HINTERGRUNDE II. 1970.

Koln: Art Intermedia, 1970 15 x 10.5cm, 1pp announcement card with a typographic design for a group show with Alvermann, Beuys, Spoerri, Uecker, Walther and Vostell. VG+.

BEUYS BRUS FILLIOU FRIEDMAN GOSEWITZ KNIZAK RUHM MUEHL NITSCH SCHMIT. 1970.

Berlin: Edition Hundertmark, 1970 8 x 11.3cm, 3pp (recto only). Announcement leaflet released by Armin Hundertmark to promote editions by Beuys, Brus, Filliou, Friedman, Gosewitz, Knizak, Ruhm, Muehl, Nitsch and Schmit. Various images in b/w of the works and some newspaper clippings. VG+. JOINT: A hand addressed printed Hundertmark envelope sent to Joe Tilson. Somewhat worn.

1A GEBRATENE FISCHGRATE. 1970.

Berlin: Edition Hundertmark, 1970 8 x 11.3cm, 3pp (recto only). Announcement leaflet released by Armin Hundertmark to promote editions by Beuys (including the artist's book "1a gebratene fischgrate"), Eric Andersen, Ben Vautier, Ken Friedman and others. Various images in b/w of the works and some newspaper clippings. VG+. JOINT: A hand addressed printed Hundertmark envelope sent to Joe Tilson. Somewhat worn.

UNTITLED (JOSEPH BEUYS). 1970. SIGNED BY BEUYS.

London: Angela Flowers, 1970 16 x 10.2cm, 2pp. Limited edition postcard with an image of Beuys on the front "explaining art to a dead hare" by Ute Klophaus from the action "Eurasia, 32. Satz der Sibirischen Symphonie" in 1963 printed in bright yellow (other colours were also published and similar images used in announcement cards such as for the Fluxus Hauptstrom Fluxus Fettraum with Henning Christiansen in 1967). This example is one of a small number signed by Beuys on the front in red pen. VG+. Scarce especially signed.

VON HODLER ZUR ANTIFORM. 1970. STAMPED & SIGNED BY BEUYS.

Bern: Benteli Verlag, n.d. (1970) 11 X 18CM, 2pp announcement card for the publication of the book "Von Hodler zur Antiform" edited by Harold Szeemann. Many small images of artists or works on the front, verso subscription details. This card is stamped in blue "Free International University" and signed in red felt-tip pen by Beuys.. VG+.

JOSEPH BEUYS FILZ-TV/IDENTIFICATIONS. 1970.

Hannover: Video Galerie Gerry Schum, 1972 15 x 21cm, 2pp. The announcement card issued to promote both the video edition FLIZ-TV released in only 6 copies and the TV exhibition IDENTIFICATIONS which was show on the Sudwestfunk Baden-Baden as well as in the Kunstverein Hannover (as a preview of the tv show). A famous event where Beuys sat in front of a TV with boxing gloves carving a price of blood sausage. A mailed copy - VG+.

ACCROCHAGE. 1970.

Wide White Space, Antwerpen 1970 25 x 18cm, 1pp gallery handout for this group show listing major works by significant artists including a Warhol Flowers work from 1964. There are two works by Beuys in the show - Infilltration homogen dur Konkertflugel from 1966 and Erdtelephon from 1968. Typographic design only. VG+.

JOSEF BEUYS. (sic) 1971.

Wien: Galerie Nachst, 1971 15 x 21cm, 1pp. Announcement on thin card with one work reproduced in black and white. Some light browning on right side of card else VG.

ZEICHNUNGEN. 1971.

Koln: Galerie Thomas Borgmann, n.d. (1971) 15 x 21cm, 2pp. Announcement card for a show of drawings by Beuys and Walter de Maria. A Beuys drawing on the front in b/w, verso gallery details. VG+.

ENTWURFE, PARTITUREN, PROJECKTE: ZEICHNUNGEN. 1971.

Berlin: Galerie Rene Block, March 1971 15 x 10.5cm, announcement card with a typographic design for a group show with works by Beuys, Boehmler, G. Brecht, S. Brouwn, Darboven, Dibbets, Filliou, Gosewitz, Graham, Koepcke, Knoebel, Lewitt, Manzoni, Panamarenko, Palermo, Polke, G. Richter, Rot, Ruthenbeck, Vautier, Vostell et al. VG+.

DER TISCH. 1971.

Dusseldorf, Vice Versand, 1971 21 x 10cm, 3pp (single sheet printed recto only). The promotional card for the object multiple Der Tisch (a film of the aktion of the same name where Anatol Herzfels, Ulrich Meister, Joachim Duckwitz, Johannes Stuttfen sat at a table reading texts while Beuys made a "hand-aktion" in the corner of the room. One image of the multiple (a film of the event in canister painted with Braunkreuz) reproduced. VG+. BR>

JOSEF BEUYS. HANDZEICHNUNGEN UND KLEINOBJEKTE AUS DEN SAMMLUNGEN: KUNSTMUSEUM BASEL + LUTE SCHIRMER. 1971

Koln: Kunstverein St. Gallen, 1971 10.5 x 21cm, 1pp typographic design announcement card for solo show. VG+.

POLYETYLEEN TAS MET VILTPLASTIEK. 1971.

Amsterdam: Seriaal, 1971 10.5 x 15cm, 1p typographic announcement card for the well known object multiple - the large plastic bag with silkscrened diagrams about Beuys's theories of political engagement which contained a large piece of felt. VG+.

KUNST = MENSCH. 1971.

Krefeld: Kaiser Wilhelm Museum, 1971 29.6 × 20.9cm, 1pp typographic announcement card for a museum show. Unusually over-sized card. Two punch holes for storage else VG.

