Tokyo: Lufthansa, 1973.
9.6 x 16.4cm, printed and embossed envelope signed by Beuys on front content of a card. First day cover with stamps commemorating a flight from Germany to Tokyo via Moscow on 6 August 1973. Presumably Beuys was on that flight as a guest or saw it as significant in some way. A second person has signed the envelope also in red felt pen (if you recognise the signature please do inform us). Unique thus and with no known reference in the literature. VG+>

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Berlin: Rene Block, 1973
14 x 10.5cm, 1pp b/we announcement card for the release of Beuys “Das Schweigen” film multiple – an Ingrid Bergmann film which was coated in metal to seal it and make a sculpture. A rare early card. VG+.

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Heidelberg: Edition Staeck, 1973
10.5 x 14.5cm, 2pp. Artist designed postcard issued as Series D, Nr 1 with the reproduced title text "Gib mir Honig" on the front which translates into “Give me honey”. This example is signed by Beuys in pencil on the front and rubber stamped with a FIU impression in blue, verso standard postcard design. VG+. Ref: Schellmann P 9.

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NYC/Koln: Avalanche Magazine/Kolnischer Kunstverein, 1973
15 x 10.5cm, 4pp. A subscription card for the WIlloughby Sharpe and Liza Bear conceptual art magazine which displays the cover of the first number on the front which features a portrait of Joseph Beuys. Internally the first 8 magazines are show with short contents - all in German which is a little surprising given the magazine was in English and published in the USA but the card also notes an exhibition of the magazines in the Kolnischer Kunstverein. VG+.

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Milano: Studio Marconi, 1973 12 x 15cm, 1pp typographic announcement card for one of the first manifestations of "Arena—Dove sarei arrivato se fossi stato intelligente!"(Arena—where would I have got if I had been intelligent!) which consisted of a large number of panels with photographs covering the span of Joseph Beuys’s career up to 1972, including documentation of key objects, concerts, and actions, as well as personal life events. Ranging from the late 1940s to the early 1970s, Arena is usually regarded as "less an autobiographical statement than an allegorical portrait of Beuys’s artistic persona." The work was shown a number of times after this exhibition with changes in placement of the panels and other items as well as additions. The card is signed by Beuys in pencil. VG+. ...

Karlsruhe: Galerie Grafikmeyer, 1973 12.07 x 20.6cm, 1pp letterpress printed black on light brown thick cardboard. A printed limited edition multiple in card format by Beuys created after his dismissal as a lecturer at the Dusseldorf Akadamie for protesting. and shows the artist's Only 300 such signed copies after 50 artist's proofs were released. VG+. Schellmann nr 69. VG+. ...

NYC: John Gibson, 1973
10.5 x 15cm, 2pp - announcement card with a reproduced photograph of many Beuys multiples and editions on the floor of the gallery overprinted with the artist's name in brown and verso gallery details. A mailed example in VG+ condition.

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Dusseldorf: Organisation fur direkte Demockatie, 1972 15 x 10.5cm, 1pp. Announcement card (and multiple) for a boxing match which took place during Dokumenta VI where Beuys represented "Direct Democracy" and Christian-Moebuss who represented "Representative Democracy". Judged by Anatol Herzfeld (one of Beuys' students and hardly a neutral figure) it was claimed Beuys had won the metaphoric competition. Beuys had recently set up the "Organisation fur direkte Demockatie" while being a teacher at Düsseldorf Academy - a post he waqs sacked from soon after the match. This is one of only 100 copies of the card which is stamped with a Haupstom stamp in blue and signed by both artists. VG+.

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