Here we offer an extensive and significant collection of over 360 announcement cards, invite cards, publicity cards, announcement leaflets and other postcards by Joseph Beuys.
The collection currently consists of 324 cards and documents from July 1964 to artist’s unexpected death in January 1986 and a number of additional posthumous cards. The vast majority of these cards are directly related to solo exhibitions – of which Beuys had around 180 during his life time – hence this is a large proportion of all the Beuys invitation cards issued.
DER KANZLER UND DIE KUNST. UNIQUE POSTCARD WITH ADDITIONS BY BEUYS + EMBOSSING. SIGNED BY BEUYS AND RUBBER STAMPED TWICE. Variation on Schellmann Nr 442.
Heidelberg: Edition Staeck, 1982
10.5 x 15cm, 2pp announcement card for a film showing by H. G. Hillgruber with Beuys, Helmut Schmidt and Klaus Staeck. This card is one of a number - each unique - where Beuys has crossed out the word KANZLER (Chancellor) and rubber stamped the card twice and signed it. The card also has a blindstamp impression of a cross, a horse drawn carriage and a woman's face. A variation on Schellmann Nr 442. VG+.
JOSEPH BEUYS: 7000 EICHEN. 1982. SIGNED BY BEUYS.
Gelsenkirchen: FIU, n.d. (1982)
10.5 x 15cm, 2pp artist's postcard showing Beuys and others place one of the Basalt stones under where an oak tree was to be placed as part of the Kassel project. This card is signed by Beuys on the front of the card over the image. VG+.
SAMMLUNG ULBRICHT. 1982. SIGNED & STAMPED BY BEUYS.
Bonn: Stadtisches Kunstmuseum, 1984
21 x 10cm, 6pp announcement leaflet with a b/w image of a Beuys' work Konzertflugeljom (from 1969) in b/w on the front. Internally details of the exhibition of works from the Ulbricht collection along with details of various talks and events. This example is signed in red felt tipped pen by Beuys on the front cover and is also stamped with an FIU blue impression on the right. VG+.
ELVIS/BEUYS. 1982.
Gelsenkirchen: Free International University - FIU, n.d. (1982) 10.5 x 14.8cm., black and white photomontage by Johannes Stuettgen consisting of two photographic portraits of Elvis Presley and Joseph Beuys and a text after Beuys: “Wo wären wir hingekommen, wenn wir intelligent gewesen wären!” (Where would we have gone if we had been smart?). Beuys' original quote is actually “Wo wäre ich hingekommen, wenn ich intelligent gewesen wäre!” (Where would I have gotten if I had been smart!) from the work/action Arena (1970-1972). VG+.
Johannes Stuettgen
DERNIER ESPACE AVEC INTROSPECTEUR 1964 – 1982. 1982.
London: Anthony d'Offay, 1982
21 x 15cm, 2pp announcement card which has a b/w image of Beuys' Fat Chair on teh front. The Fat Chair was an extension of the earlier Fat Corner works but Beuys saw the chair as symbolic of the human body - hence the organisation of the cold fat into a wedge was reflective of human intervention not that of hard physicality as in the earlier works. Verso gallery details. VG+.
BEUYS-BLUME, KONTAKT MIT BAUMEN. 1982.
Koln: Edition Hundertmark , n.d. (1982).
15 x 10.5cm, 2pp. Artist's postcard with a reproduced painting by Blume on the front. This image was also used in a poster by the artists. A dual performance emphasising the new emerging Green politics. VG+.
WENN ES HEUTE GESELLSCHFTLICHE VERHALNISS GIBT,… 1982.
Wiesbaden: Harlekin Art, 1982 10.5 x 15cm, 2pp. postcard issued in the series "FLUXkarte" by the publishers with a quotation by Beuys on the front. Translated into English on the back (slightly incorrectly) it reads: "If there is a social situation today that is going to kill the earth then one is at the very lowest level of necessity. There is only one counteracting force: Doing the simplest but most important, again provided for live (sic) everywhere." VG+.
BEUYS-BLUME, GESPRACH UBER BAUMEN. 1982.
Koln: Edition Hundertmark , n.d. (1982).
15 x 10.5cm, 2pp. Artist's postcard with a reproduced painting by Blume on the front. This image was also used in a poster by the artists. A dual performance/discussion emphasising the new emerging Green politics. VG+.