PROMOTIONAL CARD FOR INTERFUNKTIONEN 9. 1972.

Koln: Interfunktionen, n.d. (1972) 15 x 10.5cm, 2pp subscription card promoting the ninth number of the conceptual art journal. Lists contributions from Beldessari, Baumgarten, Beuys, Didier Bay, Terry Fox, Dan Graham, Hans Haacke, Friedrich Heubach, Will Insley, Jurgen Kramer, Dennis Oppenheim, Steve Reich, William Wegman and Signmar Polke. The front of the card reproduces a poster designed by Polke for the magazine. VG+. Scarce. 

JOSEPH BEUYS GESAMMELTE EDITIONEN 1965 - 1972. 1972.

Franfurt: Galerie Loehr, 1972 16.5 x 21cm, 2pp announcement card printed on mirror card - on the front is a scene from the "Titus/Iphigenie" Abisfag Tullmann Aktion from 1969 where Beuys performed on stage with a horse. The exhibition showed the "Fitz Tv" and "Eurasienstab" aktions on film. VG+.

JOSEPH BEUYS OPERA E FILMS. 1972.

Torino: Galerie LP, n.d. (1972) 15 x 21cm, 2pp announcement card for a show of films and object multiples - on the front of the the card is a photograph of "Schlitten" multiple - the Sled which references the Beuysian myth of the artist being returned to civilisation by Tartars after crash landing in Siberia as a Luftwaffe gunner. The construction of the work however also hints at an animal nature to the sledge, light and felt. Verso gallery details. VG+ although some corner creases.

JOSEPH BEUYS: AUSFEGEN. 1972.

Berlin: Galerie Rene Block, 1972 10.5 x 15cm, 1pp announcement card for the exhibition that followed the Ausfegen (Sweeping Out) action where Beuys and students cleaned up the Karl-Marx Platza after the May Day march. The rubbish was bagged and taken to the gallery where they were placed on exhibition along with the brooms used in the Aktion. The card has a b/w image of an earlier action with Henning Christiansen taken by Muller-Schnuck. VG+.

DURER, ICH FUHRE PERSONLICH BAADER + MEINHOFF DURCH DIE DOCUMENTA V. 1972.

Bruxelles: POUR ecrire la liberte, n.d. (1972?) 15 x 10.5cm, 2pp. Artist's postcard displaying a b/w image of two placards made by Beuys for Documenta V suggesting the the Red Army Faktion terrorists should be shown around Dokumenta by Durer. Baader and Meinhof were at this point standing trial for terrorist activities in Germany. Verso publisher's details and postcard design. We think this was available in Kassel during Dokumenta but have not been able to confirm this. VG+.

JOSEPH BEUYS ZEICHNUNGEN 1949 - 1969. 1972.

Dusseldorf: Galerie Schmela, 1972 10.5 x 15cm, 2pp announcement card for a book and exhibition of Beuys drawings with an image of one such drawing by Beuys on the front, verso gallery details. Price of the book was 38 DM. one small pin hole on card else VG+.

RUCKENSTUTZE EINES FEINGLIEDERIGEN MENSCHEN (HASENTYPUS) AUS DEM 20. JAHRHUDERT P. CHR. 1972.

Amsterdam: Seriaal, 1972 21cm x 15, 2pp announcement card with the title work (translates to "BACK SUPPORT FOR A FINE LIMBED PERSON (HARE TYPE) FROM THE 20TH CENTURY") on the front. Verso details of the work. VG+.

JOSEPH BEUYS; ZEICHNUNGEN 1947 - 1959. 1972. FIRST BOOK ON BEUYS.

Köln: Schirmer-Verlag, n.d. (1972) 20. 8 x 14.7cm, 4pp announcement card for the title book displaying Beuys work from the period before he was able to exhibit. Later many of these were collated into the Secret Block for a Secret Person in Ireland. This , as noted on the card, was the first published book on Beuys and contains 40 reproductions of works in collotype and 17 reproductions of sketches made by the artist during the interview with Erwin Heerich. Font of the book and one drawing reproduced in b/w and a text in both German and English. The lower part of last page is perforated to allow return to the publishers as a subscription form. Additionally this example has a minimal ink annotation on last page noting a discount of 40% for 10 copies. VG+.

JOSEPH BEUYS COLLECTED EDITIONS. 1973.

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.

JOSEPH BEUYS NEUE ANSCHRIFT. 1973. SIGNED BY BEUYS IN PENCIL. ONE OF ONLY 300.

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+.

ARENA. 1973. SIGNED BY BEUYS.

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+.

GIB MIR HONIG. 1973. SIGNED & STAMPED BY BEUYS.

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.

JEDER GRIFF MUSS SITZEN. 1973. SIGNED BY BEUYS IN PENCIL.

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.

DAS SCHWEIGEN. 1973.

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+.

KLAUS STAECK IST MEIN POLITISCHER GEGNER. 1973. SIGNED BY BEUYS.

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.

LUFTHANSA VERBINDET KONTINENTE. 1973. SIGNED BY BEUYS.

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+>

12 HOUR LECTURE. 1973.

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.

JOSEPH BEUYS TEKENINGEN EN GOUACHES. 1973.

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+.

JOSEPH BEUYS: MULTIPLES. 1973.

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.

JOSEPH BEUYS COLLECTED EDITIONS II. 1974.

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.

ZEICHNUNGEN I. BEUYS, BUTHE KOUNELLIS TWOMBLY. 1974.

Koln: Karsten Greve, 1974 10.5 x 15cm, 2pp announcement card for a group show of drawings by Beuys, Buthe, Kounellis and Twombly. One work by Beuys reproduced on the front. VG+ but a mailed and type addressed example and with one tiny pinhole where it has been pinned to a board in the past.

