The V&M Art Gallery opened its doors in 2023 to provide a permanent home for the private collection of Vincent and Marina D’Aguilar, whose legacy continues through the D’Aguilar Art Foundation, directed by Saskia D’Aguilar. This new two-story complex follows the Foundation’s original gallery, which opened downtown in 2008 and safeguarded much of the collection in its basement and behind its walls. After Hurricane Dorian, the Foundation recognized the need for a more resilient and sustainable space, leading to the creation of the V&M. The gallery was purpose-built on a hill to withstand hurricanes and avoid flooding, ensuring the long-term preservation of the collection with climate control and expanded storage. Today, the gallery features multiple themed rooms, including portraiture, Junkanoo, and more, showcasing primarily Bahamian works alongside a selection of international artists. Highlights include approximately 50 original works by Amos Ferguson, as well as significant holdings by Maxwell Taylor and other leading Bahamian artists. The V&M also stewards the Roland Rose archive, entrusted to the Foundation upon his passing; the ongoing archiving and reproduction project supports his widow through its proceeds. In addition to exhibitions, the gallery includes a kitchen and dining area available for corporate rentals, making the V&M not only a cultural landmark but also a versatile gathering space dedicated to the continued celebration and preservation of Bahamian art.

TABLE OF CONTENTSTABLE OF CONTENTS Vincent & Marina................................................................................................. The Portrait Room............................................................................................... The Junkanoo Room........................................................................................... The Amos Ferguson Room................................................................................. The Amulet Room............................................................................................... The Black & White Room.................................................................................... The Uncensored Room....................................................................................... The Office & Storage Room............................................................................... 4 16 29 41 52 59 67 73

THE MAIN GALLERYTHE MAIN GALLERY

VINCENT & MARINA VINCENT & MARINA Vincent and Marina D’Aguilar were passionate collectors whose love for Bahamian art has shaped one of the country’s most significant private collections. Beginning around the time of Bahamian independence, they supported both established and emerging artists, building a collection that grew into the D’Aguilar Art Foundation. The foundation preserves and celebrates Bahamian creativity while serving as a resource for education, exhibitions, and cultural engagement. This hallway features portraits of Vincent and Marina created by both Bahamian and international artists, completed over multiple sittings in a time before selfies. The variety of styles reflects the individuality of the artists and underscores the couple’s enduring roles as patrons and muses in the art world.

JOHN EDWARD COXJOHN EDWARD COX Vincent, 2008, Mixed Media, 76" x 66" John Cox (born 1973, Nassau, The Bahamas) is a Bahamian artist known for mixed media works that transform everyday objects into reflections on balance, struggle, and transcendence. A central figure in Bahamian art, he is also an educator, curator, and cultural activist. He founded Popopstudios International Center for the Visual Arts in 1999, a key hub for local and international artists, and continues as its director. Cox studied at the Rhode Island School of Design, earning a BFA in Illustration (1995) and an MA in Art Education (1996). Since 1997, he has taught at the College of The Bahamas, helping to shape contemporary art education. He served as Chief Curator at the National Art Gallery of The Bahamas (2012–2013), curating exhibitions such as Kingdom Come, before becoming Creative Art Director for the Baha Mar resort, leading efforts to showcase Bahamian art. His work has appeared in major shows including Art Basel Miami, the Ipase Project in Italy, and Wrestling With the Image in Washington, DC. His pieces are held in the National Art Gallery of The Bahamas, The D’Aguilar Art Foundation, Lynden Pindling International Airport, and the Dawn Davies Collection.

EAST WALLS a. Ricardo Knowles, Portrait of Vincent D’Aguilar, 1997 Oil on Canvas, 31.5" x 39“ ARTWORKS b. Kendal Hanna, Portrait of Vincent D’Aguilar, 1999 Acrylic, House Paint & Graphite on Canvas, 36" x 48“ a b

EAST WALLS This is a framed handwritten note by Vincent D’Aguilar that he kept in his wallet. It is a quote he copied from a book that he read on the Harlem Renaissance artists. The note paraphrases the sender and receiver, with the original quote stating: “On the subject of an artistic insight, Aaron Douglas told (young) Romare Bearden, “Technique in itself is not enough. It is important for the artist to develop the power to convey emotion... The artist’s technique no matter how brilliant it is, should never obscure his vision.” Vincent loved this quote, because he also believed that the best paintings show the artist’s passion, vision and emotions, not just the technical prowess. This mantra guided Vincent’s approach to collecting.

DAVID WILLIAMS-ELLISDAVID WILLIAMS-ELLIS Bust of Vincent D’Aguilar, ND Bronze, 7" x 17.5" David Williams-Ellis was a figure and portrait sculptor, born in Ireland, later educated there and in England. In 1977 and 1978 he studied drawing with Nerina Simi in Florence, being a part-time apprentice with local woodcarvers. From 1978 to 1980 Williams-Ellis studied marble carving at Carrara, then from 1981–1982 he worked under Clive Duncan at Sir John Cass School of Art in London, where he remained based. Williams-Ellis soon established a reputation as a portrait sculptor. Among his subjects were the Countess of Belmore, 1984; William Vestey, 1986; a large bronze eagle for C Hoare and Company in 1986; the Duchess of Abercorn in 1989; and Lord Aberconway, 1991. He showed widely internationally and had solo shows at Cadogan Contemporary from 1991.

GROUND FLOOR RESTROOM Jackson Burnside III, Plenty, Plenty Love, 2008 Mixed Media, 47" x 75"

WEST WALLS a. Malcolm Rae, Portrait of Vincent D’Aguilar, 1997 Pastel, 20" x 22.5" b. Maxwell Taylor, Portrait of Vincent D’Aguilar, ND Oil on Canvas, 26" x 28" c. Lynn Parotti, Portrait of Vincent D’Aguilar, 2007 Oil on Paper, 20“ x 16” d. Brent Malone, Black Pearl, 1992 Oil on Canvas, 30" x 24" a ARTWORKS b c e f g e. Antonia de Tavara (Portuguese), Portrait of Marina, Duchess of Leisure, ND Acrylic on Canvas, 49" x 31" f. Berta Sands, Portrait of Marina D’Aguilar, ND Watercolor, 29" x 25" g. Juultje Putman (Dutch), Marina, July 1996 Watercolor, 14" x 12.5" d

WEST WALL: D ARTWORKS h j i k h. Jocelyn Galsworthy (British), Portrait of Lady with Pearl Necklace, 2002 Acrylic on Canvas, 25" x 29" i. Harry Quinn (British), Portrait of Marina D’Aguilar, 1990 Acrylic on Canvas, 38.5" x 47" j. Barbara Hamilton (British/Polish), Portrait of Marina D’Aguilar, 2006 Pastel, 36.5“x 46.5“ k. Dorman Stubbs, Portrait of Marina D’Aguilar at the Tea Party, 2003 Oil on Canvas, 34.5“ x 32.5”

GROUND FLOOR RESTROOM a. Imogene Walkine, Poppy, 2022 Ceramic, 18" x 18" x 9" b. Danielle (Dede) Brown, Black Cherry Kiss, 2010 Acrylic on Canvas, 60" x 40" a b

STAIRWELL WALLS: A ARTWORKS a. Antonius Roberts, Then The Angels Came, 1993 Acrylic on Canvas, 88" x 67" b. Jason Bennett, Expansion, 2022 Abstract Mixed Media on Canvas, 96" x 72" a b

STAIRWELL WALLS: B ARTWORKS c. John Edward Cox, Caccoon, 1996 Acrylic and Photo Silk Screen on Paper, 43" x 69.5" c d d. Jordanna Kelly, Nighttime Obsession, 2019 Mixed Media, 26.5" x 40.5“ ABOVE FIRST STAIRWAY ON LANDING, TOP OF STAIRS

FUN FACTSFUN FACTS Before becoming a prominent art collector, Vincent D’Aguilar earned an engineering degree from Faraday House Engineering College in London on a Bahamas Electricity Corporation scholarship. In 1968, Vincent and his brother Adrian opened Superwash, now the largest self-service laundromat franchise in The Bahamas. At the onset of their marriage, Vincent & Marina could not afford to collect original artwork. Instead, they acquired a modest collection of bird prints by John James Audubon and Joseph Wolfe. Marina D'Aguilar recalled the excitement of their purchase of their first original Wolfe which solidified their position as serious collectors. Once, when bringing home an original work “Paint by Mr. Amos Ferguson,” a decorator remarked that the couple was “throwing away money on foolishness.” At three hundred dollars, the couple had spent what was then a small fortune on this piece of art naïf; but to them, the enjoyment that the work afforded them was priceless. Marina D'Aguilar (née Benjamin) was born in Nassau, The Bahamas in 1935 and schooled at St. John's College. She worked at Chase Bank for many years and loved to travel to exotic destinations around the globe. She passed away on March 31, 2022, at the age of 87. Established in 2008, the D’Aguilar Art Foundation houses one of the most comprehensive privately held art collections in The Bahamas, aiming to preserve and promote Bahamian art. Vincent D’Aguilar played a pivotal role in establishing the National Art Gallery of The Bahamas (NAGB), serving as the founding co- chair of the committee formed in 1996 to oversee its creation. His advocacy was instrumental in securing government support for the restoration of Villa Doyle, the historic building that would house the gallery. D’Aguilar's extensive private collection of Bahamian art significantly contributed to the NAGB's inaugural exhibitions in 2003, showcasing his commitment to preserving and promoting local artistry. His efforts were recognized in 1997 when he became the first non- artist to receive the E. Clement Bethel Award for the Arts, underscoring his dedication to the cultural development of The Bahamas. Through his leadership and passion for the arts, D’Aguilar helped lay the foundation for a lasting institution that continues to celebrate Bahamian creativity and heritage.

