collection. The pieces are quite diverse - they date from the 1880s through the present and represent all types of media. Petrucci has a pension for collecting works by contemporary artists who are in their "twilight years" and have not had a major exhibition or attracted major patrons or collectors.

PFF is also committed to art preservation.

Regarding Beauford's work, both of the pieces in the collection were acquired at auction. PFF is interested in acquiring additional works, both figurative and abstract.

Untitled (Green, Red, and Yellow Abstraction)
(c. 1962-1964) Watercolor on paper
PFF Collection
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

The Petrucci Family Foundation has a rigorous loan program -- it has loaned works to over 36 exhibitions since the collection's inception. Some of these loans support the implementation of the PFF African American Art History curriculum, which is the product of three collaborations that emerged during the Covid-19 pandemic and the resurgence of racial justice movements in the wake of George Floyd's murder.

The curriculum aims to bridge educational gaps and enhance cultural literacy by integrating the PFF Collection into university art history, museum studies, and Africana studies courses. It is designed to relieve the burden that professors might feel re: creating a course in African-American art, particularly if they are not experts in the field.

Beauford was an important focus for the 2022 University of Mary Washington exhibition called Healing through the Preservation of Our Histories and Ourselves. This show was co-curated by university students, faculty, and community members with the intent to encourage decompression and healing after the collective trauma experienced during the pandemic. Though the collection's Beauford Delaney works were not available for display during this show, students examined Beauford's struggle with maintaining mental health as part of the exhibition theme. 

Beauford's work was included in the 2024 Mobility: African-American Artists Abroad exhibition at Truman State University. The show focused on African-American artists who broadened their artistic practice through influences experienced when they moved to Mexico, Africa, and Europe.

Director Volpe has a deep interest in Beauford's work. She continues to encourage universities to include his story and his art in their customized course work, even if his physical works are not available for viewing.

Saturday, December 7, 2024

Where to Find Beauford's Work This Weekend

Selected Beauford Delaney works are on display at three shows across the U.S. this weekend.

Art Basel Miami Beach - Miami Beach, FL

Beauford's Untitled (Traffic Signals) is featured in an article published by Art Basel's editiorial team that presents their picks for "seven unmissable projects at Art Basel Miami Beach."

Untitled (Traffic Signals)
(1945) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery

Michael Rosenfeld Gallery is displaying this painting and three additional Beauford Delaney works at this iconic event (Booth C2) from December 6-8, 2024.

Gagosian - New York, NY

Peter Doig selected Beauford's Untitled (Greenwich Village Street, New York) to hang in his specially curated show called The Street. This exhibition is described as being "a portrait of urban life seen through the eyes of painters."

Untitled (Greenwich Village Street, New York)
(circa 1945-46) Oil on linen canvas
Signed and dated (indistinctly) in oil, lower right recto.
Signed (three times) and inscribed "181 Greene St" (twice)"
and "NY" in oil on the stretcher bars, verso.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

The Street opened on November 1 at 980 Madison Avenue, New York. It will run through December 18, 2024.

Bellagio Gallery of Fine Art - Las Vegas, NV

In partnership with the Petrucci Family Foundation, the Bellagio Gallery of Fine Art has mounted an exhibition entitled American Duet: Jazz and Abstract Art.

This show, which consists of over 61 works by 34 modern and contemporary artists from the Petrucci Family Foundation Collection of African American Art, explores the relationship between jazz and abstract art. Both of the Collection's Beauford Delaney works are displayed there.

Untitled (Green, Red, and Yellow Abstraction)
(c. 1962-1964) Watercolor on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled
(1956) Gouache on illustration board
724x540 mm; 28 1/2x21 1/4 inches
Signed and dated in ink, lower right
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

American Duet can be seen daily at Bellagio Gallery of Fine Art from November 15, 2024 through June 1, 2025, from 10 a.m. to 6 p.m. For tickets and more information, click HERE.

Saturday, November 30, 2024

Drouot Sells Two Beauford Delaney Abstracts

On November 15, La Gazette Drouot auctioned two untitled Beauford Delaney works from the collection of Beauford' friend and supporter, art critic Jean Grenier.

