Antoine Pevsner Signed Abstract Composition Screenprint, 1961

This striking Antoine Pevsner Signed Composition Screenprint, originated in France 1961. The work presents a vertically oriented composition printed on paper with a deep near black ground punctuated by a luminous arrangement of linear geometric motifs. Thin, deliberately placed bands of red and green intersect crisp white angular forms to describe a stacked, almost totemic structure crowned by a circular element. The signature "Antoine Pevsner" appears in pencil at lower right, confirming the artist's hand on the sheet. Its economy of line and confident ordering suggest an architectural sensibility that privileges form and rhythm over surface ornament. The sheet is set within a broad neutral linen mat that amplifies the graphic contrast of the image and is housed in a narrow polished metal frame with a minimalist profile. This presentation emphasizes the print's diagonal thrust and the precise registration of its layers while the restrained palette and economy of line reflect mid century modernist abstraction. Together the mounting and framing offer a restrained, museum like presentation that complements the print's formal clarity. The piece reads as a refined study in balance and motion with carefully controlled color accents on a dark field and a confident architectural sense of composition. Excellent vintage condition.

Antoine Pevsner was a Russian-born French sculptor, recorded by the Metropolitan Museum as born in Orël in 1886 and died in Paris in 1962. Trained initially as a painter, he is chiefly relevant to cataloguing as a co-formulator, with his younger brother Naum Gabo, of Constructivist sculptural theory. Their **Realistic Manifesto**, issued in Moscow in 1920 as a broadside, argued for an abstract art grounded in space and time rather than traditional mass and representation. Pevsner’s mature vocabulary is characterized by open construction, intersecting planes, radiating or striated surfaces, and an emphasis on light, transparency, movement, and the surrounding void. Museum discussions note his experiments in plastics and metals during the 1920s and 1930s, followed by a later preference for bronze; works may also appear in brass and oxidized tin. These material choices are important because surface ridging, reflectivity, and open structure are not incidental decoration but central to the spatial effect.

France, circa 1961