EDITION STAECK DELIVERS.... 1974. WITH SIGNED HANDWRITTEN DEDICATION FROM BEUYS.

Heidelberg: Edition Staeck, 1974 15 x 10.5cm, 2pp artist's postcard with the title text "Edition Staeck liefert sofort alle gebohnerte un gewichste Ware von Beuys." which roughly translates as "Staeck immediately delivers all polished and unweighted goods from Beuys." This example of this card has been overwritten in red ink by Beuys with a signed dedication. VG+. Schellman: P19.

JOSEPH BEUYS COLLECTION SPECK 1948 - 1972. 1974.

Paris:Galerie Bama, 1974 18 x 13.5cm, 2pp announcement card for a French exhibition of multiples, books and exhibition catalogues from the period 1948 to 1972. Reproduction of a Beuys text on the front. A mailed copy with stamp and typed address. VG+.

RICHTKRAFTE '74. 1974.

NYC: Rene Block Gallery, 1974 15 x 10.5cm, 2pp announcement card for the installation Richtkrafte in New York (it had been show in Germany beforehand and later was sold in 1977 to a German museum. One b/w image of the work on the front, verso gallery details. A mailed example with stamp and typed address. VG+.

I LIKE AMERICA AND AMERICA LIKES ME (COYOTE). 1974.

NYC: Rene Block Gallery, n.d. (1974) 15.2 x 11cm, 1pp. Announcement on thin card for the inaugural exhibition at the gallery in New York and one of Beuys most famous performances where on leafing the aircraft he was wrapped in felt and taken to the gallery on a gurney in an ambulance. In the gallery he lived with a coyote in a space along with copies of the Wall Street Journal, straw, felt and his crook. He spent eight hours a day in the space interacting with the wild animal before being taken back to the airport by the same method. One portrait of the artist by Ute Klophais in negative under text. An important event in the history of art. VG+.

JOSEPH BEUYS: THE SECRET BLOCK FOR A SECRET PERSON IN IRELAND. 1974.

Edinburgh: Scottish National Gallery of Modern Art, 1974 13.6 x 8.6cm, 2pp announcement card with a Beuys drawing from the "Secret Block" reproduced on the front. This is one of Beuys' most important works - a group of drawings made by him in the early 70s. VG+.

MEETING OF LADY ROSEBERY, BLACK AND WHITE OIL CONFERENCE. 1974.

Edinburgh/New York, Demarco/Ronald Feldman, 1974 10.5 x 15cm, 2pp announcement card for the editioned print here released by Beuys' New York Gallery although the publisher was Demarco. The colour image of the meeting (where Beuys looks bored) between the artist, the socialite and the architect is reproduced on the front, verso information about the print. VG+.

SPUR 1/ 1974. 1974.

München: Galerie Thomas, 1974, 14.8 x 21cm, 2pp announcement card for an "upcoming edition" of a book by Beuys which was already sold-out at the publisher (Heiner Bastian; distributed by Schellmann & Klüser) but offered here because the Galerie Thomas secured some copies" "available on a ‘first come, first served’ basis". One drawing of a stag by Beuys on the front with the lower part of the card and order form which was supposedly to be cut off and mailed to the gallery. A bit crumpled on the bottom else in VG+ condition.

BEUYS BRECHT CHIARI FILLIOU GOSEWITZ HANSEN HIGGINS JOHNS KAPROW KNOWLES KOEPCKE PAIK ROT SCHMIT VOSTELL WATTS WILLIAMS. 1974.

Berlin: Galerie Rene Block, 1974 10.5 x 15cm, 1pp announcement card for a groups show of all the major conceptual and Fluxus artists in the famous Berlin gallery. One work (by Emmett Wiliiams?) on the front with exhibition details. VG+.

TRACCE IN ITALIA. 1974.

Napoli: Lucio Amelio Modern Art Agency, 1974 21 x 15cm, 2pp announcement card for a Naples exhibition (where he had previously exhibited La rivoluzione siamo Noi at Amelio’s gallery in 1971). One text drawing on the front, verso gallery information. A mailed copy with stamp and typed address. VG+.

J. BEUYS. 1974. INVITATION TO MEET WITH BEUYS.

Pescara: Galleria Lucrezia De Domizio, N.D. (1974) 10 x 15.5cm, 1pp on white paper - letterpress. The typographic design is an invitation to the event "Meeting with Beuys, conference on direct democracy and free creativity" that took place under the organisation of his long term collaborator Lucrezia De Domizio, on 3 October 1974. During the talk, Beuys created the sculpture "Cairn" and drew two slate blackboards. The leaflet has a small vertical closed tear on top else VG. Rare.

INCONTRO CON BEUYS. 1974.

Pescara: Galleria Lucrezia De Domizio, 1974 14.5 x 10.5cm, 2pp postcard with a black and white photographic image on a sepia background by Buby Durini of Joseph Beuys preparing a roll of meat with string as part of a performance. The card was published on the occasion of the event "Incontro con Beuys, conference on direct democracy and creative freedom" which was organised in Pescara by Lucrezia De Domizio onn 3 October 1974. This is one of two variants where the portrait is printed on a light cream background. There is an alternative example where the background is white not cream. Verso gallery details. VG+.

INCONTRO CON BEUYS. 1974.

Pescara: Galleria Lucrezia De Domizio, 1974 15 x 21cm, 1pp announcement card for the release of a signed silkscreen print of Beuys during the "Incontro con Beuys" aktion in Italy. One small image of the work - which has a note of the public price in lire, dollars and deutchmark. The top right of the card has a further small card from the gallery noting the "dealers net" price - about 25% off. VG+.

TRAM STOP. 1976. SIGNED BY BEUYS.

N.p.: FIU, 1976 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Tramstop installation at Venice at the Biennale in 1975 (the photograph taken by Caroline Tisdale). Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. VG+.