Untitled
Lot 81
(1964) Gouache on paper
Signed, located "Paris," and dated on the lower right.
66 x 50 cm.; 25.9 x 19.7 in
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled
Lot 82
(1965) Oil on canvas
Signed, located "Paris," dated, and dedicated
"Pour mon ami mr Jean Grenier..." on the back
41 x 27 cm.; 16.1 x 10.6 in
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

Grenier was a philosopher and art critic whose claim to fame was that he taught Albert Camus when Camus was a high school student.  The two men became friends thereafter.

In Amazing Grace: A Life of Beauford Delaney, biographer David A. Leeming tells us that Beauford showed ten abstract gouaches in the Copenhagen exhibition called "10 American Negro Artists." It is tempting to speculate that the gouache sold on November 15 could have been one of them.

Sale prices for the works were as follows:

Lot 81:  Estimated: 4,500€ - 5,000€; Sale - 4,500€ (hammer price - no fees included)
Lot 82:  Estimated: 10,000€ - 15,000€; Sale - 10,000€ (hammer price - no fees included)


Saturday, November 23, 2024

Mahalia and Mozart

In Amazing Grace: A Life of Beauford Delaney, biographer David Leeming writes about the burgeoning of Beauford's relationship with Charley and Gita Boggs soon after he arrived in Paris in Autumn 1953. He says the Boggs frequently invited Beauford over for dinner and that afterward, the three friends enjoyed listening to music on the hi-fi.

Among their favorite artists were Mahalia Jackson and Mozart.

Today I'm bringing you recordings of some of the best-loved pieces by these musical geniuses.

Summertime / Sometimes I Feel Like a Motherless Child
Performed by Mahalia Jackson

The Marriage of Figaro
Performed by Orchestra of The Royal Opera House, Antonio Pappano

How I Got Over
Performed by Mahalia Jackson

Symphony No. 40 - First Movement
Performed by the London Mozart Players

Saturday, November 16, 2024

Architects of the Spirit

Beauford wrote the following about his work in a November 1965 letter to Henry Miller:

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.

Whenever I have read this quote before, my attention always turned to Beauford's references to color and sunlight.

When I read the quote again a couple of days ago, I found my attention drawn to the part that refers to "friends and architects of the spirit."

Beauford had many friends and ardent supporters, but by the mid 1960s, I daresay that only a few of them could truly be considered architects of Beauford's spirit.

Less than a handful of them were true confidants with whom Beauford felt he could share his most intimate thoughts and emotions.

I have included Beauford's portraits of them here.

Portrait of James Baldwin
(1965) Oil on canvas
Chrysler Museum, Norfolk, VA
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
 

Portrait of Henry Miller
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image (detail) from Abe Books Web site

Portrait of a Young Man (Larry Calcagno)
(1953) Oil on canvas
31.75" x 25.5" (80.6 cm x 64.8 cm)
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

Portrait of Howard Swanson
(1967) Oil on canvas
Museum of Modern Art, NYC
Image courtesy of Levis Fine Art
© Estate of Beauford Delaney,
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

Saturday, November 9, 2024

Knoxville's Bearden Elementary School Celebrates Beauford

The Autumn 2024 exhibition at the Knoxville Museum of Art (KMA) Education Gallery features works by Bearden Elementary students in Grades K-5.

Not since the 2018-2020 Classes Duo program that brought together children from Knoxville and Paris have I seen such a robust production of work by elementary school students that celebrates Beauford!

KMA mounts exhibitions of children's artwork throughout the year to highlight "the fundamental importance of the arts in the school curricula, an essential component to the healthy development and complete education of our young people."

Les Amis extends sincere thanks to KMA Director of Education, Rosalind (Rozz) Martin, for sharing the information and images below.

Illuminated Letter Quilt

Students in Grades K-5 selected fabrics, measured strips of material, then cut and wove the pieces together. These quilt squares were arranged with illuminated letters in which students took inspiration from illuminated texts to create art honoring Bearden Elementary and Beauford Delaney.

Portraits of our Friends

Students in Grades K-5 studied Delaney’s portraits. They noticed details including textures, hidden figures in the backgrounds, and an experimental use of color.