THE PORTRAIT ROOM THE PORTRAIT ROOM The Portrait Room presents a thoughtful exploration of identity, gender, and generational experience in The Bahamas. One side is dedicated to women, highlighting the lives of specifically black Bahamian women and portraying both their beauty and the challenges they face, offering an intimate and nuanced view of womanhood. The opposite side focuses on men, with one grouping celebrating established Bahamian male artists such as Antonius Roberts, John Cox, and Jackson Burnside, while another grouping reflects the experiences of younger Bahamian men, capturing the energy, ambition, and evolving identities of a new generation. Together, the room invites viewers to consider the diverse experiences and expressions of Bahamian life across gender and age.

WOMEN’S SOUTH WALL: LEFT a. Jeffrey Meris, Sperit I, 2010 Acrylic and Paper on Canvas, 36" x 43" b. Dereck Paul, Celestial Vendour, 2004 Acrylic on Canvas, 29" x 33" c. Giovanna Swaby, We All Know Each Other II, 2017 Mixed Media, 30" x 72" d. Giovanna Swaby, We All Know Each Other, 2017 Mixed Media, 30" x 72" a b c d ARTWORKS

WOMEN’S SOUTH WALL: RIGHT ARTWORKS f. Thierry Lamare (French), Ophelia Study-Richness of The Poor, ND Watercolor, 11" x 19" g. Antonius Roberts, Lady In Waiting, 1981 Oil on Canvas, 36.5" x 47" h. Carl Abrahams (Jamaican), Afro Jewess, ND Oil on Canvas, 21.5" x 24.5" i. Jackson Burnside III, Mhudda, 1978 Acrylic on Canvas, 48" x 48" j. Otis Forbes, Girl With Bicycle, 1991 Acrylic on Canvas Board, 23" x 29" k. Maxwell Taylor, Eye Strain, 1983 Oil on Masonite, 24" x 22" l. Claudette Dean, Lady In Red, 2000 Oil on Canvas, 27.5" x 52.5" m. Stan Burnside, Saintly, 2010 Oil on Canvas, 14.5" x 14.5" n. Jenn Stack, Annie and Her Doll, 2021 Acrylic on Canvas, 11" x 13" o. Allan Wallace, Rebirth of A Goddess, 2018 Acrylic on Canvas, 39" x 46" f g h k j m n o l ii

WOMEN’S SOUTH WALL: RIGHT ARTWORKS p q r s p. Shacqeel Coleby, The Matron, Shrine Of, 2022 Butterfly Specimens, Silk Flowers, Digital Collage, Gold Leaf, 28" x 28" q. Shacqeel Coleby, Mother, Shrine Of, 2022 Butterfly Specimens, Goose Feathers, Silk Flowers, Digital Collage, Gold Leaf, 28“ x 28” r. Clive Stuart, Mother Earth, 1992 Acrylic on Canvas, 38" x 55" s. Spurgeonique Morley, The Turning Point, 2017 Collage, 39" x 26"

WOMEN’S EAST WALL a. Chantal Bethel, Anacaona, 2016 Acrylic, Crackle, Holey Stone, String on Wood, 24" x 30" b. Jace McKinney, The Last Messenger, 2013 Mixed Media, 24" x 36" c. Lavar Munroe, Virtuous Woman, 2007 Acrylic and Graphite on Canvas, 30" x 24" d. Stan Burnside, Visionary Princess with Matissian Hands: You Gotta See What it is Yer Looking at, 2019 Acrylic on Canvas, 40" x 60" a c b d ARTWORKS

WOMEN’S WEST ALCOVE: WALL A & B a. John Beadle, Conjure Woman, 1990 Oil on Canvas, 30" x 36" b. Angelika Wallace-Whitfield, Cydne Study III, 2018 Charcoal and Paint on Canvas, 25" x 21" a b ARTWORKS

SCULPTURESSCULPTURES b. Jessica Maycock-Colebrooke, Uproots, 2000 Glazed Ceramic, 15" x 10" x 14" a. Kapo Mallica Reynolds (Jamaican), Face with Beard, ND Carved Stone, 5" x 9" x 8"

b MEN’S WEST ALCOVE: WALL A & B a. Kachelle Knowles, Sea Garden Scarecrow, 2019 Mixed Media on Paper, 12" x 15" b. Kachelle Knowles, Last Day of School III, 2023 Mixed Media on Paper, 26" x 16" c. Kachelle Knowles, First Day of School, 2020 Mixed Media, 20“ x 24” d. Kachelle Knowles, Longevity, 2019 Mixed Media on Paper, 26" x 34.5" e. Kachelle Knowles, Another Reflection, 2017 Mixed Media on Paper, 20" x 30" f. Kachelle Knowles, Men on Cabbage Beach, 2022 Mixed Media on Paper, 30" x 20“ a c d e ARTWORKS f

MEN’S NORTHWEST ALCOVEg ARTWORKShijkmn g. Dave Smith, Brief Encounter, 1980 Acrylic on Canvas, 53" x 29" h. Stan Burnside, On the Way, 1999 Acrylic on Primed Linen, 29" x 42" i. Romare Bearden (American), Face Looking Right, ND Watercolor on Paper, 24" x 25.5" j. Dyah Neilson, Blair, 2020 Acrylic on Canvas, 12" x 15" k. Keith Thompson, Fear 3, 2019 Gouache on Paper, 24" x 20" l. Gordon Shadrach (Canadian), Gird, 2023 Oil on Wood, 19.5" x 23.5" m. John Beadle, Body Space III: Under Lock and Key, 2021 Cardboard, PVC and Plexiglass, 17" x 22" n. Jackson Petit, The Gaze, 2005 Mixed Media, 30" x 22" o. Gordon Shadrach (Canadian), Armour, 2020 Oil on Wood, 10" x 14" p. Keith Thompson, BLM V, 2021 Gouache, 12" x 9"pol

SCULPTURESSCULPTURES b. Randolph Wardell Johnston (Canadian), The Diplomat, 1942 Metal, Coral, Wood, 9“ x 10" x 19" a. C. Crooks (Jamaican), Bust of Jamaican Man, ND Mahogany Wood, 7" x 8" x 14"

MEN’S NORTHEAST WALL a. John Cahall (American), Antonius Roberts, 2015 b. John Cahall (American), John Beadle, 2015 c. John Cahall (American), John Cox, 2015 d. John Cahall (American), Maxwell Taylor, 2015 a-d. Carved Drywall and Acrylic on Wood Underlayment e. Stan Burnside, Pianissimo, ND Acrylic on Wood, 36" x 16" f. Ricardo Knowles, Portrait of Amos Furguson 3/5, 1990 g. Ricardo Knowles, Portrait of Amos Ferguson 1/5, 1990 f-g. Oil on Canvas, 11" x 13" h. Stan Burnside, For the Memory of Exuma, Passageway to Heaven, 1997 Acrylic on Canvas, 39" x 47" i. Tony McKay “Exuma”, Self Portrait with Songs, 1993 Watercolor and Tempera Paint on Paper, 11" x 17" c a b d e f g h i ARTWORKS

MEN’S EAST WALL j j. Kendal Hanna, Self Portrait, 1993 Oil on Canvas, 21" x 27" k. Danielle Brown, Portrait of Kendal Hanna, 2009 Oil on Canvas, 30" x 24" l. Thierry Lamare, Kendal Sunlight 1 Day #3, 2021st Watercolor on Strathmore Paper, 30" x 20" m. Antonius Roberts, Self Portrait with Glasses, 1976 Oil on Linen, 42" x 42" n. Antonius Roberts, Unmasked #1, 2020 Mixed Media, 22" x 35" ARTWORKS k l m n

