If there was a movie made about any of the famous people that were part of Charles Boggs’ life during his years in Paris, Boggs would be cast as the best-supporting actor. For years he provided help and companionship to the now famous African American artist Beauford Delaney, corresponded with writer James Baldwin, toured around with noted artists Stephan Pace and Lawrence Calcagno, guiding them through the sites of Europe. Boggs held court on the Paris Left Bank at the Cafe’ Du Dome, where he provided guidance to American visitors and newcomers.
Boggs intermingled with numerous noted writers and artists that found refuge or spent time in Paris. One of the most noted was the famed writer and watercolorist Henry Miller (1891-1980). Miller’s numerous books included a small paperback: The Amazing and Invariable Beauford Delaney which was part of his outcast series published in 1945. Miller at one point described a painting that Delaney had done of him during the New York years in a 1972 letter: “He put a halo around my head and, if I hadn’t stopped him he would have put a pair of wings on too. That's how Beauford saw people…”. When Delaney went to France, their friendship was extended to Boggs during the Paris years.
The incredibly sad part of this story is that art history has left Boggs as a best-supporting actor in a story that overlooks his own contributions to French art. In reality, he was an incredible artist in his own right, talented and collected by prominent collectors. This blog works to rectify the fascinating story of Charles Boggs, the American-French Artist that is right out of mid-century America; a boy from Dwarf, Kentucky, who studies art, ends up in World War II, then spends the rest of his life in France where he intermingled with the who’s who of art.
He was born Charles Gordon Boggs in rural Kentucky (Cornettsville) in 1921, and after high school, he started his formal education at the University of Kentucky. There he studied art, but like many men during the war years, he interrupted his education to be in the army. His military enlistment registration card from 1942, reveals that he was almost six feet tall, thin, weighing around 133 lbs. He had brown hair and eyes. He did his basic training at Fort Knox, KY.
In the military he was sent off to the Asian Pacific, where he served in Japan and the Army Public Relations Division in the Philippines in 1945-46. Boggs was discharged as a corporal and upon returning to the States in 1946, he worked for the World Student Service Fund, where he helped raise money for students around the world. At the same time, he went back to college and graduated from the University of Kentucky in 1948. As part of his education, he produced a self-portrait that was exhibited at the J. B. Speed Museum in Louisville. The exhibit was titled: Recent Self-Portraits by Kentucky Artists.
Before his senior year and before he started his series of career steps, he went off to the Netherlands during the summer of 1947 as part of a student crew that rebuilt bicycle paths that had been damaged during the war. It was there that he came to know Bill Allaway. Allaway and Boggs became life-long friends, and throughout Boggs’ life, the Allaway California home served as an impromptu art gallery and an American refuge.
With his undergraduate degree complete, he went to work in the postwar American boom. First at the University of Kentucky, then moving on to Evansville College, and then Evansville Public Museum (Indiana). He still had not taken advantage of his GI Bill benefits which allowed for further studies in far off locations such as Paris. A government registered passenger list has Boggs leaving from New York on August 23, 1950.
Arriving in Paris, he attended school where numerous other veterans went, the L’Académie de la Grande Chaumière on Boulevard Raspail. The school was just two blocks from the Raspail Metro stop in the middle of the Left Bank. Many veterans described the school facilities as subpar during those first few years after the war. It appeared that there were these old, worn dirty stairs leading up to three studios on the second floor of that old building. At that time, the middle studio, directly at the top of the stairs was given over to the Americans as a workroom. The other two studios had models posing for six hours a day, where one could paint and draw if they wished. There were no classes, only daily criticism (or critiques, as the American art teacher liked to call them) from several established artists. You could ignore them if you desired, and you also could choose your instructor.
The instructor that Boggs selected was a new instructor to the school, Edgard Pillet. Pillet (1912-1996) was a progressive artist in post-war Paris, who gathered international acclaim for pioneering a new style of geometric abstraction. He was the Secretary General of the leading avant-garde journal called the Art Aujourd’hui. It was at the L’Académie de la Grande Chaumière that Pillet along with Jean Dewasne founded the Atelier d’Art Abstrait. Pillet, as a teacher, continued to influence Boggs for the rest of his career.