ZEICHNUNGEN, BILDER, PLASTIKEN, OBJEKTE VON 1947 BIS 1964. 1975.

Freiburg: Kunstverein Freiburg, 1975 110.5 x 21cm, 2pp announcement card for an exhibition of Beuys' work from 1947 to 1964. The front of the card shows the work Ketttenglied from 1959 - which is the same image used for Beuys' first ever invite card. The back of the card with museum details is printed upside down (as were all of the cards). Slight wear on the left of corners of the card else VG+.

SALTOARTE. 1975. SIGNED & STAMPED BY BEUYS, PANAMARENKO AND STAECK.

Bruxelles: Pour Magazine, 1975 21 x 30cm, 2pp announcement leaflet for an edition of 28 works in a box issued in support of POUR - a radical political publication which Beuys often raised money for it by various events and editions. This leaflet was unfolded and signed by three of the artists - Beuys (who also has added a Fluxus West rubber stamp impression in blue), Panamarenko and Klaus Staeck. Two of the works found in the box are shown in b/w - Beuys photographs and Christo's wrapped edition of POUR as well as an image of the outside of the box. Really a paper edition as well as announcement this is not found in Schellmann Beuys Multiples although other editions related to POUR are to be found as Nrs 143 and 144.

JE NOUS W IK J. EXPOSITION D'ART D'AUJOURD'HUI. 1975. SIGNED BY BEUYS.

Brussels: Musee d'ixèllés, 1975 10 x 21cm, 1pp typographic announcement card for a major group exhibition which had contributions by all major European artists including Andre, Artswager, Ben, Beuys, Boltanski, Buren, Byars, Christo, Filliou, Huebler, On Kawara, Kienholtz, Ono, Panamarenko, Spoerri, Tuttle and Weiner amongst others. Harald Szeemann curated the show. This card has been signed by Beuys top right in red ink and stamped with the Haupfstrom impression in blue. VG+.

ZWEI WEIBLICHE TORSI. 1975.

Munchen: Grafos-Verlag, n.d. (1975) 10.5 x 15cm, announcement card for an edition of lithographs by Beuys showing two torsos - one male, the other female that was issued in 75 hand-signed examples. Publisher's details on the reverse. VG+>

PAINTING BOX POST. JOSEPH BEUYS. 1976.

Zurich: Painting Box Gallery, 1976 42 x 30cm, 2pp. Announcement in form of a broadside with five images of works and text in German for a solo show. Folded for mailing else VG+.

ORIGINAL PHOTOGRAPHIEN IN LIMITIERTEN AUFLAGEN VON BECHER KLOPHAUS SANDER ZILLE. 1975.

NYC: Rene Block Gallery, 1975 15 x 10.5cm, 2pp announcement card for a selling exhibition of photographs of art performances and works. The front image is of several views of Beuys’ 24 Stunden performance taken by Ute Klophaus. VG+.

5. JAHRE GALERIE KLEIN. 1975. DESIGNED BY BEUYS.

Bonn: Galerie Klein, 1975 10.4 x 14.8cm, 2pp announcement card designed by Beuys for group show celebrating 5 years of Galerie Klein's activities. gallery’s activities. Beuys's reproduced holograph in blue lists the artists included in the show, namely: Joseph Beuys,Michael von Biel, Raimund Görke, Gotthard Graubner, Sol LeWitt , Klaus Mettig, Sigmar Polke and Fred Sandback. Verso gallery details printed in blue. VG+.

IN DEN ERSTEN TAGEN DER AUSSTELLUNG…. 1975.

Dusseldorf, Reflection Press, 1975 10.5 x 15cm, 1pp. Blue on white announcement for a LP edition written in Albrecht/d's facsimile hand. The concert was from the ICA in London in 1975. One hundred numbered and signed copies were released. VG+.

LITHOGRAPHIEN UN HOLZSCHNITTE. 1976.

Munchen: Schellmann & Kluser, 1976 10.5 x 15cm,1pp. Announcement card for a show of Beuys' lithographs and woodcuts. One lithograph reproduced on the front. VG+.

BEUYS. 1976. OVER PRINTED COMMERCIAL POSTCARD. HAND ADDRESSED TO LUCREZIA DE DOMITUS.

Genova, Samangallery, 1976 10.5 x 15cm, 2pp, commercial postcard of Genova which is overprinted in thick brown paint and rubber stamped on the reverse with the gallery details. This is one of a few known versions of this invitation card where a commercial card was adapted by over-printing with different landscape scenes. Here the underlying card shows a view of Church of Santa Maria Assunta di Carignano, Genoa. Edition Schellmann released a numbered and signed edition of these postcards as an original multiple. This card is a mailed example with stamps and a postmark dated 7-2-76, and is hand-addressed to Lucrezia De Domitius. There is a slight diagonal crease top right but else VG+. Scarce.

BEUYS. 1976. OVER PRINTED COMMERCIAL POSTCARD.

Genova, Samangallery, 1976 10.5 x 15cm, 2pp, commercial postcard of Genova which is overprinted in thick brown paint and rubber stamped on the reverse with the gallery details. This is exactly the same as the edition card (see Schellmann Nr 1880 only not signed and numbered. A rare item in VG+ condition although a mailed example.

KOJOTE. 1976.

München, Schirmer / Mosel, 1976, 11.8 x 11.7 cm, 1pp typographic design announcement card for the release of the book “Kojote”. VG+.

JOSEPH BEUYS. 1976.

Dusseldorf: Galerie Schmela, 1976 10.5 x 15cm, 2pp announcement card for one of Beuys' many shows at the gallery. One work in b/w on the front and verso the gallery details. A mailed copy but still VG+.