FUN FACTSFUN FACTS Antonius Roberts (b. 1958, Nassau) is renowned for transforming felled trees into spiritual sculptures, reflecting his deep commitment to environmental conservation and the preservation of sacred spaces. Stan Burnside's (b. 1947, Nassau) artwork delves into the complexities of Bahamian identity, often drawing inspiration from African heritage and the role of the matriarch in Bahamian society. Kachelle Knowles (b. 1990, Nassau) examines themes of gender identity and cultural preservation, often focusing on the Black male figure to explore social relations within the Black community. Shacqeel Coleby (b. 1990, Nassau) is recognized for his surreal and vintage-inspired digital collage illustrations, blending elements of culture, history, and folklore. Exuma, born Tony McKay (1942-1997), blended his musical talents with visual art, creating a persona that celebrated Bahamian heritage through both mediums. Chantal Bethel was born in Haiti and raised in Belgium. She is known for her innovative use of the “crackle” medium, symbolizing the concept of "finding the light through the cracks," which captures her exploration of art’s transformative and healing potential. Lavar Munroe (b. 1982, Nassau) employs a hybrid medium that straddles the line between sculpture and painting, often incorporating themes from folklore, fables, and historic films. Having migrated to the United States for education, Munroe's experiences in various countries, including his upbringing in the Bahamas, significantly influence his artistic narratives. Gordon Shadrach (b. 1966, Brampton, Ontario) is based in Toronto and works as a portrait artist. He began painting in 2013 and is known for his oil paintings on wood or canvas. His work often explores themes of identity and representation within the Black community. Romare Bearden (1911-1988) was an influential African American artist. Bearden co-founded the Cinque Gallery in 1969 to support minority artists. His work, characterized by innovative photomontages, emphasizes the role of ritual in African American life. Gio Swaby (b. 1991, The Bahamas) is a Bahamian textile artist whose work celebrates Black womanhood through vibrant, fabric-based portraits. Born and raised in Nassau, she was taught to sew by her mother, a seamstress, which deeply influenced her artistic practice. Swaby's textile portraits are included in the permanent collections of prestigious institutions such as the Art Institute of Chicago and the Museum of Fine Arts in Boston

THE JUNKANOO ROOM THE JUNKANOO ROOM Junkanoo is a vibrant Bahamian festival rooted in African traditions, celebrated with colorful parades, rhythmic music, and elaborate handmade costumes during Boxing Day, New Year’s Day and other important cultural events. Beyond the streets, Junkanoo has inspired generations of Bahamian painters who capture its energy, color, and cultural significance on canvas. Artists like Brent Malone, Max Taylor, and John Beadle have used Junkanoo as both subject and symbol, exploring themes of identity, history, and national pride through expressive, dynamic works. Their paintings preserve the spirit of the festival while offering deeper reflections on Bahamian life and heritage.

NORTH WALL a. Rolfe Harris, Junkanoo Drummer, ND Oil on Canvas, 23" x 32" b. Rolfe Harris, Junkanoo Drummer, 1992 Oil on Canvas, 30" x 40" c. Brent Malone, Junkanoo Cosmic Dancer, 1981 Oil on Canvas, 36" x 48" d. Brent Malone, The History of Junkanoo, 1981 Oil on Canvas, 36" x 48" e. Maxwell Taylor, Green Parade, 1978 Oil and Acrylic on Canvas, 42" x 50"abcdefgh ARTWORKS f. Stan Burnside, Spirits Rejoice, 1987 Oil on Canvas, 48" x 13" g. Clive Stuart, Goatkanoo, 1996 Oil on Canvas, 40" x 30" h. Antonius Roberts, Live the Journey, 1996 Acrylic on Canvas, 36" x 42" i. Eric Ellis, Jammin On Bay Street, 1998 Oil on Canvas, 52" x 40" j. Brent Malone, Eye of Horus, 1979 Acrylic on Board, 24" x 30"ij

WEST WALL a. Jackson Burnside III, Drama In Bahama, 1983 Oil on Canvas, 18" x 24" b. Maxwell Taylor, Red Rushing, 1992 Oil on Canvas, 44.5" x 38.5" c. Jammin, Hot Summer Night, 1992 Acrylic on Canvas, 37" x 15" d. Bernard Petit, Drummer Under The Moon, 2004 Acrylic on Canvas, 28" x 33.5" e. Eric Ellis, Good Ole Rake and Scrape, 1995 Acrylic on Canvas, 38" x 49.5" ARTWORKS f. John Beadle, Street Talk, 1992 Oil on Canvas, 24" x 36" g. Jammin, Twilight, 1995 Acrylic on Canvas, Pastels h. Jackson Burnside III, Watchman’s Blues, 1983 Oil on Canvas, 18" x 24" i. Bernard Petit, Funky Faces, 2005 Acrylic on Canvas, 19" x 15" j. Jackson Burnside III, Boom Box Rhapsody, 1993 Acrylic, Charcoal, Oil on Canvas, 30" x 40"abcdefghij

JOHN COXJOHN COX Hellmet, Plywood 11" x 20" x 38" 21" x 21" x 46" The ‘Hellmet’ Series by John Cox explores the idea of protection as both a physical necessity and an emotional ritual. Composed in total of seven sculptural helmets, the series draws inspiration from a range of visual histories and cultural references, including Asia, Africa and Europe. These influences merge into objects that feel ancient and futuristic at once—part ceremonial artifact, part architectural study, part personal shield. Constructed primarily from plywood cutouts, the helmets reflect Cox’s long-standing fascination with mid-century modern architecture and design. Their carefully balanced symmetry, geometric repetition, and rhythmic construction emphasize structure and order, while the handcrafted surfaces retain a sense of intimacy and imperfection. Though the works suggest functionality and could seemingly be worn, they exist primarily as sculptural objects—psychological armature rather than literal costume. At the center of The Hellmet Series is the notion of protection: protection from emotional vulnerability, spiritual exhaustion, social pressure, and the instability of the outside world. Developed during a period marked by depression and introspection, the helmets became a way for Cox to process ideas around survival, resilience, and self- preservation. Yet despite these heavier undertones, the works remain celebratory. Their bold color relationships, ceremonial presence, and playful formal language suggest joy, endurance, and transformation alongside defense. The series fits within Cox’s broader practice of object-making, where familiar materials and crafted forms become vessels for memory, identity, and cultural synthesis. In these works, the helmet becomes more than armor—it becomes a portrait of the human desire to protect the self while still remaining visible, expressive, and connected to community.

ANTONIUS ROBERTSANTONIUS ROBERTS Antonius is inspired by each piece of wood or marble that comes to his hands. As he says “I wait for the material to tell me what to do.” The energy and the beauty of the material or the place then allows him to transform them in such a way that they create their own synergy inviting viewers to interact with them as opposed to simply reacting to what they see. His desire is to have the experience become meaningful at every level, intellectually, aesthetically, emotionally and spiritually. Sacred is a word he uses a lot and it is a word intended to reflect his spiritual inspiration, his own creative freedom of expression and his desire to inspire others to preserve those things that should be left intact to bear witness to their cultural heritage. Still Standing Up for my Rights, 2023 Carved Wood, Copper, 44" x 36" x 44"

FRED STORRFRED STORR Drummer Man (Sir Clifford Darling), 1994 Carved & Varnished Wood, 8" x 15" x 33"

EAST WALL d. Stan Burnside, Which Doctor?, 2000 Acrylic on Canvas, 41" x 41" e-j. John Beadle, Faces Series, 1995 Oil on Canvas, 10" x 10" k. Maxwell Taylor, Policeman, 2005 Woodcut Print, 36" x 44.5" l. Monique Rolle, And Still I Rise, 1992 Oil on Canvas, Mixed Media, 36" x 36.5" ARTWORKS m. Stan Burnside, The Last Supper Club, 1992 Acrylic on Canvas, 36" x 48" n. Elkino Dames, Scar Face, 2003 Acrylic on Plywood, Sand, Glitter, 17" x 26" o. Tony McKay “The Obeah Man”, Projection Of One, 1972 Oil on Canvas, 18"x 24" g d e k l m n o f h i j

SCULPTURESSCULPTURES a. Andret John, John Coney Bust, 2002 Wood Carving, 14.5" x 12" x 22" b. Nick Austin “Copper King” (Native American), We Rushin II, 2002 Hammered & Welded Copper Sheet, 33" x 7" x 58" a b c c. Sue Bennett Williams, Colour Theory, 2009 Glazed Ceramic on Granite Block, 12" x 13" x 98"