The students used these concepts to create portraits of their friends inspired by Beauford Delaney’s work. The pieces are arranged on a painted background created by 3-5 students.

After studying Delaney’s textured paintings, they created a background for their drawings.

Portrait of Beauford Delaney

The students in Grades 3-5 painted this portrait of Delaney and added a textured background inspired by his textured paintings.

Textured Collages

The students in Grades 2-5 students created textured collages inspired by Delaney’s textured paintings. Later, students created their own frames for the pieces using canvas and sharpie.

The Bearden Elementary School exhibition at KMA opened on November 1, 2024.

It will hang in the Education Gallery through January 26, 2025.

Saturday, November 2, 2024

Birthplace of "The Saints"

Biographer David Leeming reports in Amazing Grace: A Life of Beauford Delaney that when they lived in NYC, Beauford and his brother, Joseph, saw each other at Cloyd Boykin's Primitive African Art Center.

He says that "Joe and Beauford eventually modeled and taught drawing classes there and met two painters, Ellis Wilson and [Palmer] Hayden, who became their lifelong close friends, forming with them a group they all referred to as "The Saints."

Palmer C. Hayden and Beauford Delaney at Washington Square, NYC (1930s)
Photo from the National Archives, Harmon Collection

Joseph Delaney at the first annual Washington Square Outdoor Art Exhibition (1931)
Photo from the Beck Cultural Exchange Center, Knoxville, TN
Fair Use Claim

Click HERE to see images of Ellis Wilson.

I have not been able to find images of Cloyd Boykin.

I decided to research the school to see if I could find out more about it, beginning with where it was located.

I found an image of a letter written by Boykin to W.E.B. DuBois whose letterhead presents "The Primitive Art Center" and "Afro-American Museum" as subheaders under the words "Boykins' School of Art and Adjuncts." The letter is dated October 11, 1930 and indicates the address of the center as 43-45, Grove Street, New York City. Note the sign in the window in the image below.

45 Grove Street, Manhattan
Berenice Abbott
October 1935
Public domain

From another source, I learned that Boykin ran an arts and crafts shop on Grove Street in 1928 and 1929 (exact address not mentioned) and that he opened the school in 1929/1930. This means that the school would have been fairly new when Beauford and Joseph frequented it, given that Beauford moved to NYC in November 1929 and Joseph moved there in 1930.

The building was known as the Old Governor's Mansion and the Whittemore Mansion. It has an incredible history that indirectly links it with the assassination of President Abraham Lincoln. It is still standing, and it looks pretty much the same now as it did in the 1930s.

Click HERE to read the story about the assassination and see a recent image of the property.

Boykin opened a second location for the school and the Primitive African Art Center at the New York Urban League, 202–206 West 136th Street in Harlem in July 1932.

Partial view of façade of NY Urban League
Screenshot from YouTube video
National Urban League and NYC Tenants (1911)
Fair Use Claim

The Grove Street address remained functional until at least November 1932, when a problem with space at the NY Urban League facility caused the Center's autumm exhibition as well as some art classes to be held at this address.

Saturday, October 26, 2024

New Edition of Amazing Grace to Be Released

The original edition of the Beauford Delaney "bible" - Amazing Grace: A Life of Beauford Delaney - has been out of print for some time.

Published by Oxford University Press in 1998, it is the sole comprehensive exploration of Beauford's life in book form.

Author David A. Leeming spoke about Beauford and James Baldwin at the Stonington Free Library in Stonington, CT in May 2024 as a prelude to the release of a new, second edition of the book.

Finally, the release date has been announced.

Karma Books of NYC will make the second edition of Amazing Grace available on December 17, 2024!

Amazing Grace: A Life of Beauford Delaney
2024 book cover

A major addition to this new edition is an introduction by curator, writer, theater critic, and Pulitzer Prize winner Hilton Als. Als has referenced Beauford's relationship with James Baldwin in numerous writings about Baldwin, so it will be interesting to see what he has penned for the biography.

The cover for the Karma Publishing edition uses a black background and the same self-portrait of Beauford as did the Oxford University Press edition.

Amazing Grace: A Life of Beauford Delaney
1998 book cover

It is 292 pages long, compared to 221 pages for the Oxford University Press edition.

