Sans titre 2, 1947

by André Beaudin

Print : aquatint, eau-forte, paper, etching 21.3 x 16.1 inch

$1,016

One of the last works available by this artist

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9.6/10

About the artwork

Type

Numbered and limited to 2 copies

1 copy available

Signature

Hand-signed by artist

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Medium

Print: aquatint, eau-forte, paper, etching

Dimensions cm inch

21.3 x 16.1 inch Height x Width x Depth

Framing

Not framed


Tags

Abstract artworks

Wheel

Yellow

Dark blue

Artwork sold in perfect condition

Artwork location: France

Etching and aquatint handsigned, dated, "épreuve d'essai" justified and numbered in pencil by the artist. Printed by Lacourière & Frelaut. Some spots of rust.
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About the seller

Galerie Hus • France

Artsper seller since 2015

Vetted Seller


Collector’s Guide

Imagine it at home

André Beaudin, Sans titre 2
Born in Mennecy (Seine-et-Oise) on February 3, 1895, André Beaudin attended the School of Decorative Arts from 1911 to 1915. Then mobilized, he has for front comrade the painter Jean Chapin. In 1919, he married the painter Suzanne Roger (1898-1986) and met Juan Gris in 1922. Beaudin had his first private exhibition in Paris in 1923 at the Percier gallery, prefaced by Max Jacob then, his painting defended by Daniel- Henry Kahnweiler, exhibits regularly in France and abroad, participating in the main group exhibitions of the painters of the School of Paris after the war. Beaudin received the National Arts Prize in November 1962. At the request of the architect Édouard Albert, a few years later he produced a mosaic for the Faculty of Sciences of Jussieu in the 5th arrondissement of Paris. Between 1964 and 1966, he created several sculptures and original decorations in collaboration with the Manufacture de Sèvres. "Its color has a kind of transparent quality which is that of reflection: it is not shy, but restrained. The form is said with color but is never 'coloring' aggressive, for glory and illustration. of it. It seems inhabited from the inside and living the moments of a birth, the pigments suspended in a light material. It does not thicken - quite the contrary -; the color scatters around the grain, the whiteness of the canvas, of the support (...). These are rather murmuring colors like a spring coming out of the earth. They are, naturally also, in each work only few. "
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