SCULPTURESSCULPTURES Jammin, Jammin, ND Acrylic on Wood, 24" x 21" x 27" SIDE A SIDE B

b SOUTH WALL a. Antonius Roberts, Blessed Mama, 1992 Oil on Masonite, 32" x 47.5" b. Marlon Hunt, Ghetto Angel’s Prayer, 2004 Oil on Canvas, 23.5" x 29" c. Osmond Watson, Devotee of Rastafari, 1993 Oil on Canvas, 27" x 33" d. Antonius Roberts, Child of Ethiopia/Child of Love, 1992 Acrylic on Canvas, 18" x 24" e. Eric Ellis, Long Neck Lizzie, 1992 Oil on Canvas, 24" x 48" ARTWORKS f. Jackson Burnside III, Mhudda II, 1982 Acrylic on Masonite, 42" x 42" g. Maxwell Taylor, Colorful Woman Heads No.2, 1997 Acrylic on Paper, 45" x 31.5" h. Maxwell Taylor, Colorful Women’s Heads I, 1997 Acrylic on Paper, 45.5" x 31.5" i. Stan Burnside, Grapes of Wrath, 1989 Oil on Canvas, 24" x 36" j. Maxwell Taylor, Lunch Time, 1967 Oil on Canvas, 27" x 20" d e ig h j c a f

JOHN BEADLEJOHN BEADLE Mobile Housing Scheme : Layered Memories, 2020 Wood and Metal, 66" x 98" Exhibited in ‘A Burning For Home’ at The D’Aguilar Art Foundation.

FUN FACTSFUN FACTS Junkanoo dates back to the 18th century when enslaved people in The Bahamas were given three days off at Christmas to celebrate freedom with music, dance, and costumes. The name’s origin is debated. Some link it to John Canoe, an African chief, while others believe it comes from the French phrase gens inconnus meaning “unknown people,” referring to the early masked parades. Antonius Roberts (b. 1958, Nassau) co-founded B‑CAUSE (Bahamian Creative Artists United for Serious Expression) in 1991 alongside Brent Malone, Stan Burnside, Jackson Burnside, Max Taylor, and John Beadle, promoting collective expression in Bahamian art. Eric Ellis (b.1964, Exuma) lived in Andros and served in The Royal Bahamas Police Force. He dedicated all his free time to creating original, vibrant artworks accessible to every Bahamian. John Beadle (1964-2024) was a key figure in major Bahamian art collectives like OPUS-5, B-CAUSE, and B.B.B. (Burnside Beadle Burnside), where he created bold collaborative works alongside legends like Stan and Jackson Burnside. In the 1990s, John Beadle paused painting to focus on Junkanoo design with One Family and later wandered the Bahamian bush to study traditional medicine which were experiences that deeply informed his art’s connection to people and landscape. Maxwell Taylor’s (b. 1939, Nassau) work was showcased at prestigious events including the 1968 Olympic Games in Mexico and the 1971 International Printmaking Exhibit in Santiago, Chile. In 1977, he was part of Bahamian Art Today at Brent Malone’s Matinee Gallery. Brent Malone (1941–2004) was the first Bahamian to earn an ‘A’ Level in Art and study fine arts abroad, training in England at Beckenham and Ravensbourne, opening doors for future generations. Rolfe Harris (1942-2023) spent over a decade working on charter boats before becoming a full- time artist, an experience that deeply informed his glowing scenes. Stan Burnside (b. 1947, Nassau) was a key figure in Bahamian art education, teaching at The College of The Bahamas, and played an important role in Junkanoo culture as a principal designer for the Saxon Superstars and One Family groups. Sue Bennett Williams (b. 1947, New Jersey) developed a deep bond with The Bahamas through family sailing trips to Abaco. Bennett Williams taught art in local schools during the 1970s. She developed her skills in clay in the early 1990's, along with a deep love for the process. To this day, clay continues to be the predominant medium in which she works.

THE AMOS FERGUSON ROOM THE AMOS FERGUSON ROOM Amos Ferguson (1920–2009) is one of The Bahamas’ most beloved folk artists, renowned for his vibrant, intuitive paintings that capture the spirit and culture of Bahamian life. Often working in bold colors and simplified forms, Ferguson depicted a range of subjects, from religious scenes and folklore to boats, shores, and lush floral arrangements, bringing everyday Bahamian experiences to life with charm and immediacy. In our collection, we are proud to hold over 50 original Ferguson works, thoughtfully arranged in the gallery by theme, allowing visitors to explore the depth and variety of his artistic vision. His work not only celebrates Bahamian culture but also highlights the joy, resilience, and imagination inherent in the islands’ people and landscapes.

NORTH WALL a. Amos Ferguson, Bouquet, 1970 House Paint on Board, 15" x 19" b. Amos Ferguson, Bride and Groom, 1987 House Paint on Paper Board, 30" x 36" c. Amos Ferguson, These Women Are The Sugar Loaf Pineapple Women, 1995 House Paint on Paperboard, 36" x 42.5" d. Amos Ferguson, Baskets and Bags, 1986 Enamel on Paperboard Laid to Masonite, 32.5" x 39" e. Amos Ferguson, Donkey and Pineapple, 1990 House Paint on Cardboard, 35.5" x 41" f. Amos Ferguson, Red Roses in a Vase, 1960 House Paint on Paperboard, 23" x 25.5" a ARTWORKS b c d e f g h i j k g. Amos Ferguson, Colourful Birds Nesting in Tree, 1977 House Paint on Paperboard, 30" x 36" h. Amos Ferguson, Birds In A Pond, 1985 House Paint on Paperboard, 30" x 36" i. Amos Ferguson, Pea Cop, 1986 House Paint on Paperboard, 30" x 36" j. Amos Ferguson, Hibiscus Woman, 1991 House Paint on Cardboard, 30" x 36" k. Amos Ferguson, Flowers In A Vase, 1985 House Paint on Paperboard, 30“ x 36”

WEST WALL: A a. Amos Ferguson, Pineapple Women, 1992 House Paint on Paperboard, 30" x 36" b. Amos Ferguson, Pineapples to Market, 2002 House Paint on Paperboard, 30" x 36" c. Amos Ferguson, Pineapple People Standing on Red Apple, 1995 House Paint on Paperboard, 30" x 36" a ARTWORKS b c

d e f g h i j k l m n o p q r s WEST WALL

WEST WALL d. Amos Ferguson, Flat Hair Junkanoo, 1988 House Paint on Canvas, 24" x 36" e. Amos Ferguson, Church Choir, 1990 House Paint on Paperboard, 30" x 36" f. Amos Ferguson, The Cat and The Fiddle, 1995 House Paint on Paperboard, 33" x 40" g. Amos Ferguson, Lucky Mature Bride, 1984 House Paint on Paperboard, 30" x 36" h. Amos Ferguson, Jesus 12 Years Old Among Doctor and Lawyer, 1978 House Paint on Paperboard, 16.5" x 18.5" i. Amos Ferguson, Untitled (Cart and Bicycle), ND House Paint on Cardboard, 35" x 41" j. Amos Ferguson, Sea Grape: Take the horse to well but you cannot make him drink, 1991 House Paint on Paperboard, 30" x 36" k. Amos Ferguson, Cow Faced Junkanoo, 1990 House Paint on Canvas, 30" x 36" ARTWORKS l. Amos Ferguson, White Cottage Under Blooms, ND House Paint on Paperboard, 30" x 36" m. Amos Ferguson, The Face Of A Donkey, 1985 House Paint on Paperboard, 34.5" x 41" n. Amos Ferguson, Police Band, 1992 House Paint on Cardboard, 30" x 36" o. Amos Ferguson, Everything I Do The Monkey Doin, 1987 House Paint on Paperboard, 30" x 36" p. Amos Ferguson, The Police Marching Band, Independence, 1991 House Paint on Paperboard, 34.5" x 40.5" q. Amos Ferguson, Angel, 1987 House Paint on Paperboard, 30" x 36" r. Amos Ferguson, The Singing Choir, 1994 House Paint on Paperboard, 30" x 36" s. Amos Ferguson, Roosters Playing Mandolin, 1985 House Paint on Canvas, 30" x 36"

a e EAST WALL: A a. Amos Ferguson, Family Donkey Ride, 1986 House Paint on Paperboard, 30" x 36" b. Amos Ferguson, Mermaids On A Rock with Fisherman, 1986 House Paint on Paperboard, 30" x 36" c. Amos Ferguson, Seagulls on Wrecked Boat Frame, 1969 House Paint on Paperboard, 30" x 36" d. Amos Ferguson, Spearing Large Crawfish, 1986 House Paint on Paperboard, 30" x 36" e. Amos Ferguson, Men in Sailing Boat, 1988 House Paint on Canvas, 28.5" x 40.5" ARTWORKS b c f. Amos Ferguson, Untitled (Gulls on a Boat), 1986 House Paint on Cardboard, 33" x 39" g. Amos Ferguson, Illegal Immigrant, 1992 House Paint on Paperboard, 30" x 36" h. Amos Ferguson, Regatta, 1994 House Paint on Paperboard, 30" x 36" i. Amos Ferguson, Untitled, 1984 Acrylic on Cardboard, 35" x 41" j. Amos Ferguson, The Bahamian Fishin House Boat, ND House Paint on Masonite, 35" x 40" d f g h ij

b EAST WALL: B & C a. Amos Ferguson, Woman Reclining in Bed, 1985 House Paint (Emulsion) on Paper, 16" x 18" b. Amos Ferguson, The Rich Man Throwing Out Gold & Silver Coins In The Street For The People, 1987 House Paint on Paperboard, 35" x 41" c. Amos Ferguson, Government House, ND House Paint on Masonite, 35" x 40" a ARTWORKS c

