NYC: John Gibson Gallery, 1974
10.5 x 15cm, 2pp. Announcement card for a second show of editions and multiples. On the front of the card is a well known image of the Beuys family watching Star Trek which is overprinted in Browncross. VG+ condition.
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Chicago: Allan Frumkin Gallery, n.d. (1973)
25.5 x 15.2cm, 1pp announcement card with a colour image of a felt suit (a multiple by Beuys) on the front above gallery details. A mailed example whihch has become somewhat creased in the experience of the US postal service. Hand addressed and franked Sept 15 1973 on the reverse, else VG.
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Bruxelles: Wide White Space, 1973
15 x 10.5cm, 2pp announcement card for an exhibition of Beuys drawings and gouaches with an image of one such drawing by Beuys on the front, verso gallery details. VG+.
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Edinburgh: Demarco Gallery, 1973
9 x 14.2cm, 1pp black on yellow typographic card for the twelve hour lecture by Beuys during the Edinburgh International Festival. The full title of the lecture was "The Twelve Hour Lecture: A Homage to Anacharsis Cloots" and it took place at Melville College. Edinburgh - a public school for the rich (which really is inappropriate for Beuys's message but then not surprising or unusual for the Demarco Gallery to use such places of privilege as venues). VG+ Rare....
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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Heidelburg: Edition Staeck, n.d. (1973) 10.5 x 15cm, 2pp artist's postcard with a handwritten design on the front and verso publisher details. This example (one of Beuys' early collaborations with Klaus Staeck) is signed across the front of the card by Beuys in pencil. VG+. Now scarce....
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 2 with the reproduced title text on the front which translates into “Every grip must sit”. This example is signed by Beuys in pencil on the front, verso stanard postcard design. VG+. Ref: Schellmann P 9.
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Bonn: Galerie Klein, 1973
22.2 x 18.3cm, b/w on thin card. An image of a printed work by Beuys on the front showing the artist draped in felt as part of The Chief performance of 1963 or 1964, verso gallery details. The exhibition was of multiples, books and catalogues as per the title. 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+. ...