STUDIOTERMIN JOSEPH BEUYS PAINTINGS. 1976.

Dusseldorf, Art in Progress, 1976 10.5 x 15cm, 2pp. Typographic announcement card for a solo show of paintings. An unmailed copy - VG+.

JOSEPH BEUYS FOND IV/4. 1976. SIGNED BY BEUYS.

Dusseldorf: Galerie Schmela, 1976 10.5 x 15cm, 2pp announcement card with b/w image of a "Fond" work (sheets of metal that theoretically can cause the flow of electrons) ie a battery on the front, and verso gallery details. An unmailed example which has been signed in blue felt tipped pen on the front by the artist - VG+.

JOSEPH BEUYS. DIE DREI TEILE DES AKTIONSSOCKELS VON 24 STUNDEN 5. JUNI 65, 0- 24H. 1976.

Dusseldorf, Konrad Fischer, 1976 10.5 x 15cm, 2pp. Typographic announcement card ffor a solo show displaying Beuys' aktion from the "24 Stunden" event in 1965. VG+.

EINZELWERKE + ZUSAMMENHANGE NEUE ARBEITEN IN DER SAMMLUNG DES KAISER WILHELM MUSEUMS. 1976.

Krefeld: Museum Haus Lange Krefeld, 1976, 1982 10.5 x 15cm, 2pp announcement card for the new works in the collection which is is notes included 10 new works by Beuys which were prominently featured in the show. Krefeld is, of course, the city in which the artist was born and brought up. One drawing by the artist is reproduced on the front of the card, verso museum details. This is a mailed card with a typed address and a postal stamp but still is VG+.

BEUYS. 1976.

Bologna: Studio Cavalieri - Arte Contemporanea, 1976 19.6 x 15.5cm, 2pp announcement card for the opening of the exhibition organised in collaboration with Lucrezia De Domizio. Front of the card utilises a b/w image of Beuys in performance in 1974 by Bubby Durini that is found on a number of other earlier cards also published in Italy. VG+ example.

CHI DICE CHE "IL CONIGLIO NON AMA JOSEPH BEUYS?" 1977. DESIGNED BY BEUYS FOR PROFESSOR DR. GUISEPPE CONSOLI.

Pescara, Lucrezia de Domizio, 1977 15 x 10 cm., postcard printed front and back, with a typographic design in blue on pink. This is an artist's postcard/multiple which on the front acts as a business card for Prof. Dr. Giuseppe Consoli (who was a friend of the photographer Buby Durini). The back fo the card fictitiously identifies Consoli as the designer but in actuality it is known that Beuys created it. “Quando a Natale del 1978 [ma 1976] Beuys e la sua famiglia erano con noi a San Silvestro Colle, un amico di Bubi [Durini], il professore Giuseppe Consoli, regalò a Beuys un coniglio depositato in una scatola rivestita internamente con carta dello stesso colore pink delle pareti dello spazio di Pisani alla Biennale [del 1976] con questa frase in blu: «Chi dice che il coniglio non ama Joseph Beuys?». Beuys ne fu entusiasta, ne fece una cartolina illustrata a tiratura illimitata e il coniglio lo portò con sé a Düsseldorf” (Lucrezia De Domizio Durini, Perché. Le sfide di un donna oltre l’arte, Milano, Mondadori Electa, 2013). Translation: “During Christmas 1978 [in fact 1976] Beuys and his family were with us at San Silvestro Colle, when a friend of Bubi [Durini], the professor Giuseppe Consoli, gave Beuys a rabbit deposited in a lined box internally with paper of the same colour pink on the walls of the space by Pisani alla Biennale [of 1976] with this sentence in blue: "Who says the rabbit doesn't love Joseph Beuys?" Beuys was enthusiastic about it, he made it an illustrated postcard with an unlimited edition and the rabbit took it with him to Düsseldorf" (Lucrezia De Domizio Durini, Why. The challenges of one woman beyond art, Milan, Mondadori Electa, 2013). It is also worth noting that Victor Pisani had given a public performance in 1975 entitled "Il coniglio non ama Joseph Beuys" where he humorously parodied Beuys' famous "How to explain pictures to a Dead Hare". Consoli's gift here of a rabbit to Beuys was a joke based on that to which Beuys made this card with more than a little irony.

RICHTKRAFTE. 1977. SIGNED BY BEUYS.

Berlin: Edition Nationalgalerie; Staatliche Museen Preußischer Kulturbesitz, n.d. (1977) 14. 8 x 10.6cm, 2pp artist postcard issued on the occasion of the acquisition of the work "Richtkräfte einer neuen Gesellschaft (Directions of Energies to a New Society)" by the Berlin Nationalgalerie in 1977. The Richtkräfte environment consisted of “an ensemble of 100 blackboards with chalk diagrams. three easels, one walking stick, and a photographic projectionand created during public dialogues which took place during the exhibition “Art into Society - Society into Art” at the ICA London in November of 1974” - Beuys continued to work on the installation until 1977 when it was sold. Recto an image of the work, verso gallery details and postcard design. This example of the card is signed in blue ink on the front by Beuys. VG+.

MULTIPLES UND DRUCKGRAFIK. ANGEBOTSLISTE 1977 / 78. 1977.

München, Galerie Schellmann & Klüser, 1977 21 x 10,2cm, 4pp typographical design card listing available object multiples, prints and books offered by Galerie Schellmann & Klüser of Munich as well as prices. VG+.

FAT SHINE ON IRON. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

FAT SHINE ON IRON II. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

FAT SHINE ON IRON III. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

FAT SHINE ON IRON IV. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

FAT SHINE ON IRON V. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

FAT SHINE ON IRON VI. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

FAT SHINE ON IRON VII. 1977. SIGNED BY BEUYS.