It is interesting to note here that Pillet ended up spending two years in the United States, where he taught painting at the University of Louisville, Kentucky. After returning to Paris, he developed work that combined astrological figures with geometric compositions. He made many relief sculptures that were designed to integrate with architectural structures, including the walls of the amphitheater for the Faculty of Science, in Grenoble, France. It appears that Kentucky had a charismatic effect on Pillet and altered his style of work upon his return to France.
The year - 1951, was a busy year for Boggs. That March, Stephan Pace (1918-2010) the now noted American artist arrived in Paris. Pace and Boggs had met during Boggs' time in Evansville and they had prearranged an art sketching car-trip through Italy, stopping in Orvieto, Rome, Naples and other locations. The book, Stephen Pace: Abstract Expressionist, documents the trip and their time together. At the same time Boggs was reporting on the art scene in Paris for a Louisville Newspaper, describing the new works by famed abstract artist, Jack Youngman.
Boggs worked to stay in touch with Kentucky by serving as the “Louisville Man in Paris” for the Louisville Newspaper. One such article had a byline: writer by mail. That article covered the 1951 Paris exhibit of Jack Youngman’s abstract paintings. Youngman (1926-2020), was born in Missouri, but like Boggs was raised in Kentucky, served in the war, and went off to Paris to study art on the GI Bill. Youngman was one of the few artists to eventually find fame in both France and the United States.
Another major turning point in the early 1950s was that Boggs met his future wife at Café’ Du Dome, a renowned gathering place, also known as: “The Anglo-American Café”. This was a gathering place for painters, sculptors, writers, poets, models and art connoisseurs/dealers - a focal point for artists residing on the Paris Left Bank; it was described as a Bohemian Neighborhood. Within a year or so, Boggs married Birgitta Stig of Stockholm, in April 1952. She worked for a Swedish firm in the paper-importing business in Paris.
In the same year of his marriage, he became a part of what was considered the School of Paris. It could loosely be described as American Expats and émigré artists that were studying or creating art in Paris. It was not a singular art movement, but referred to the importance of Paris serving as the center of art for the Western world. The School existed from the mid-1940s to the 1960s.
In March of 1952 he had his first one-man show in Paris at the Galerie Huit. The exhibit included paintings, drawings and ceramics. Additionally, that year he participated in several large Paris shows, among them the entirely abstract show: Salon des Réalités Nouvelles. The Salon des Réalités Nouvelles was founded by his instructor/teacher Edgard Pillet and other noted Paris abstract painters, such as Auguste Herbin (1882-1960). Both Pillet and Herbin were doing cutting-edge versions of colorful geometric abstraction and promoted a non-figurative style of abstract art. Some of Boggs’ silkscreen prints from this period were influenced by both Pillet and Herbin.
While Boggs was making moves on the Paris scene he was also working on keeping his home state of Kentucky updated on his art activities. He garnered a major show back in Lexington: In September of 1952 he exhibited his drawings from Paris and Rome from his road trip with Stephen Pace at the University of Kentucky Art Gallery. The Lexington newspaper reminded its readers that Boggs was presently working in Paris.
The following year 1953 was the beginning that put Boggs in the art history books and created a side-show in his life. The now famed and deceased artist Beauford Delaney (1901-1979) arrived in Paris at age 52. Delaney was an American modernist who is now best known for his Harlem Renaissance work of the 30s and 40s. Delaney went on to become an abstract expressionist in Paris and Delaney would frequently seek out the company of Boggs and his wife Gita and their young son Gordon.
It was common for them to eat dinner together at Boggs’ Montparnasse apartment, then listen to music which included everything from classical to gospel. Delaney remained in Paris for the rest of his life except for a short break, the Boggs family frequently cared for Delaney during his mental breakdowns and in his waning years. Boggs would write to Delaney’s friends such as James Baldwin and describe his drinking problems and his mental deterioration - Alzheimer's. His mental illness coupled with his financial instability, Delaney could no longer cope with daily life, so Boggs and other friends finally had him committed to St. Anne’s Hospital for the Insane in 1975. It was those letters and Boggs’ documentation of Delaney that put Boggs in the annals of American art history.