This is due, at least in part, to the increased emphasis that photographs and images of Beauford's work are given in the book. Several images are now displayed solo on individual numbered pages instead of in a color plate insert bound into the center of the book.

Sample page view from Amazon.com

To pre-order the new edition of Amazing Grace: A Life of Beauford Delaney from Amazon.com, click HERE.

Saturday, October 19, 2024

Mike Berry and Beauford - Part 3

Mike C. Berry is Gallery Manager at the University of Tennessee (UT) Downtown Gallery and Artist/Owner of Mike C. Berry Studio in Knoxville, TN. He has developed a unique and fascinating "relationship" with Beauford through his framing of Beauford's art for UT. He graciously provided Les Amis with an interview in which he "tells all," including how Beauford's work influences his artistic practice.

Because Berry was so generous with his responses, this interview is presented in three parts.* Find Part 3 below.

Les Amis: Talk about your visit to Beauford’s grave at Thiais Cemetery during your recent visit to Paris.

MCB: On Oct 12, 2023, I took the Paris Metro south out of the city center arriving at the Cimetiere Parisian de Thiais on a overcast drizzly morning. I knew I was looking for “Avenue M, Division No. 86,” and I began to walk in the quiet expanse of this rather large cemetery. I walked for some time finally arriving at Square 86. I walked in between the hedges thinking "Ok, this should be easy to spot because it’s a new piece of marble within a section of old broken headstones overgrown with weeds."

Division 86
Image courtesy of Mike Berry

I walked around the square which is literally a approx. 50-60 foot square of plots with hedges on each side and not seeing anything I began to wonder if I were in the wrong section. At this point I haven’t seen a soul and it's quiet, all I hear are the rustling of trees and occasionally airplanes above because of its close proximity to Orly airport. Just then, a cemetery attendant approached me from behind. He actually startled me to be honest. I’m standing among graves and I hear “Bonjour!” I probably jumped a little. He smiled and asked me if I spoke French, which I do not, and he told me that he did not speak English.

So, with various hand gestures I communicated my search to him. He somehow was convinced that I was not in the right section and he motioned for me to follow him. I thought this odd as I had just walked past the sign marking Section No.86. We took several steps around a large piles of broken tombstones and I saw it. I exclaimed, "Oui oui, Monsieur, this is it" as I pointed. He smiled and excused himself as I thanked him.

I stood in the drizzling rain and a flood of emotions and thoughts filled my mind. Mainly how short life can be. Mostly just thoughts of respect and honor for an artist that did what he loved and tried to express himself and figure it all out through a mountain of obstacles and hardships ... very much like will all do. I thought about the passage of time and its swiftness. I thought about art, life, his life, light, color....

Amazing Grace on Beauford's tombstone
Image courtesy of Mike Berry

I thought about sense of place and belonging and Beauford’s love of Paris. I thought about eternity and Heaven. The last line on Beauford’s tombstone reads: "I am Home." I interpreted this as his eternal rest in heaven or his love for Paris. I think both would be appropriate interpretations. But thinking about home, especially Knoxville, which has been my home for over half of my life and Beauford’s birthplace and family home, I decided to make a sketch to leave on the tombstone as an expression of love and gratitude from Knoxville.

Mike Berry's artwork on Beauford's tombstone
Image courtesy of Mike Berry

Once the sketch was completed, I slipped it into a Ziploc bag and placed it under the ceramic flowers. I also made a few rubbings of the tombstone inscription to take home for remembrance. I gathered my backpack and stood in silence, said a short prayer of thanks and exited through the hedges and began my quiet walk back to the Metro station.

This memory will stay with me forever ... me alone in a Paris cemetery paying respects to a great artist.

Very special, such a honor.

Les Amis: Any final thoughts?

MCB: I am really blessed to have an active role with the Delaney Estate in helping to raise the profile and honoring a great artist by promoting and preserving his works. Each day I am grateful to use my talents to help and benefit Beauford’s great legacy. A special thanks to Derek Spratley whose kindness and generosity has overflowed onto me.

Thank you, Derek.

Derek L. Spratley and Mike C. Berry

*Read Part 1 of the interview HERE.

*Read Part 2 of the interview HERE.