N.p.: FIU, 1977 11.7 x 17cm, 2pp artist postcard showing a b/w image of Beuys' Plastischer Fuß –Elastischer Fuß (Plastic Foot - Elastic Foot). The photograph taken by Caroline Tisdale shows a light reflecting on the fat from the installation which melted under the heat of the defective central heating in the Center Beaubourg, on Paris, April 1977. Verso details of the image and a standard postcard design. This card is signed by Beuys in red ink on the front. There are seven variants of this card all similar but very slightly different. VG+.

JOSEPH BEUYS: THE SECRET BLOCK FOR A SECRET PERSON IN IRELAND. 1977.

Basel: Kunstmuseum Basel, 1977 21 x 15cm, 2pp announcement card for a showing of the drawing block and a lecture by Caroline Tisdall (in German). This card is rubber stamped in red "Presse Einlandung" - the press preview. One of the many drawings from the Block is reproduced on the front. VG+.

DISCUSSIONS. 1977.

NYC: Annina Nosei Gallery at NYU, 1977 35.5 x 21.5cm, 1pp typographic design announcement brochure for a series of "discussions" organised by Annina Nosei Programming included Joseph Beuys in a "public dialogue", Lcio Pozzi (a continuous discussion) videotapes by Sarah Chalresworth, Joseph Kosuth and Anthony McCall along with Victor Burgin, David Antin, Carolee Schneemann reading "ABC - we print anything - in the cards", Guiseppe Chairi, Robert Ashley and a very early Ian Wilson "Discussion". Folded for mailing, with address label ands stamp and franking. Sadly there are some handwritten notes on the mostly blank back in ink. The printed side is unaffected. Scarce.

SOZIALE PLASTIK. 1977. STAMPED AND SIGNED BY BEUYS.

Achberg: Achberger Verlagsanstalt, n.d. (1977). 21 x 10cm, 6pp (single folded sheet) black on brown kraft paper. Promotional leaflet for a Beuys' book. One image of the artist on a beach. This example is signed in pencil on the front panel and stamped in blue with a FIU impression. VG+.

HONIGPUMPE AM ARBEITSPLATZ HONEY PUMP. 1977. SIGNED.

Heidelberg: Edition Staeck, 1977 Original transparent plastic folder content of ten original yellow-black postcards and one colophon card. This is one of a small number of signed copies alongside the unlimited edition. Fine. Schellman Nr P34 - 43.

JOSEPH BEUYS: TEKENINGEN, AQUARELLEN, COLLAGES, SCHILDERIJENT. 1977.

Gent: Museum van Hedendaagse Kunst, 1977 22 x 11cm, 4pp announcement card with a drawing of a young woman reproduced on the inside upper half of the card and on the front an image of Beuys during an action. Internally also museum details. VG+.

JOSEPH BEUYS MULTIPLIZIERTE KUNST. 1977.

Bonn: Stadt. Kunstmuseum Bonn, 1977 15 x 10.5cm, 2pp b/w announcement card displaying a b/w photograph of Beuys' "Silver Broom and Broom without Bristles" from 1972, verso gallery details. A mailed copy with stamp, frank and typed address. VG+.

JOSEPH BEUYS. MULTIPLIZIERTE KUNST. 1977.

München, Schulmann & Kluger, 1977 21 x 15cm, 4pp announcement card for various book publications by Beuys with a collage of rubber stampings and signatures and drawings on the front (all reproduced), inside book and publisher details. VG+>

JOSEPH BEUYS. 1977.

Genoa: Samangallery, 1977 10 x 15 cm, embossed white, red on black announcement card which reproduced a Beuys blackboard drawing on the front with some success (along with an indented Hauptstrom stamp impression). The back of the card is hand addressed to Lucrezia De Domizio and is a mailed example with stamp. VG+ condition.

ANATOL ARAKAWA ARMAN BAUMGARTL BEUYS..... 1977.

Dusseldorf: Galerie Schmela, n.d. (c. December 1977) 14.8 x 10.6cm, 1pp typographic design announcement card for a group show at the gallery which lists all of the participating artists (including Beuys) in alphabetic order - including Anatol, Arakawa, Arman, Agnes Martin, Mack, Matta-Clark, Rinke, Rot(h), Tapies, Uecker, Wewerka and others. this was the 171st show at the gallery which is how we are able to date the card.

JOSEPH BEUYS: MULTIPLIZIERTE KUNST. 1978.

Braunschweig: Kunstverein Braunschweig, 1978 10.5 x 21cm, 2pp announcement card with a work reproduced on the front (a half cross in felt which Beuys in actions often made complete by adding a further half-cross in different materials)). On the reverse museum details. VG+.

JOSEPH BEUYS GRAFIK MULTIPLES. 1978. STAMPED & SIGNED BY BEUYS.

Bremen: Kleine Grafik-Galerie, 1978 20 x 10.7cm, 4pp (but printed recto on outside only). Typographic announcement card for a show of lithographs and object multiples. Beuys has signed this card in pencil and also stamped it in blue with the Haupstrom symbol. VG+.

JOSEPH BEUYS, CHI NON SA O NON RICORDA RIPETE. 1978.

Pescara: n.p. , 1978 11.5 x 17cm, 2pp red and green silkscreen on white card. Announcement for an exhibition of political works. On the front the Nazi swastika has a text in Italian that reads "JOSEPH BEUYS, THOSE WHO DO NOT KNOW OR REMEMBER, REPEAT." VG+. 

DISCUSSIONE CON BEUYS - FONDAZIONE PER LA RINASCITA DELL'AGRICOLTURA. 1978.