During Delaney's years in Paris, Boggs introduced Delaney to Lawrence Calcagno in the 1960s. Both Boggs and Calcagno held one thing in common, they were assigned to the Asian war-front during WWII. Calcagno (1913-1993) is now known as the San Francisco abstract expressionist that gained fame in the 1950s and enjoyed Paris. In 1966, Calcagno, the art dealer - Darthea Speyer (1919-2014), along with Boggs took Delaney on a trip to attend the Venice Biennale Exposition. There is a most iconic photograph (below) of Calcagno, Delaney and Boggs riding in a Venice gondola, as they float down a grand canal.
Boggs in his Studio
Boggs intermingled with numerous noted writers and artists that found refuge or spent time in Paris. One of the most noted was the famed writer and watercolorist Henry Miller (1891-1980). Miller’s numerous books included a small paperback: The Amazing and Invariable Beauford Delaney which was part of his outcast series published in 1945. Miller at one point described a painting that Delaney had done of him during the New York years in a 1972 letter: “He put a halo around my head and, if I hadn’t stopped him he would have put a pair of wings on too. That's how Beauford saw people…”. When Delaney went to France, their friendship was extended to Boggs during the Paris years.
The incredibly sad part of this story is that art history has left Boggs as a best-supporting actor in a story that overlooks his own contributions to French art. In reality, he was an incredible artist in his own right, talented and collected by prominent collectors. This blog works to rectify the fascinating story of Charles Boggs, the American-French Artist that is right out of mid-century America; a boy from Dwarf, Kentucky, who studies art, ends up in World War II, then spends the rest of his life in France where he intermingled with the who’s who of art.
He was born Charles Gordon Boggs in rural Kentucky (Cornettsville) in 1921, and after high school, he started his formal education at the University of Kentucky. There he studied art, but like many men during the war years, he interrupted his education to be in the army. His military enlistment registration card from 1942, reveals that he was almost six feet tall, thin, weighing around 133 lbs. He had brown hair and eyes. He did his basic training at Fort Knox, KY.
In the military he was sent off to the Asian Pacific, where he served in Japan and the Army Public Relations Division in the Philippines in 1945-46. Boggs was discharged as a corporal and upon returning to the States in 1946, he worked for the World Student Service Fund, where he helped raise money for students around the world. At the same time, he went back to college and graduated from the University of Kentucky in 1948. As part of his education, he produced a self-portrait that was exhibited at the J. B. Speed Museum in Louisville. The exhibit was titled: Recent Self-Portraits by Kentucky Artists.
Before his senior year and before he started his series of career steps, he went off to the Netherlands during the summer of 1947 as part of a student crew that rebuilt bicycle paths that had been damaged during the war. It was there that he came to know Bill Allaway. Allaway and Boggs became life-long friends, and throughout Boggs’ life, the Allaway California home served as an impromptu art gallery and an American refuge.
With his undergraduate degree complete, he went to work in the postwar American boom. First at the University of Kentucky, then moving on to Evansville College, and then Evansville Public Museum (Indiana). He still had not taken advantage of his GI Bill benefits which allowed for further studies in far off locations such as Paris. A government registered passenger list has Boggs leaving from New York on August 23, 1950.
Arriving in Paris, he attended school where numerous other veterans went, the L’Académie de la Grande Chaumière on Boulevard Raspail. The school was just two blocks from the Raspail Metro stop in the middle of the Left Bank. Many veterans described the school facilities as subpar during those first few years after the war. It appeared that there were these old, worn dirty stairs leading up to three studios on the second floor of that old building. At that time, the middle studio, directly at the top of the stairs was given over to the Americans as a workroom. The other two studios had models posing for six hours a day, where one could paint and draw if they wished. There were no classes, only daily criticism (or critiques, as the American art teacher liked to call them) from several established artists. You could ignore them if you desired, and you also could choose your instructor.