Saturday, October 12, 2024

Mike Berry and Beauford - Part 2

Mike C. Berry is Gallery Manager at the University of Tennessee (UT) Downtown Gallery and Artist/Owner of Mike C. Berry Studio in Knoxville, TN. He has developed a unique and fascinating "relationship" with Beauford through his framing of Beauford's art for UT. He graciously provided Les Amis with an interview in which he "tells all," including how Beauford's work influences his artistic practice.

Because Berry was so generous with his responses, this interview will be presented in three parts).* Find Part 2 below.

Note that all photos and content have been approved for posting by Derek Spratley, Esq., Court appointed administrator of the Beauford Delaney Estate.

Les Amis: As a painter, you bring a unique perspective to the act of framing. How has this influenced the way you frame Beauford’s work?

MCB: I try to think how to best highlight the work with a clean and simple presentation and not attempt to “jazz” it up with stylized mouldings that are unnecessary. I always think “less is more” with Beauford’s work and what will allow the work to be the main star on the stage.

Mike Berry framing a Beauford Delaney work

Les Amis: Among all the Beauford Delaney works that you’ve framed, which is your favorite?

MCB: I have two, for different reasons.

First is the Henry Miller ballpoint pen sketch piece. This piece is very intriguing to me because it’s basically a rough draft for a 1944 oil portrait. The sketch of Miller is on the back of a catalogue page with a print narrative about Miller on the opposite side. There is a photo of Mr. Miller standing beside the 1944 portrait posted on this blog (Jan 7, 2017).

As I understand it, the 1944 portrait is no longer available to the public or it has been completely lost, which leaves this blue ball point pen rough sketch of Miller the only remaining work from this series. I framed it in a way that either side (portrait side or printed side) can be viewed within the frame.

Sketch of Henry Miller

My other favorite piece is a blue abstract from Madrid 1955. I just love this piece because of the color, and the composition reminds me of my time spent in Madrid a few years ago. I felt very connected to this piece as I shared a strong sense of place to it, and I love the color blue.

Blue abstract from Madrid

Les Amis: As a cityscape artist, please comment on the similarities and differences in the way Beauford and Joseph interpret and portray cityscapes.

MCB: Their similarities are their use of pure color and simplication of form. Of course, Beauford pushes this much farther than Joseph does.

The biggest difference is I see Joseph as the reporter or illustrator of the cityscapes while I tend to view Beauford as the interpreter or the emotional translator of his subjects. Beauford’s work strikes me has highly infused with emotions (through use of color and line) to connect the viewer with their own narrative and emotional response the imagery he presents.

Les Amis: Joseph Delaney’s work inspired you early on. Has Beauford’s work begun to inspire you in some way?

MCB: Working closely with Joseph work definitely inspired me to look the cityscape as a subject matter. My piece, Gay Street Rainy Night, was greatly influenced by Joseph’s work.

Gay Street Rainy Night
Mike C. Berry

Today, I am still inspired by Joseph’s work and continue to look to the city for interesting compositions.

Currently I do find myself in the presence of a lot of Beauford’s work and it has pushed me to simplify form and push my palette towards bright saturated colors.

Recently I experimented with a composition using single color notes inspired by Beauford where I attempted to simplify a downtown scene in Knoxville.

Downtown Knoxville
Mike C. Berry

Les Amis: Do you also do framing for or have some other professional relationship with the Joseph Delaney estate?

MCB: The Ewing Gallery of Art & Architecture at the University of Tennessee was bequeathed a third of Joseph’s estate as stated in his will upon his death in 1991. Because of this gift, the Ewing Gallery has a large collection of Joseph’s works which I have had the privilege of framing, cataloguing and exhibiting.

The 2004 exhibition Joseph Delaney, Life in the City was the first professional gallery exhibition I worked on when I started at the UT Downtown Gallery. It was the gallery’s inaugural exhibit. In 2018 I worked on the exhibit Face to Face – Joseph Delaney, which focused on Joseph’s many portraits, mainly those created during his years of working in Washington Square in NYC.

*Read Part 1 of the interview HERE.