Pescara, Lucrezia de Domizio, 1978 10.4 x 14.5cm, 2pp artist's postcard with a b/w photograph by Buby Durini of Beuys informally talking with students and members of the public on the grass of the Friedrichplatz in Kassel (probably during Documenta). Lucrezia De Domizio is next to him. The card was issued for an event in Italy “Fondazione per la rinascita dell’agricoltura” (Foundation for the rebirth of agriculture) and there is a second card also issued for the event with a not dissimilar scene of Beuys in discussion. VG+.

FONDAZIONE PER LA RINASCITA DELL'AGRICOLTURA. 1978.

Pescara: Lucrezia de Dominzio, 1978 15 x 10.5cm, 2pp artist's postcard showing Beuys at a meeting of the "FOUNDATION FOR THE REBIRTH OF AGRICULTURE" organised by the FIU. Verso postcard design. VG+.

VON KUNSTLER ZUM MYTHOS - JOSEPH BEUYS UND DIE KUNSTKRITIK. 1978.

Bonn: Kunstverein Braunschweig, 1978 15 x 10.5cm, 1pp typographic announcement card for a museum lecture on Beuys by Lothan Romain.

JOSEPH BEUYS. 1978.

Firenze: Gallerie de Amicis, 1978 21 xx 15cm, 2pp typographic announcement card - on the second side there is a brief biography of Beuys in Italian. A mailed and franked example with hand-written address. VG.

ANLASSLICH DES VORTRAGES VON BEUYS AM 23.3.78. 1978. SIGNED BY BEUYS.

Achberg: Free International University 1978 10.5 x 15cm, 2pp b/w announcement card for a lecture by Beuys with an image of the artist in full flow on the front, verso details of the event and documentation by R. Rappmann and J. Stuttgen. VG+ but this card has been previously framed and there are paper hinges still present in the corners of the card. This is signed in red ink on the front of the card over the image.

JOSEPH BEUYS: MULTIPLIZIERTE KUNST AUS DER SAMMLUNG DR GUNTER ULBRICHT, DUSSELDORF. 1978.

Essen: Museum Folkwang, 1978 10.5 x 15cm, 2pp announcement card with a b/w image of the "Telefone T_R (Telephon S_E)" multiple from 1974 on the front, verso museum details. VG+.

JOSEPH BEUYS: ZEICHNUNGEN, OBJEKTE. 1978.

Bremerhaven: Kunstvwerein Bremerhaven, 1978 10.5 x 15cm, 2pp announcement card with a b/w image of a felt suit placed high up on the museum walls just under the ceiling on the front. The suit is as if Beuys is ever present watching the events below. Verso museum details. VG+.

NEVIDAL + SEIDL: BEUYS. 1978. SIGNED BY BEUYS.

Guntramsdorf: Nevidal + Seidl, 1978 10.5 x 15cm, 2pp artist postcard with an image on the front of 6 b/w photographs of Beuys ;aid out on a table. Verso a postcard design. The card is signed by Beuys across the image in red felt tipped pen. VG+. Scarce and not noted in any published source.

JOSEPH BEUYS - NEW EDITIONS. 1978.

Bologna, Studio Cavalieri - Contemporary Art, 1978 11.2 x 16.2cm., 2pp, typographic design postcard,- the invitation to the inauguration of the Bologna exhibition. VG+ - an unmailed example.

JOSEPH BEUYS "CUPRUM 0.3% UNGUENTUM METALLICUM PRAERPARATUM" 1978.

Munster: Verlag Murken-Altrogge, 1978 10.5 x 15cm, 2pp announcement card for the release of a Beuys multiple "CUPRUM 0.3% UNGUENTUM METALLICUM PRAERPARATUM" in a very small edition of only 10 copies. One duotone image of the artist on the front holding the work, verso details of the publication. One very slight paper scuff top left on the reverse else VG+. Scarce.

ART: - . 1978. SIGNED BY BEUYS.

Dusseldorf: Museum dees Geldes, 1978 10.5 x 21cm, 1pp typographic announcement card for a wide ranging show of surrealism, conceptual art, and primitive art which included Beuys, Reutersward, Kienholz and Klaus Staeck. The card has a blue rubber stamp impression for the Free International University and signed signed by Beuys in red ink. VG+.

JOSEPH BEUYS - CHARLES WILP SANDZEICHNUNGEN. 1978.

Zurich: Galerie Stahli, n.d. (1978) 30 x 21cm, 1pp promotional leaflet for the portfolio of "Sand Drawings" where Beuys drew directly on the sand on a beach and Wilp took photographs of the works. Issued in only 250 examples with a vial of the sand, four images in b/w are reproduced. Folded for mailing else VG+.

JOSEPH BEUYS POSTKARTEN. 1978. SIGNED BY BEUYS.

Heidelberg: Edition Staeck, 1978 10.5 x 15cm, 2pp announcement card to promote the Edition Staeck edition of 200 Beuys postcards in a box. The front of the box is reproduced in b/w. This card is signed by Beuys in pencil on the right. VG+. . SIGNED BY BEUYS.

DRAWINGS. 1979.

NYC: Sperone Westwater Fischer, 1979 11.4 x 11cm, 1pp typographic announcement card for solo show of drawins. This is a mailed example with stamp, franking and typed address on the back - but overall VG+.

ZEICHNUNGEN-OBJEKTE. 1979. SIGNED BY BEUYS.

Göttingen: Stadtischen Museum am Ritterplan, 1979 15 x 21cm, 2pp announcement card on paper with b/w image of the drawing Filzplastik (1963) on the front. This example is signed in red felt tipped pen by Beuys over the image. Verso publisher's details. VG+.

JOSEPH BEUYS. PHOTOEDITION 1979. 1979.

Borchen: Wolfgang Püschel Galerie & Edition Gut Wilhelmsburg, 1979 14.8 x 10,5cm, invitation card illustrated with a photographic image of a photo edition by Beuys (Honigpumpe from 1977). A mailed copy with address label and two Free International University rubber stamp impressions. VG+.