SOUTH WALL: A a. Amos Ferguson, Leave The Earth / Ascension Into Heaven, 1986 House Paint on Paperboard, 35" x 41" b. Amos Ferguson, Ten Commandments, 1969 House Paint on Paperboard, 30" x 35" c. Amos Ferguson, Angelic Choir, 1999 House Paint on Paperboard, 30" x 36"a ARTWORKSbcdef d. Amos Ferguson, Adam and Eve in Garden / Palm Sunday, 1988 House Paint on Paperboard, 55" x 55" e. Amos Ferguson, Jesus Caught Up With Them in The Air, 1992 House Paint on Paperboard, 30" x 36" f. Amos Ferguson, Palm Sunday, Jesus with Stigmata, 1969 House Paint on Paperboard, 34" x 40"

SOUTH WALL: B a. Amos Ferguson, Flamingo Vase with Hibiscus, 1991 House Paint on Cardboard, 36" x 29" a ARTWORK

SCULPTURESSCULPTURES b. Georges Liautaud (Haitian), Rooster Man, ND Copper, 13" x 17" x 29" a. Kate Malone, Blue Gaudi, 2010 Crystalline-Glazed Stoneware, 9.5" x 9.5" x 13"

FUN FACTSFUN FACTS Amos Ferguson was born in Exuma, The Bahamas in 1920 and passed away in 2009. His father, Robert Ferguson, was a preacher for the local Baptist church. Amos was close with his father and spent many days with him while learning to be a carpenter and caring for crops on the family farm. In 1937, Amos moved to Nassau to work as a carpenter. He worked in a furniture factory until 1943 polishing unfinished wood. After this time, he left The Bahamas to go to the United States as a ‘contract worker’ to work the land due to a labor shortage as a result of World War II. Later he returned to Nassau as a private contractor painting houses. Ferguson began his artistic practice in his 40s after a spiritual revelation, despite having no formal art training. He claimed to have received a vision from God in a dream, leading him to pursue painting and create works that celebrated the beauty of the world. He quit his house painting jobs in his 50's and dedicated all of his time to his artwork. Ferguson utilized house paints, cardboard, and plywood as his primary materials, often achieving glossy finishes by varnishing his works. He employed tools like nails and paint can lids to create uniform dots and circles, adding texture and rhythm to his paintings. Many of his paintings depict biblical scenes, reflecting his deep Christian faith and the influence of his preacher father. Ferguson's first solo exhibition was held at Toogood’s Studio in 1972, with other exhibitions in 1977 and 1978 at the Lyford Cay Gallery and Brent Malone’s Matinee Gallery. By the mid-1980s, the artist's fame was spreading beyond an appreciative circle of local artists. In 1985 the Wadsworth Atheneum Museum in Hartford, Connecticut held an exhibition of 50 paintings with the same title as his distinctive signature Paint by Mr. Amos Ferguson. The exhibition traveled the world for two years and sealed his reputation on the international art scene. He often signed his paintings with “Paint by Mr. Amos Ferguson,” occasionally adding his personal phone number and the artwork’s title, highlighting his direct connection to each piece. Many of his titles were written out in full sentences across the surface of the painting, sometimes with charming misspellings, adding a unique, personal, and playful layer to his work. His works continue to be celebrated for their vibrant colors, spiritual themes, and portrayal of Bahamian culture, solidifying his place as a pivotal figure in the country's artistic history.

THE AMULET ROOM THE AMULET ROOM The Amulet Room brings together an eclectic group of artists whose practices span sculpture, painting, and mixed media, creating a dynamic dialogue between form and concept. From Saskia D’Aguilar’s monumental wall amulet grappling with the politics of migration and belonging, to Joann Behagg’s intimate clay figures capturing Bahamian womanhood, the works on display push viewers to consider both the personal and the political. Alongside them, Anina Major explores the policing of women’s bodies, while Tessa Whitehead’s surreal landscape maps her emotional world. John Cox adds another dimension with his mixed-media painting that transforms ordinary objects into meditation. Interwoven with these works are pieces by artists who blur the line between fine art and craft, including Morgan McKinney’s hand-carved wooden forms, Tyrone Ferguson’s forged metalworks, and John Beadle’s multifaceted practice, all of which expand the room into a space of material experimentation and storytelling. Together, these artists create an environment that resists categorization, where ceramics sit beside steel, wood speaks to paint, and found objects converse with canvas, resulting in a layered showcase of Bahamian creativity that honors heritage while embracing reinvention.

SASKIA D’AGUILARSASKIA D’AGUILAR Saskia D’Aguilar’s Invasive Species Amulet (2018) uses driftwood, sea glass, and Poinciana pods to confront the politics of immigration and belonging, drawing on Elie Wiesel’s reminder that “no human being is illegal.” Monumental in scale, the work likens immigrant peoples to plants labeled “invasive,” whose ability to adapt and flourish despite resistance becomes a metaphor for resilience. Embedded with the fingerprints of non-nationals she has personally assisted, the piece bridges her activism with her art, transforming frustration with bureaucracy into a visual protest against exclusion. At once a warning and a celebration, the amulet calls viewers to recognize the inherent worth of every human life, suggesting that, like the brilliant bloom of the Poinciana each summer, immigrant communities bring beauty and vitality that should be cherished rather than feared.

AMULET ROOM: SOUTH WALL a. Tyrone Ferguson, The Mace, 1999 Metal, 11" x 34" b. Tyrone Ferguson, Mask, ND Copper Sheet Hammered & Welded, 8" x 6" x 29" c. Anina Major, To Have And Not To Own, 2017 Ceramic, Steel Mesh Cage, 16" x 8" x 6" d. John Beadle, Proxemics: Personal Space/Commanding Stance, 2015 Metal, Mesh, Wood on Paper, 25"” x 21" a b ARTWORKS c d e f g h e. Joann Behagg, Mama, 2002 Glazed Stoneware, 10" x 9" x 13" f. Joann Behagg, Nursing Mother, 2010 Glazed Ceramic, 7" x 13" x 7" g. Joann Behagg, Audacious Woman, 2003 Glazed Stoneware, 7" x 9" x 11" h. Tamara Russell, Coffee Bean, 2007 Glazed Ceramic, Steel Rod, Wood, 10" x 10" x 26"

AMULET ROOM: NORTH WALL a. John Cox, Black Tie Affair, 2004, Mixed Media Canvas - 28" x 36" The Object - 56" x 9" 39" b. Morgan McKinney, Sea Egg, 2013 Wood Carving (Women’s Tongue), 35" x 26" x 11"

TESSA WHITEHEAD Untitled, 2009, Oil & Pencil on Linen, 80" x 69" Tessa Whitehead (b. 1985, Nassau, The Bahamas) is a multi-media artist, whose work explores her internal experience in conversation with the tropical landscape. Her paintings, drawings and sculptures combine and contrast elements of the Bahamian landscape with surreal figures and familial portraits. The result is an autobiographical perspective of femininity and womanhood.