The instructor that Boggs selected was a new instructor to the school, Edgard Pillet. Pillet (1912-1996) was a progressive artist in post-war Paris, who gathered international acclaim for pioneering a new style of geometric abstraction. He was the Secretary General of the leading avant-garde journal called the Art Aujourd’hui. It was at the L’Académie de la Grande Chaumière that Pillet along with Jean Dewasne founded the Atelier d’Art Abstrait. Pillet, as a teacher, continued to influence Boggs for the rest of his career.
It is interesting to note here that Pillet ended up spending two years in the United States, where he taught painting at the University of Louisville, Kentucky. After returning to Paris, he developed work that combined astrological figures with geometric compositions. He made many relief sculptures that were designed to integrate with architectural structures, including the walls of the amphitheater for the Faculty of Science, in Grenoble, France. It appears that Kentucky had a charismatic effect on Pillet and altered his style of work upon his return to France.
The year - 1951, was a busy year for Boggs. That March, Stephan Pace (1918-2010) the now noted American artist arrived in Paris. Pace and Boggs had met during Boggs' time in Evansville and they had prearranged an art sketching car-trip through Italy, stopping in Orvieto, Rome, Naples and other locations. The book, Stephen Pace: Abstract Expressionist, documents the trip and their time together. At the same time Boggs was reporting on the art scene in Paris for a Louisville Newspaper, describing the new works by famed abstract artist, Jack Youngman.
Boggs worked to stay in touch with Kentucky by serving as the “Louisville Man in Paris” for the Louisville Newspaper. One such article had a byline: writer by mail. That article covered the 1951 Paris exhibit of Jack Youngman’s abstract paintings. Youngman (1926-2020), was born in Missouri, but like Boggs was raised in Kentucky, served in the war, and went off to Paris to study art on the GI Bill. Youngman was one of the few artists to eventually find fame in both France and the United States.
Another major turning point in the early 1950s was that Boggs met his future wife at Café’ Du Dome, a renowned gathering place, also known as: “The Anglo-American Café”. This was a gathering place for painters, sculptors, writers, poets, models and art connoisseurs/dealers - a focal point for artists residing on the Paris Left Bank; it was described as a Bohemian Neighborhood. Within a year or so, Boggs married Birgitta Stig of Stockholm, in April 1952. She worked for a Swedish firm in the paper-importing business in Paris.
In the same year of his marriage, he became a part of what was considered the School of Paris. It could loosely be described as American Expats and émigré artists that were studying or creating art in Paris. It was not a singular art movement, but referred to the importance of Paris serving as the center of art for the Western world. The School existed from the mid-1940s to the 1960s.
In March of 1952 he had his first one-man show in Paris at the Galerie Huit. The exhibit included paintings, drawings and ceramics. Additionally, that year he participated in several large Paris shows, among them the entirely abstract show: Salon des Réalités Nouvelles. The Salon des Réalités Nouvelles was founded by his instructor/teacher Edgard Pillet and other noted Paris abstract painters, such as Auguste Herbin (1882-1960). Both Pillet and Herbin were doing cutting-edge versions of colorful geometric abstraction and promoted a non-figurative style of abstract art. Some of Boggs’ silkscreen prints from this period were influenced by both Pillet and Herbin.
While Boggs was making moves on the Paris scene he was also working on keeping his home state of Kentucky updated on his art activities. He garnered a major show back in Lexington: In September of 1952 he exhibited his drawings from Paris and Rome from his road trip with Stephen Pace at the University of Kentucky Art Gallery. The Lexington newspaper reminded its readers that Boggs was presently working in Paris.
The following year 1953 was the beginning that put Boggs in the art history books and created a side-show in his life. The now famed and deceased artist Beauford Delaney (1901-1979) arrived in Paris at age 52. Delaney was an American modernist who is now best known for his Harlem Renaissance work of the 30s and 40s. Delaney went on to become an abstract expressionist in Paris and Delaney would frequently seek out the company of Boggs and his wife Gita and their young son Gordon.
It was common for them to eat dinner together at Boggs’ Montparnasse apartment, then listen to music which included everything from classical to gospel. Delaney remained in Paris for the rest of his life except for a short break, the Boggs family frequently cared for Delaney during his mental breakdowns and in his waning years. Boggs would write to Delaney’s friends such as James Baldwin and describe his drinking problems and his mental deterioration - Alzheimer's. His mental illness coupled with his financial instability, Delaney could no longer cope with daily life, so Boggs and other friends finally had him committed to St. Anne’s Hospital for the Insane in 1975. It was those letters and Boggs’ documentation of Delaney that put Boggs in the annals of American art history.