Saturday, October 5, 2024

Sale of Untitled (Greenwich Village Street, New York) Exceeds Expectations

Last week, Les Amis reported that Swann Auction Galleries would offer Beauford's Untitled (Greenwich Village Street, New York) for auction during its African American Art sale on October 3, 2024.

Lot 16 - Untitled (Greenwich Village Street, New York)
(circa 1945-46) Oil on linen canvas
457x546 mm; 18x21½ inches.
Signed and dated (indistinctly) in oil, lower right recto.
Signed (three times) and inscribed "181 Greene St" (twice)"
and "NY" in oil on the stretcher bars, verso.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

The estimated sale price for this magnificent piece was $250,000 - $350,000.

It sold for $629,000, including a 20% buyer's premium (hammer price was $520,000).

For more information about Swann's October 3 African American Art Sale, click HERE.

Saturday, September 28, 2024

Untitled (Greenwich Village Street) up for Auction at Swann

Swann Auction Galleries will auction a magnificent oil from Beauford's New York years during its African American Art sale on October 3, 2024.

Lot 16 - Untitled (Greenwich Village Street, New York)
(circa 1945-46) Oil on linen canvas
457x546 mm; 18x21½ inches.
Signed and dated (indistinctly) in oil, lower right recto.
Signed (three times) and inscribed "181 Greene St" (twice)"
and "NY" in oil on the stretcher bars, verso.
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

Swann lists the provenance for this piece as follows: acquired directly from the artist, Professor Kenneth Lash, California and Iowa; thence by descent, private collection, Washington (2006).

Beauford's biographer, David Leeming, indicates that Kenneth Lash made Beauford's June 1946 visit to Vinalhaven, Maine possible.

(According to Leeming, Beauford spent part of each summer between 1936 and 1953 with Dante Pavone in Vinalhaven.)

The current owner of the painting sent me some biographical information on Kenneth Lash. Reading it, I learned that Lash lived in New York City from 1938 to 1943. Frequenting jazz clubs, he learned of and attended after-hours sessions at trumpeter Frankie Newton’s Greenwich Village loft. 

Beauford and Newton were friends, and Beauford's Greenwich Village abode was a few blocks away from Newton's.

Lash served in the Navy from 1943-46. It is thought that Beauford created Untitled (Greenwich Village Street, New York) during this time.

There is a gap in Lash's timeline from 1955 to 1959. But a reference that Lash made to a Paris experience “some twenty years ago” in his December 1977 North American Review column entitled "Another Man's Poison: Oh Britannia! II" would seem to indicate that he was in Paris around 1957.

Lash’s wife, Jan, remembers the Delaney painting being on the wall of their home in Bolinas, California in the early-to-mid 1960s.

Even with the information provided by the current owner, we do not know exactly when Lash acquired this painting.

Untitled (Greenwich Village Street, New York) bears a striking resemblance to another Beauford Delaney oil entitled Street Scene.

Street Scene
(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

In the Les Amis blog post entitled "Beauford's Street Scenes," I commented that I believed the landscape represented the elevated train (metro) that serves the south and southwest parts of the city of Paris.

In comparing the two works, it is easy to accept Swann's statement that Beauford "revisited" the 1945-46 painting when he created Street Scene.

The estimated sale price for Untitled (Greenwich Village Street, New York) is $250,000 - $350,000.

For information about Swann's African American Art Sale, click HERE.

Saturday, September 21, 2024

Beauford at Black Art Auction's Fall Auction - Results

Black Art Auction sold two Beauford Delaney works during its Fall Auction on September 14, 2024 in St. Louis, MO.

The estimated sale price for Composition, a painting from the original du Closel collection, was $15,000 - $25,000.

Lot 78: Composition
(1961) Oil on canvas
10-5/8 x 5-1/4 inches
Signed on stretcher verso
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

It sold for $13,000.

Untitled, a gouache on paper dated March 1962, had an estimated sale price of $10,000 - $20,000.

Lot 101: Untitled
(1961) Gouache on paper (J-Annonay watermark)
29-1/4 x 20-3/4 inches
Signed and dated, March 1962
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

It sold for $18,000.

Sale prices include a 25% buyer's premium.

For more information about the results of the Fall Auction, click HERE.