SCULPTURESSCULPTURES a. Alistair Stevenson, Pinnacle Sponge, 2013 Glazed Ceramic, 8" x 8" x 16" b. Kate Malone (British), Baby Lady Atomic Vase, 2011 Crystalline-Glazed Stoneware, 9" x 8" x 8"

FUN FACTSFUN FACTS Saskia D’Aguilar (b. 1964, Winterthur, Switzerland) has been instrumental in shaping the D’Aguilar Art Foundation (DAF) into a pivotal institution for Bahamian art. Following the passing of her father- in-law, Vincent D’Aguilar, in 2008, she championed his vision to establish a foundation dedicated to preserving and showcasing his extensive art collection. Saskia oversaw the meticulous restoration of a historic Bahamian home on Virginia Street, transforming it into a climate- conscious space that opened its doors in April 2010. She has since opened the V&M Art Gallery that displays select works from the family’s private collection. Joann Behagg was a Bahamian sculptor known for figurative clay works that portray women in everyday activities such as breastfeeding, gossiping, and arguing. In 2009, she founded the Bahamas chapter of Empty Bowls, a global charity initiative fighting food insecurity through handmade bowls and soup events. Morgan McKinney (b. 1983, Nassau), a designer and carpenter, creates hand-carved furniture and sculptures from locally sourced wood. McKinney studied Interior and Furniture Design at the Savannah College of Art and Design. Tyrone Ferguson (b. 1955, Nassau) is regarded as The Bahamas’ premier artist-blacksmith, working with metals such as iron, bronze, copper, and aluminum to create both functional and sculptural works. Tessa Whitehead (b. 1985, Nassau) is a multidisciplinary artist whose work explores themes of femininity, identity, and the natural world. Her practice encompasses painting, sculpture, and drawing, often blending surreal figures with the Bahamian landscape to create deeply personal narratives. Anina Major (b. 1981, Nassau) explores identity, place, and displacement through craft-based installations, and her work is held in major collections including the Museum of Fine Arts, Boston. John Beadle (1964-2024), the son of a Jamaican- man and a Bahamian-woman (born 1964, Nassau, The Bahamas) works in a variety of mediums and building methods with ease. It is this incredible proficiency that allows him to describe universal narratives such as burden and freedom through notably meticulous and beautiful presentation. In 2013, The National Art Gallery of The Bahamas showcased The John Beadle Project, a major exhibition featuring recent paintings, sculptures and multi-media pieces. John Cox (b. 1973, Nassau) is a prominent Bahamian artist, educator, and cultural advocate known for his dynamic mixed-media works. His art, characterized by its raw, spiritual, and eclectic style, often incorporates familiar objects to explore themes of identity, culture, and the human experience. In 1999, he founded the Popopstudios International Center for the Visual Arts.

THE BLACK & WHITE ROOM THE BLACK & WHITE ROOM The Black & White Room serves a dual purpose as both a gallery and a dining space for corporate gatherings, creating an atmosphere where art and conversation naturally intersect. Anchoring the room is a striking wall of Max Taylor prints, arranged around a Dave Smith painting that hyper-realistically incorporates Taylor’s imagery, prompting viewers to consider how works addressing oppression and liberation shift meaning when placed in spaces of privilege and comfort. A salon-style wall brings together pieces by Brent Malone, Allan Wallace, Dionne Benjamin-Smith, and others, offering a lively mix of surrealism, abstraction, portraiture, and figuration. Around the room, painted shells by Malia Kinger, a commanding piece by Kendra Frorup, and mixed-media works by Sue Bennett- Williams expand the dialogue of materials and themes. Beaded chairs and embellished horns, collected during the D’Aguilars’ travels, add further texture, making the room not just a showcase of diverse artistic voices but also a layered environment where cultural objects and contemporary art coexist in conversation.

WEST WALL a b c d e f g h i j k l m n o p r s t u v w x y o

WEST WALL a. Allan Wallace, Rome’s Moon, 2018 Pen on Paper, 17" x 22" b. Holly Parotti, Untitled (two circles), 2012 Photograph, Color, Digital Manipulation, 14" x 16" c. Kendal Hanna, Study of Vincent, ND Acrylic on Canvas, 21" x 26" d. Alistair D. Stevenson, Deleite with Marina, 2014 Graphite on Paper, 11" x 16" e. Heino Schmid, Horizon, 2004 Charcoal, Pastel on Peper, 30" x 36" f. Brent Malone, Man in the Moon (titled by Tessa), 1978 Metal Etching on Paper, 27" x 34" g. Eric Minns, The D’Aguilar Gallery, 2017 Pen, Ink on Canvas, 11" x 9" h. Brent Malone, Junkanoo Figure, 1983 Metal Etching on Paper, 16" x 13" i. Tessa Whitehead, Breadfruit Body II, 2021 Emulsion, China Marker on Paper, 48" x 63" j. Christina Darville, Bey, ND Digital Print, 19" x 20" k. Maxwell Taylor, Face, 1981 Etching & Aquitint, 13" x 14" l. Maxwell Taylor, Face, 1969 Soft Ground Etching, 13" x 13" m. Margot Bethel, Who the Hell Do I Think I Am, 2012 Pen, Pencil, Wax, Paint on Plywood with Burnt Engravings, 7" x 7" ARTWORKS n. Jessica Maycock-Colebrooke, Zero Time, 1995 Monoprint, 9" x 14" o. Heino Schmid, Stir 8 (aka “Personal Comfort”), 2010 Charcoal, Graphite, Pastel, Oil on Canvas, 46" x 46" p. Dionne Benjamin Smith, The Joneser, 1991 Woodcut Print on Paper, 11" x 12" q. Giovanna Swaby, Fundamental Basics of Magnetism II, 2014 Tapestry, 15" x 18" r. Sofia Whitehead, Fresh, 2017 Photograph Print on Paper, 15" x 21" s. Kendal Hanna, Mask of Girl, 2002 Oil & Ink on Canvas, 19" x 16" t. Brent Malone, Sunrise, 1983 Metal Etching on Paper, 18" x 24" u. Kendal Hanna, Untitled, 2013 Acrylic on Canvas, 16" x 20" v. Dionne Benjamin Smith, Down and Out (5/25), 1991 Linoleum Cut Print, 19" x 8" w. Saskia D’Aguilar, Unzipped, ND Ink on Wood, 11" x 10" x. Toby Lunn, Self Portrait, 2013 Acrylic on Canvas, 9" x 6" y. Brent Malone, At Rest- Child on Man’s Shoulders, ND Metal Etching on Paper, 11" x 15"

e c SOUTH WALL a b d f g a. Maxwell Taylor, No More, No More, 1992 Woodcut Print on Paper, 36" x 24" b. Maxwell Taylor, I’m So Tired (Love/Responsibility), 1999 Woodcut Print on Paper, 46" x 58" c. Maxwell Taylor, Goin Home From Work, South Carolina, 2004 Woodcut Print on Paper, 59" x 29" d. David Smith, The Art Collector, 2010 Acrylic on Canvas, 55" x 43" ARTWORKS e. Maxwell Taylor, 20 Century Slave, 2000th Woodcut Print on Paper, 41" x 60" f. Maxwell Taylor, Harriet Tubman, 1982 Woodcut, 23" x 28" g. Maxwell Taylor, My Treasure, ND Woodcut Print on Paper, 25" x 26"

SOUTH WALL: SIDEBOARD a. Unknown, Horn 1-3, ND Animal Tusk, 3" x 4" x 23" (Large) 3" x 4" x 12" (Small) b. Malia Kinger, Orchid, 2023 Acrylic Paint on Bleached Conch Shell, 3" x 4" x 5" c. Malia Kinger, Flower Chair, 2024 Acrylic Paint on Bleached Conch Shell, 5.5" x 5.5" x 6" d. Malia Kinger, Baby Dot, 2024 Acrylic Paint on Bleached Conch Shell, 2" x 2" x 2.5" e. Malia Kinger, Cassiopeia, 2024 Acrylic on Bleached Conch Shell, 9" x 8" x 10" f. Malia Kinger, Tandem, 2024 Acrylic Paint on Bleached Conch Shell, 6" x 6" x 8" ARTWORKS b c e f d a

e NORTH WALL a a-d. Veronica Dorsett, Artist’s Block 1-4, 2013 Mixed Media, 8" x 10" e. Sue Bennett Williams, Scale of Value II, 2018 Mixed Media on Canvas, 7" x 3" x 13" f. Sue Bennett Williams, Scale of Value V, 2018 Mixed Media on Canvas, 6" x 3" x 15" g. Sue Bennett Williams, Scale of Value IV, 2018 Mixed Media on Canvas, 6" x 3" x 14" ARTWORKS b c d f g

KENDRA FRORUP Somewhere in the Pine Yard, 2016 Embossed Paper, Graphite, Stainless Steel, Repurposed Wood, 49" x 7" x 74" “Collecting is part of the making,” states sculptor Kendra Frorup about her work. Frorup was born and brought up in Nassau, Bahamas and uses her memories of this time in her art. After a childhood in the Bahamas, she welcomed the opportunity to study in the United States and began to create representational images that showed a commonality with her culture. Gil DeMeza, one of her former professors at the University of Tampa, describes Frorup as “the collector.” He said that her “unique ability to take the old, the used and discarded and turn them into other worldly, incalculably exquisite moments in time is a magical talent. Her creations are works, which exhibit both poignancy and invigorating humor. Her outgoing, friendly demeanor is as infectious as is her art while giving us pieces that are at once funny, elegant, scary and crude. She is a dreamer of the first magnitude. With respect to her work, the viewer is never left disappointed or hungry.” Frorup earned her BFA in Sculpture at the University of Tampa and her MFA in Sculpture at Syracuse University. She is currently Assistant Professor in sculpture at the University of Tampa. Her work in Major International Collections includes The National Art Gallery of the Bahamas, The Venice Biennale – Exposició Art Camp 2012, col·lecció FEDA, International through Andorra and Unesco. Recent selected exhibitions Include The sixth National Exhibition, National Art Gallery of the Bahamas, Nassau, Bahamas “The Global Caribbean: Focus on Caribbean Landscape,” Little Haiti Cultural Complex, Art Basel Venue, Miami, Florida and Musée International des Arts Modestes in Sète, France and Solo exhibition, “The Inner Temple Project,” National Art Gallery of the Bahamas, Nassau, Bahamas. The Florence Biennale 2015, Florence Italy.