During Delaney's years in Paris, Boggs introduced Delaney to Lawrence Calcagno in the 1960s. Both Boggs and Calcagno held one thing in common, they were assigned to the Asian war-front during WWII. Calcagno (1913-1993) is now known as the San Francisco abstract expressionist that gained fame in the 1950s and enjoyed Paris. In 1966, Calcagno, the art dealer - Darthea Speyer (1919-2014), along with Boggs took Delaney on a trip to attend the Venice Biennale Exposition. There is a most iconic photograph (below) of Calcagno, Delaney and Boggs riding in a Venice gondola, as they float down a grand canal.
Larry Calcagno, Beauford, and Charley Boggs in Venice
Photo from Amazing Grace: A Life of Beauford Delaney
Photo taken by Boggs’ girlfriend, given to Delaney, sent in a letter to Calcagno,
gifted to the Archives of American Art - Calcagno Papers.
Seated from left to right: Boggs, Delaney and Calcagno
Boggs frequently exhibited at home in Kentucky, but his breakthrough New York exhibit was in October of 1964 at the Roko Gallery, on Madison Avenue. The New York Times stated that he was exhibiting gouaches until the end of that month. Within a couple of short years the U.S. Information Service came calling and curated a traveling exhibit of three Kentucky artists: Boggs, Isaac Lane Muse and Joe Downing. All three had lived in France since 1950, and the exhibit traveled to all the major cities in France during the spring and summer of 1968. It was also in 1968 that a formal address could be established for his cave studio in Montparnasse at 5 cité Falguière.
In the 1970s, Boggs started to exhibit back home again in Kentucky. One such 1972 exhibit was noted by the Louisville Courier-Journal. The newspaper stated that the show consisted of works by Boggs, and reminded their readership that Boggs was a Kentuckian, a University of Kentucky graduate who now lives in southern France, had served as a Director of the Evansville Museum of Arts and Science, and studied with Edgard Pillet. A retrospective examination of Boggs' art, shows that in the 1970s he started to incorporate collage into some of his watercolors and paintings.
Boggs in the summer of 1971, could be found near Nice, in Saint-Paul-de-Vence, a medieval community with modern and contemporary art galleries. Visitors to his home that summer would tell the story of being introduced to James Baldwin (1924-1987), who was also spending time with Boggs. William Allaway’s son Ben, remembers from that summer playing with Alexander Calder’s granddaughter. It appears that was an active summer for Boggs and his son Gordon, as Gordon recalls that his parents were divorced in 1971, which was attributed to his father’s alcohol problems. Yet, Gordon also points out that his father became sober that year.
It is possible that Boggs could remarkably help with Delaney’s alcoholism because Boggs had his own troubles. It is believed that Boggs was instrumental in creating the first Alcoholics Anonymous chapter in Paris, and created the poster for the first International Meeting. Others have stated that his place/studio at 5 cité Falguière was always available for an AA person in need. His sobriety was successful and he was very open about his involvement with AA.
Photo of Charles Boggs and a friend
Paris studio
During the 1990s Boggs was still working and living in Paris. By the time he was in his mid-80s, he had relocated to L'Isle-sur-la-Sorgue to be closer to his son. Finally he moved into a separate apartment within his son's home and died in 2010 at the local hospital in L'Isle-sur-la-Sorgue.
Collectors:
During his career in France, Boggs came in contact with William H. Alexander, a world class collector of fine art who spent time in Paris. Alexander (1910-2003) purchased at least four of Boggs’ paintings. Alexander was a New Yorker who started collecting after meeting Hans Hofmann in 1941. He created his fortune by being an independent sales representative for Random House. When Alexander died, he left part of his collection of art to the Bowdoin Art Museum in Maine, including the Boggs’ paintings. Beyond Alexander, another collector of Boggs’ work was Clyde Bulla. Bulla (1914-2007) was a Los Angeles author and illustrator for more than fifty children's books. He was apparently a close friend of Boggs that spent time in Paris. When he died his art estate was sold off at auction and a couple of Boggs' paintings came to market.