Saturday, September 14, 2024

Mike Berry and Beauford - Part 1

Mike C. Berry is Gallery Manager at the University of Tennessee (UT) Downtown Gallery and Artist/Owner of Mike C. Berry Studio in Knoxville, TN. I had the pleasure of meeting him in Paris last fall.

Berry has developed a unique and fascinating "relationship" with Beauford through his framing of Beauford's art for UT. He graciously provided Les Amis with an interview in which he "tells all," including how Beauford's work influences his artistic practice.

Because Berry was so generous with his responses, this interview will be presented in three parts. Find Part 1 below.

Note that all photos and content have been approved for posting by Derek Spratley, Esq., Court appointed administrator of the Beauford Delaney Estate.

Les Amis: Please remind me of circumstances under which you framed a Beauford Delaney painting for the estate for the first time.

MCB: I was assisting with the installation of an exhibition of Delaney works on the University of Tennessee campus in preparations for the Delaney symposium held on campus that year. While assisting on that exhibit I was asked by Derek L. Spratley to frame some pieces for the exhibit entitled Beauford Delaney, The Paris Years at the new Student Union Gallery in 2019.

Beauford Delaney, The Paris Years

Then, with a partnership with the School of Art at UT, we collaborate together on another exhibit entitled Beauford Delaney – Transcending Race and Time (December 4 – January 30, 2021) at the UT Downtown Gallery and then again for Beauford and Joseph Delaney – Lives in Art (February 5 – 27, 2021), also at the UT Downtown Gallery.

Beauford Delaney – Transcending Race and Time
Beauford and Joseph Delaney – Lives in Art

Les Amis: Describe how your relationship with the estate has grown since that time.

MCB: After working on three exhibitions together and framing over a hundred of Beauford’s pieces since our meeting in 2019, Derek and I have built a professional partnership and now a personal friendship that has its foundation in mutual respect and trust.

What I respect about Derek is that he approaches every matter concerning Beauford’s work with two things in mind: 1) Will it raise Beauford’s artist profile positively? and 2) Will it benefit and honor the Delaney heirs?

I am excited to continue working alongside Derek and honoring Beauford’s artistic legacy by framing and conserving his work for generations to come. I am truly lucky.

I recently learned that Derek and I have a fondness and love of donuts, however my love for them tends to show a bit more than his does. Wink! Wink!

Derek L. Spratley and Mike C. Berry

Les Amis: Is the work you do for the estate done under the auspices of UT Downtown Gallery, independently, or both?

MCB: The work I do for the Estate is performed independently through my studio and totally separate from my work at the UT Downtown Gallery.

However, when we designed and installed the two Delaney exhibits in 2020-21, the University was involved and of course there were some overlap because the responsibility of framing and exhibit design were within my purview at the UT Downtown Gallery.

Les Amis: Talk about the Beauford Delaney exhibitions that you framed for the estate in the context of the previous question.

MCB: We decided to mount an exhibition of Beauford's work directly from the estate to showcase some never-before-seen works and make them available to collectors locally and regionally.

This was very successful, with 100% of the works selling to collectors, most of whom were first time Beauford Delaney collectors.

The second show, which was the very next month, featured the two brothers exhibiting together. I have to give a big shout out to my colleague Sarah McFalls, our collection manager at the Ewing Gallery of Art & Architecture (UT School of Art), because she championed the idea of the brothers exhibiting together by asking "When in the course of time will both collections be this readily available for exhibition ever again in Knoxville?"

Remember, we had just had a successful showing of Beauford’s the month prior with 100% sales.

Sarah proposed to exhibit the brothers together since the Ewing Gallery has one of the largest collections of Joseph Delaney works. There had never been an two-person exhibition of their work in Knoxville.

Beauford and Joseph had been invited by the McClung Museum (now the McClung Museum of Natural History & Culture located on the UT campus) to exhibit together in 1970. This resulted in an exhibition including only Joseph’s works because of the difficulty of organizing and shipping Beauford’s works from France.

So, now the time was right to exhibit the brothers together. The gallery was available and the artwork was here - it just needed to be organized and brought together in one room.

I suppose we broke one of our unwritten rules at the gallery of never showing the same artist in back-to-back exhibitions, but this was one of those rare incidents that the stars aligned to create a beautiful moment.