FUN FACTSFUN FACTS Allan Pachino Wallace (b. 1979, Nassau) is largely self-taught and has been working full-time as an artist since around 2004. His salt portraits and live mural performances have been featured in media outlets like Time Magazine, ESPN, and Fox Sports. Brent Malone (1941–2004), a pioneer in Bahamian art, began his career in pottery, apprenticed at Chelsea Pottery, then transitioned to photorealistic painting, and also founded several galleries in Nassau to support local artists. Dionne Benjamin-Smith (b. 1970, Nassau) is both a graphic designer and a printmaker whose work often combines social critique with wit. She addresses issues such as religion, identity, and cultural expectations in The Bahamas. Sue Bennett-Williams (b. 1947, New Jersey) is a longtime educator who has mastered multiple media including watercolor, clay, and charcoal, while constantly pushing their boundaries. She founded the After School Music and Art Classes (ASMAC) in 1993, mentoring generations of young Bahamian artists. Tessa Whitehead (b. 1985, Nassau) has exhibited in both The Bahamas and abroad; her work often fuses familial portraiture, surrealism, and tropical landscapes to explore womanhood and personal narrative. Veronica Dorsett (b. Freeport, The Bahamas) is a visual artist whose work explores Black hair politics, adolescence, and nostalgia. Maxwell Taylor (b. 1939, Nassau) is a Bahamian artist and master printmaker. He began his artistic journey under the mentorship of Don Russell and later apprenticed at the renowned Chelsea Pottery alongside artists such as Brent Malone, Eddie Minnis, and Kendal Hanna. Taylor's work often explores themes of social justice, identity, and the human experience, utilizing mediums like woodcuts and acrylics to convey powerful narratives. His pieces have been featured in exhibitions at institutions like the National Art Gallery of The Bahamas, and his work is included in the collections of notable figures, including the late Nat King Cole and Sir Harold Christie. In 2009, the National Art Gallery of The Bahamas held a major retrospective of his work titled "Max Taylor: Paperwork, 1960–1992," showcasing his emotionally charged large-scale woodblock prints. Dave Smith (b. 1944, Derbyshire, England) is a Bahamian-based Pop-Realist artist whose work combines American pop culture with idealized Bahamian landscapes; after decades of exhibiting in The Bahamas and the U.S., he also worked as a scenic artist in Hollywood

THE UNCENSORED ROOM THE UNCENSORED ROOMThe Uncensored Room invites viewers into an intimate exploration of the female form, presenting a diverse range of perspectives from artists Angelika Wallace-Whitfield, Antonius Roberts, June Collie, Tavares Strachan, and Drew Weech. The collection moves fluidly between delicate watercolor studies, pixelated “not safe for work” images, and bold, confrontational pieces that challenge the gaze of the viewer. Each work carries its own tension between vulnerability and power, beauty and critique, revealing the complexity of how femininity is seen and constructed. In this space, the nude becomes more than a subject, it becomes a statement, a question, and a mirror held up to the viewer. Together, these works push boundaries of comfort and convention, prompting reflection on how women’s bodies are represented, revered, and reclaimed in art.*sensitive content inside**sensitive content inside*

e EAST WALL a. Tony (“Exuma”, “The Obeah Man”) McKay, Woman in Bed Half Naked, 1979 Oil on Canvas, 21" x 25" b. Kapo Mallica Reynolds (Jamaican), Last One: Crisis, 1979 Oil on Canvas, 24" x 36" c. June Collie, Woman Thinking (Woman from Back, Nude), 2011 Acrylic & Tempura on Paper, 17" x 23" d. June Collie, Woman Posing, 2011 Acrylic & Tempura on Paper, 17" x 23" a ARTWORKS b c d f g h i j e. Unknown (Haitian), Sitting Lady, ND Carved River Stone, 10" x 13" x 27" f. Allan Wallace, Jupiter, 2018 Acrylic on Canvas, 40" x 40" g. Favrange Valcin II (Haitian), After the Fete, 1997 Oil on Canvas, 43" x 33" h. Toby Lunn, Madame Butterfly, 2010 Mixed Media, 30" x 36" i-j. Malcom Rae, Sleeping Nudes, 2014 Watercolor, 11" x 5" Each

NORTH WALL a. John Beadle, Pregnant Nude II, circa 1998 Acrylic on Wood, 16" x 24" b. John Beadle, Pregnant Nude I, circa 1998 Acrylic on Wood, 24" x 16" c. Tavares Strachan, Sunflower Seed, ND Acrylic on Canvas, 36" x 46" a ARTWORKS b c d e f g h i j k l d-l. Andrew (Drew) Weech, Duo II, III & IV; Group II; Solo I, II, III, & IV, 2018 Pastel, Pencil, Graphite on Paper, 12" x 12" Each m. Angelika Wallace-Whitfield, Animalistic III, 2013 Acrylic on Canvas, 48" x 60" WESTWALL m

ANTONIUS ROBERTS Cultured Pearl, 2010, Acrylic on Canvas, 70" x 47"Antonius Roberts, OBE, was born in 1958. He graduated in 1981 from the Philadelphia College of Art (now the University of the Arts), Philadelphia, Pennsylvania earning a BFA in Painting. He was born and grew up on Lewis Street in the heart of Nassau, Bahamas, a reference which informs his life’s work creatively and his connection to history and community. In his early career he was a teacher and lecturer at Government High School and The College of The Bahamas (now University of The Bahamas) and coordinated a series of FINCO Summer Art Workshops mentoring a generation of young Bahamian artists. He also served as the Curator of The Central Bank of The Bahamas’ Art Gallery until 2017, and was the architect and coordinator of their annual Competitions and Exhibitions until 2006. In The Bahamas, as a sculptor, Roberts became known for his first Sacred Space project at the historic Clifton Heritage site, New Providence. This theme of enslavement was expanded on with a larger installation at the Blake Road Welcome Centre. Another group of Sacred Women travelled to Wiesbaden, Germany for their Funky Nassau Exhibition which were then exhibited at The Nassau Art Gallery of The Bahamas, with a similar installation now forming part of The Grand Bahama Heritage Foundation. His progress as an artist and conservationist since 2012, when he restored an historic building and it became Hillside House Studio & Gallery, has been notable. Ten productive years later, an organic progression has been the founding of Project I.C.E., an acronym for ‘Incubator for CreativeExpression’. In 2019 he leased a parcel of land and a dilapidated warehouse and proceeded, as expected, to conserve, preserve and restore the building as a useable space for emerging artists to be mentored and practice their craft. 2022 has seen an exchange Residency with The Ontario College of Art & Design, University of Toronto, their students, faculty and Indigenous leaders in residence at I.C.E. and I.C.E. students going to Toronto. His spiritual connection, his desire to record and honour his Bahamian heritage, as well as his commitment to conservation, preservation and restoration throughout The Bahamas continues to be reflected in all his creative work and pedagogy.His career as an artist has taken him around the world to participate in various exhibitions. In 2005 Roberts spent one month in Pietrasanta, Italy working in marble and granite as part of the International Professional Artist Symposium and Exchange. In 2006 he was invited not only to exhibit in Changchun, China but to leave, as a permanent installation, his 12’ bronze sculpture. In 2011 he participated in the Master Artists of The Bahamas Exhibition at the Waterloo Centre for the Arts in Iowa. Donning a different hat in 2009, as an Open Space Designer, Roberts designed and directed the creation of the seven acre park at Centreville House, a revitalization programme in downtown Nassau. His creative versatility was demonstrated in his creation of Bubbles, a collection of blown-glass bubbles installed at the newly renovated Lynden Pindling International Airport in 2013. Roberts became the first Artist in Residence at Schooner Bay, Abaco for several years and later in 2017 established a relationship with the Island School in Eleuthera.