Another significant collector was the William Allaway family, Santa Barbara, CA. It is believed that William Allaway’s children own somewhere between 50 and 75 paintings. Allaway (1924-2014) was with the University of California - Santa Barbara, where he was the creator-lead of the Education Abroad Program. In that position, Allaway had numerous connections within the Paris community including Jack Egle, an American running the New York and Paris offices of the Council on International Education Exchange, additionally Allaway served as part of the American delegation at the 1948 founding convention of UNESCO (United Nations Educational, Scientific, Cultural Organization) headquartered in Paris. With Allaway’s numerous connections, Boggs was continuously connected to many expats and academics within France.
Charles Boggs and William Allaway, 1975
By the Metro Blvd. Pasteur, Paris
Another collector was Burton D. Reinfrank Jr. (1922-2016), A Foreign Service Officer with expertise in Industrial Machinery that was stationed in Paris in the early 1950s. Reinfrank stayed on making Paris his permanent home. He went on to serve on the Board of Trustees of the American University of Paris. Reinfrank was from St. Paul, Minnesota and collected works by Beauford Delaney as well as Boggs. The Delaney paintings are currently on permanent loan to Minneapolis Institute of Art (MIA) where the former American Art Curator, Sue Canterbury curated and coordinated the 2005 blockbuster traveling exhibit of Delaney's work. Canterbury frequently visited with Boggs in preparation of the Delaney exhibit. Additionally, Canterbury, who is now the Curator for American Art at the Dallas Museum of Art holds four of Boggs' paintings.
Boggs’ work throughout the years had one thing in common, his signature. There was a distinctive style to his signature, as if he was putting a graphic element on his paintings. His signature was uniform, time and time again, never wavering from his adopted style. When you see his signature you know his work, as shown below:
Charles (Charlie or Charley) Boggs died in L'Isle-sur-la-Sorgue on October 26, 2010;
He was 89 years old. The Gallery MC (Michelle Champetier) Cannes, France,
currently holds a small inventory of Boggs’ work.
Signature Example
An Art Retrospective: Charles Boggs (1921-2010)
 |
| Oil on Canvas, 1953 -Redone 1973 "Les Champs" - Allaway Collection |
 |
| Tempera on Paper, 1962 22 X 17 Inches Untitled - Allaway Collection |
 |
| Gouache/Watercolor on Paper, 1963 24 X 19 Inches Inscribed: For Bill and Olivia (Allaway) |
 |
| Collage and Acrylic Paint, 1973 Approx: 20 X 20 Inches Untitled - Allaway Collection |
 |
| Watercolor on Rice Paper, 1974 Approx: 31 X 31 Inches "Southwest, USA" - Allaway Collection |
Watercolor on Paper, 1987
Approx: 22 X 30 Inches
Untitled - Waller/Yoblonsky Collection
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Exhibits of Note and Research References -
One Man Exhibits:
- 1952 Galerie Huit, Paris
- 1952 Evansville Museum of Arts and Science, Indiana
- 1952 University of Kentucky, Art Gallery
- 1964 Roko Gallery, Madison Ave, New York City
- 1996 Office de Tourisme, Cavaillon, France
- 1997 De Montparnasse à Montmartre, Boutique Constantin Karakitsoo, Paris
- 1951 Salon des Realites Nouvelles, Paris
- 1952 American Painters in Paris, Galerie Craven, Paris
- 1953 Meltzer Gallery, New York City
- 1954 Bordighera Salon, Italy
- 1954 “Seven Americans in Paris”, University of Wisconsin
- 1961 Roko Gallery, New York City
- 1962 Roko Gallery, New York City
- 1963 “L’Oeil de Boeuf” Galerie 7, Paris
- 1964 “New Horizons Watercolours” Etlin Gallery, Los Angeles
- 1964 Galerie Lambert - Group exhibit curated by Darthea Speyer
- 1974 Studio Eighteen, Jersey, Channel Islands
- 1992 “La Cité Falguière Expose” CIC, Paris
- 1968 Serigraphs, US Information Service (France)
- Gallery MC (Michelle Champetier Gallery) Cannes, France
- Gordon/Sarah Boggs, Affiche Exposition Un Americain a Paris, Cavaillon 1992 (Booklet)
- Courier-Journal, Louisville, KY
- Nov. 19, 1972, P. 171 - Exhibit at Cumberland College
- Nov. 12, 1972, P. 159 - Exhibit at Cumberland College
- May 5, 1968 - Art Notes, KY Artists Exhibit, US Information Service
- Sept. 28, 1952 - Information on marriage to Birgitta Stig
- Mar. 16, 1952 - Exhibit at the Galerie Huit
- July 8, 1951 - Exhibit at the Univ. of KY, Boggs in Paris/Youngman article
- New York Times - Oct. 1964, Exhibit at Roko Gallery, Madison Ave.