JOSEPH BEUYS. PHOTOEDITION 1979. KUNST = KAPITAL. 1979.

Borchen: Wolfgang Püschel Galerie & Edition Gut Wilhelmsburg, 1979 14.8 x 10,5cm, invitation card illustrated with a photographic image of a photo edition by Beuys (Honigpumpe from 1977). A mailed copy with address label and two Free International University rubber stamp impressions ("KUNST = KAPITAL" and a hare). VG+.

KIMST IST, WENN MAN TROTZDEM LACHT. 1979.

Kassel: Freie Internationale Universitat, 1979 15 x 10.5cm, 2pp artist's postcard with one of Beuys' blackboard text works on the front printed in green on white. Photography by Stenzel. VG+.

JOSEPH BEUYS MULTIPLIZIERTE KUNST. 1979. SIGNED BY BEUYS.

Paderborn: IKARUS, 1979 10.5 x 15.2cm, 6pp asymmetric folded card with a b/w portrait of Beuys with a crook on his back and internally a short essay "Ubet Fett, Honig und anderes" by Peter Ernst. The third section is a detachable order form for various books and editions but the card is promoting an exhibition of multiple in the gallery. VG+. This is signed in pencil over the photograph by Beuys

JOSEPH BEUYS MIT HUT UNDD LEEREM MAGEN. 1979.

Bielfeld: FIU, n.d. (1979) 15 x 10.5cm, 2pp artist postcard issued by the FIU to raise funds for its activities. This is an unsigned example - there were also 200 signed card issued. VG+.

z. B. SKULPTUR. 1979.

Frankfurt am Main: Galerie im Stadelschen Kunstinstitut, 1979 15 x 10.5cm, 2pp announcement card with a view of the museum on the front, verso museum details. A group show with works by Joseph Beuys, Lee U Fan, Richard Serra, Ulrich Ruckreim, Spagnulo and others. VG+.

JOSEPH BEUYS. ZEICHNUNGEN, OBJEKTE. 1979.

Zofingen: Kleine Buhne, 1979 15 x 21cm, 2pp announcement card with one text drawing by Beuys on the front, verso gallery details. VG+.

UNTITLED (JOSEPH BEUYS). 1979. SIGNED BY BEUYS.

Kpbenhavn: Galleri Per Stan, 1979 12 x 12cm, 1pp typographic announcement card for an untitled show which is signed in pencil on the front. VG+ but there is some small amount of discolouled adhesive residue on the unprinted back.

IN HONOUR OF JOSEPH BEUYS. 1979.

NYC: Institute for Art and Urban Resources, n.d. (1979) 16.1 x 21 cm, 2pp red on brown typographic announcement card published in conjunction with reception for Beuys held on November 3, 1979. Organised in conjunction with the International Committee of the Institute for Art and Urban Resources and Ronald Feldman Fine Arts. The Institute for Art and Urban Resources Inc. was an organisation that transformed abandoned buildings in New York City into artist studios and exhibition spaces. It later became MoMA PS1. VG+.

AUS BERLIN: NEUES VON KOJOTEN. 1979.

Berlin: Rene Block Gallery, 1979 Two cards - both 15 x 10.5cm, 2pp on thin card. One card has an image of Beuys in performance and overleaf details of the publication "AUS BERLIN: NEUES VON KOJOTEN" - which outlines the I Like America America Likes Me (Coyote) aktion in Ronald Feldman Gallery. The second card is an unused order form for the book and other publications. Both VG+.

BEUYS NEW SCULPTURE. 1979.

NYC: Ronald Feldman Fine Arts., n.d. (1979) 14 x 10.3cm, 1pp announcement card with an image of Beuys in b.w without his hat showing his thinning hair. Hand addressed on the reverse and mailed with stamp and frank. VG+.

JOSEPH BEUYS. HEUTE ARBEITET BEUYS IN DER GALERIE SCHMELA. 1979.

Dusseldorf: Galerie Schmela, 1978 10.5 x 15cm, 2pp typographic announcement card. A mailed example with some franking ink on the front, and typed address on back with franking in red ink else VG+.

JOSEPH BEUYS, TEKENINGEN. 1979.

Rotterdam: Museum Boymans-van Beuningen, 1979 30 x 10cm, 6pp announcement card for a major museum show. Four works reproduced in b/w and short essays in English and Dutch. VG+.

ART: - MUSEUM DES GELDES. 1979. SIGNED BY BEUYS.

Dusseldorf: Stadtische Kunsthalle, 1979 10 x 21cm, 2pp typographic design announcement card printed black on gold for a Beuys' installation. This example is signed in red felt tipped pen by Beuys on the front. Verso a list of artists shown in the museum. VG.

ICH VERNEIGE MICH VOR DEN BEGRIFFEN. 1979.

Gelsenkirchen - Buer: FIU (Free International University); Städtische Museum, 1979 14.5 x 20.3cm, 2pp announcement card for the ‘working conference’ of the Free International University (30.11 - 07.12.1979). Silkscreened card on ‘silver’ coated paper. Tangentially related to Beuys' the image is reminiscent of Warhol's disaster series although there is no knowledge as to who designed the card. Some colour smudging on back due to over ‘inking’ of the silkscreen. VG+.

JOSEPH BEUYS. 1979.

Firenze: Galleria De Amicis, n.d. (1979) 10.5 x 15cm, 2pp typographic design for a solo show. VG+.

MULTIPLI. 1979.

Milano: Plura Edizioni, 1979 15 x 10.5cm, 2pp announcement card with a colour image of a Beuys editioned poster on the front and verso minimal gallery details. VG+.