LEFT & RIGHT RESTROOMS a. Angelika Wallace-Whitfield, Contact III, 2021 b. Brent Malone, Hair Drying, ND Mixed Media on Canvas, 36" x 48" Watercolor on Canvas, 25" x 32" ARTWORKS a b

FUN FACTSFUN FACTS June Collie (b. 1986, Nassau) is known for her bold use of color and playful, expressive figures that often draw from Bahamian folklore, childhood memories, and local culture, transforming everyday island life into vivid, dreamlike scenes. In addition to her paintings, Collie has created large- scale public murals across Nassau, bringing her art beyond the gallery walls and into community spaces where her joyful, empowering depictions of women celebrate freedom and identity. Tavares Strachan (b. 1979, Nassau) often merges art, science, and exploration in his work. He once created an entire exhibition using ice harvested from the Arctic, shipped to The Bahamas, and displayed in a solar-powered freezer, highlighting themes of climate, identity, and visibility. He also trained as an astronaut and sent a 24-karat gold sculpture of himself into space aboard a SpaceX rocket as part of his project ENOCH, which honored an overlooked Black historical figure. Mallica "Kapo" Reynolds (1911-1989) was a self- taught Jamaican artist and religious leader, born in Byndloss, St. Catherine Parish. He began his artistic journey in the 1940s, translating his spiritual visions into paintings and sculptures. Kapo was a prominent figure in the "Intuitives" movement, a group of self-taught artists who sought to capture the essence of their cultural and spiritual experiences. Toby Lunn (b. 1972, Nassau) works in gestural abstraction, using layered brushwork, drips, glazes, and paint to evoke a “state of being.” He studied at the College of The Bahamas (Associate in Art, 1991) and then received a Bachelor of Fine Arts from the Maryland Institute College of Art in 1994. Drew (Andrew) Weech (b. 1984, Nassau) is originally from Nassau and is now based in Harlem, New York—his paintings often interrogate ideas of “home,” belonging, memory, and his Afro- Caribbean background, drawing on history as well as contemporary visual culture. He graduated from NSCAD University in Halifax, Nova Scotia, Canada, with a Bachelor of Design in Interdisciplinary Design in 2011. Favrange Valcin II (1947-2010), born in Jérémie, Haiti, was a Haitian artist known for his distinctive folk art style. He was introduced to painting by his uncle, the renowned artist Gérard Valcin, and began his artistic journey in 1963. Valcin II's work often depicted scenes of Haitian life, including village landscapes and spiritual themes, using bold colors and patterns. His art has been exhibited in Haiti, the United States, and Europe, contributing to the rich tapestry of Haitian artistic heritage.

THE OFFICE & STORAGE ROOM THE OFFICE & STORAGE ROOM Our offices feature a large assortment of paintings by Kendal Hanna who is known as the first Bahamian abstract expressionist. His gestural and visually explosive works are accompanied by a variety of sculptures by Joann Behagg and Jessica Colebrooke as well as books taken from Vincent D’Aguilar’s personal library. In some of the books, you can see where Vincent has used underlining to keep track of what he was reading at the time. In Saskia’s office is an emotional 3D collage by Sue Katz which confronts the viewer and explores the pain and trauma of racism, bigotry and prejudice in all it’s forms. The heaviness of this work is offset by a bright abstract diptych by Hanna and a painting of women dancing by Jamaican artist Kenhandanna "Kent" Spencer. In the storage room are works that are part of the permanent collection that are not currently on display and is home to both Dave Smith’s Archive and the Roland Rose Archive that the foundation acquired upon Rose’s passing in 2021, including his photographs, negatives and digital files

NORTH WALL A a b c d e f g h ARTWORKS a. Kendal Hanna, Spirit of Fear, Hope & Despair, 1992 Oil on Canvas, 47" x 21" b. Kendal Hanna, S.O.S. (by Saskia), 1994 House Paint on Canvas, 13" x 11" c. Kendal Hanna, Untitled, 2004 Mixed Media on Canvas, 25" x 19" d. Kendal Hanna, Untitled, ND Oil on Canvas, 13" x 11" e. Kendal Hanna, A+B=2 (Italy), 1992 Oil on Canvas, 46" x 50" f. Kendal Hanna, Untitled, 1976 Oil on Canvas, 12" x 10" g. Heino Schmid, Birthday Abstraction, 2014 Acrylic on Canvas, 10" x 12" h. Kendal Hanna, Untitled, 1976 Oil on Canvas, 11" x 9"

NORTH WALL Babcdefgh ARTWORKS a. Kendal Hanna, Seated Man, 2000 Acrylic on Canvas Glued to Board, 48" x 36" b. Kendal Hanna, Untitled, ND Oil on Canvas, 9" x 12" c. Kendal Hanna, Untitled, ND Oil on Canvas, 9" x 12" d. Kendal Hanna, Untitled, ND Oil on Canvas, 9" x 12" e. Kendal Hanna, Untitled, ND Oil on Canvas, 15" x 12" f. Kendal Hanna, Somber Man, 1993 Oil on Canvas, 12" x 15" g. Kendal Hanna, Untitled (Rainbow Explosion), 1993 Oil on Canvas, 15" x 12" h. Kendal Hanna, Portrait of Vincent D’Aguilar, 2008 Acrylic, House Paint, Graphite on Canvas, 36" x 48"

WEST WALL & BOOKSHELF a b d c ARTWORKS a. Michael Edwards, Untitled, 2004 Mixed Media, 12" x 12" b. Michael Edwards, Untitled, 2004 Mixed Media, 12" x 12" c. Kendal Hanna, AIDS, 1991 Acrylic on Canvas, 24" x 18" d. Kendal Hanna, Untitled, ND Mixed Media, 24" x 18"

SCULPTURESSCULPTURES a. Antonius Roberts, Dancer, 1995 Wood, 20" x 41" b. Artist Unknown a b c b. Jessica Maycock-Colebrooke, Coral Vase, 2012 Glazed Ceramic, 12.5" x 5" x 13"

EAST WALL a b ARTWORKS a. Kendal Hanna, Untitled, 1993 Oil on Canvas, 17" x 14" b. Kendal Hanna, Untitled, ND Oil on Canvas, 10" x 12"

SCULPTURESSCULPTURES b. Joann Behagg, Pensive Lady, 2003 Stoneware, 7" x 9" x 12" a. Joann Behagg, Brazen Woman, 2003 Stoneware, 7.5" x 10.5" x 10.5"

WEST WALL: BOOK SHELF ARTWORKS a. Kendal Hanna, Untitled Abstract, 1994 Oil on Canvas, 12" x 15" b. Kendal Hanna, Untitled, 2002 Oil on Canvas, 12" x 15" c. Kendal Hanna, Untitled 5-0, 2014 Acrylic on Canvas, 10" x 8" d. Turgo Bastian, Unknown, ND e. Maxwell Taylor, Unknown, ND a b c d e

SOUTH WALL: KITCHEN SHELF ARTWORKS a. Kendal Hanna, Untitled, 1994 Oil on Canvas, 11" x 9" b. Kendal Hanna, Untitled, 2002 Oil on Canvas, 13.5" x 11" c. Kendal Hanna, Untitled, 2001 Oil on Canvas Board, 10.7" x 9" a b c

SASKIA’S OFFICE: EAST WALL Kendal Hanna, Untitled, 2022 Acrylic on Canvas, 39" x 57" Each

SASKIA’S OFFICE: WEST WALL Kenhandanna “Kent” Spencer (Jamaican), Dancing Ladies, ND Oil on Masonite, 50" x 33"

SASKIA’S OFFICE: SOUTH WALL Sue Katz, Who Are We?, 2014 Mixed Media, 49" x 15" x 38"

FUN FACTSFUN FACTS Roland Rose (1937-2021, born in Italy) has been called The Bahamas’ ‘Dean of Photography.’ His documentary photography played a notable role in the development of the Bahamas’ national identity. In 1951, he was appointed as a photographer to the National Development Board, and he often took photos of the Bahamas’ developing touristic landscape. His work for the board favored a perspective of an idealized, beachy tourist-haven, focusing on the marketable beauty of the beach scene and views from parliament. His own experimental work, however, focused on a deep familiarity of the people and with the viewer, or toward Rose himself. When the National Development Board eventually branched into the Ministry of Tourism 1964, Rose had already cemented himself as the primary figure of Bahamian Documentary photography, commercially and artistically. Kendal Hanna’s (1936-2024) is one of the country’s earliest abstract expressionists. His initial works were majority black and white and figurative paintings but he worked more extensively in colour after being treated for schizophrenia in his late twenties. As he progressed, his work became increasingly abstract and self-referential. He characterizes his work as his “subconscious mind expressing itself on the canvas.” Later on in life, Kendal painted in both colour and black and white, and alternated between pure abstractionism and capturing subjects, often himself or close friends, in a more realistic style.