- Monique Y. Wells, KnoxNews.com - Sept. 13, 2009 Burial Site of Knoxville's Delaney
- Monique Y. Wells, Blogger: Les Amis de Beauford Delaney
- Rollins Sandspur (College Newspaper): World Service Student Fund Vol. 51.08, Dec. 5, 46
- Bowdoin College Museum of Art Newsletter - William H. Alexander
- Clyde Bulla Auction Estate Records: Liveactioneers.com
- William Allaway Family Remembrances
- Two Santa Barbara Home Art Exhibits for Boggs
- Boggs' Art Work Collection used for this blog
- The Beauford Delaney Letters: Archives NYPL
- James Baldwin Archives at Yale - Charley Boggs, Undated
- Archives of American Art - The Lawrence Calcagno Papers
- Smithsonian - Letter from Henry Miller to Dorthea Speyer, Sept. 26, 1972
- Stephan Pace Records - Stephan Pace, Abstract Expressionist (book)
- Abdul Jalil's Lecture: Nowtruth.org/March 1, 2021 - supported by Darthea Speyer
- Edgard Pillet, Biographical Records
- L’Académie de la Grande Chaumière Records
- J. B. Speed Museum, Recent Self Portraits by Kentucky Artists, 1949
- University of Kentucky Records, The Kentucky Kernel, College Newspaper, Jan. 6, 1950
- Legacy Birth Records - Born: June 11th, 1921 - Cornettsville, KY
- Charles Gordon Boggs décédé le 25 Octobre 2010 à l'age de 89 ans le 11 Juin 1921.
- Father: Randolph Boggs - Mother: Paro Lee Boggs, 1940 US Census, Ancestry.com
- US Military Activity Records/Enlistment Card
- US Passenger List Records
- A listing from an ArtNEWS magazine article - No Show: The Sprawling Ab Ex Survey That Wasn't by Anne Doran, April 11, 2017, is provided below. The article covers communication between Bill Agee (Museum of Fine Arts, Houston) and Walter Hopps (Founding Director, Menil Collection, Houston) regarding a proposed exhibit on noted Abstract Expressionists from the1940s - 1980s. The list included the name Charlie (Charles) Boggs and Beauford Delaney. Mr. Delaney's first name was misspelled. _________________________________________________________________
Personal Note: The Louisville Public Library gave me access to their research arm, and let me dig through their newspaper archives, reading numerous articles on the young Charles Boggs and his adventures in Paris. I never communicated with Monique Y. Wells, author of an ongoing blog concerning Beauford Delaney, but her stories provided direction and ideas on where I could chase down additional information on Charles Boggs. It was also through one of these blogs that I discovered Ben Allaway and his email address. Mr. Allaway guided me through personal details that the press would have never recorded, and he introduced me to Charles Boggs' son, Gordon. Gordon provided corrections that were necessary and his wife Sarah provided the list of Boggs' exhibits. Finally, I want to thank my husband, Bob for proof reading this time and again.
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©2022. Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. This blog was created by Mr. Waller and all written materials were obtained by the Fair Use Section 107 of The Copyright Act for educational purposes. Additionally, this research work may be used with appropriate attributions to the author Anthony Waller and must be in compliance with the “fair use” as defined by the U.S. Copyright law.
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