This would not have happened without the hard work of our team: Sam Yates (retired director), Sarah McFalls, collections manager, and Eric Cagley, gallery preparator, as well as the generosity and grace of Derek Spratley, the Court appointed administrator of the Beauford Delaney Estate.

Saturday, September 7, 2024

Beauford at Black Art Auction's Fall Auction

Two Beauford Delaney works are being put up for auction during Black Art Auction's Fall Auction on September 14, 2024 in St. Louis, MO.

Composition (1961) is a painting from the original du Closel collection of Beauford's work.

Lot 78: Composition
(1961) Oil on canvas
10-5/8 x 5-1/4 inches
Signed on stretcher verso
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

There is no indication as to when in 1961 Beauford might have painted Composition. That year was both productive and traumatic for him.

In Amazing Grace: A Life of Beauford Delaney, biographer David Leeming talks of group shows in London and Paris and letters that Beauford wrote to friends indicating his troubled state of mind during the first part of the year. He then writes extensively about Beauford's July trip to Greece and his two suicide attempts in that country, followed by the love and care friends extended to him once he returned to Paris in late August.

At the end of this section of the book, readers learn that "Beauford's sixtieth birthday on December 30, 1961 was spent a long way from home in a quiet room with no friends and, under doctor's orders, no possibility of communicating with them."

Untitled is a gouache on paper dated March 1962.

Lot 101: Untitled
(1961) Gouache on paper (J-Annonay watermark)
29-1/4 x 20-3/4 inches
Signed and dated, March 1962
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

By this time, Beauford had moved to the rue Vercingétorix studio that was organized for him by Mme du Closel.

Leeming writes that "Being back in Montparnasse suited Beauford," and describes Beauford's pleasure at being able to meet friends on the street while walking around the neighborhood. He says that Beauford's health improved, which contributed to his gradual return to consuming alcohol. This, in turn, negated the effects of his medication.

Despite the warning he received from his psychiatrist, Beauford continued to drink during the spring of 1962 and relapsed into a psychotic state in early May.

The estimated sale price of Composition is $15,000 - $25,000.

The estimated sale price of Untitled is $10,000 - $20,000.

For information about the Fall Auction, click HERE.

Saturday, August 24, 2024

Breakin' for Summer

While Parisians are slowly returning to the city from their summer holidays, Paris is in a lull between the 2024 Summer Olympic games that ended on August 11 and the Paralympic Games that will begin in August 28.

Les Amis is taking a couple of weeks off to rest and rejuvenate in conjunction with the "inter-Olympic pause."

Look for a new blog post before mid-September.

In the interim, we hope the rest of your summer is as vibrant as the work shown below!

Garden Abstraction
(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

Saturday, August 17, 2024

Beauford's Street Scenes

People who are familiar with work from Beauford's New York years undoubtedly know about his Greene Street paintings.

Beauford created many additional works that are called "Street Scene" or something similar. I thought it would be fun to display them together in this blog posts.

All but one of the works represented below were created well before Beauford left NYC for Paris in 1953.

Untitled, circa 1945
Watercolor on paper
15 1/2 x 22 1/2 inches
Purchased with funds provided by the KMA’s Collectors Circle2, 2014
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
 
For me, the paintings entitled Greenwich Village (1946) and Twilight Street (1946) have striking similarities regarding Beauford's representation of the street lamps, moon, and pavement.
 
Greenwich Village
(1945) Oil on canvas
Image by Manu Sasoonian, from Amazing Grace
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
 

Twilight Street
(1946) Oil and mixed media on masonite
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator


Untitled (Village Street Scene)
(1948) Oil on canvas
Signed and dated in oil, lower left.
Image from Swann Auction Galleries Web site
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

Street Scene
(1951) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
 
Beauford sailed to Paris in August 1953.  While he may have created the pastel work on paper shown in the image below after his arrival, I believe it is more likely that he painted this before he left New York.

Street Scene
Beauford Delaney
(1953) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator

The oil painting below was created 15 years after Beauford arrived in Paris. I believe it represents the elevated train (metro) that serves the south and southwest parts of the city.

Street Scene
(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