A SIGNIFICANT & EXTENSIVE COLLECTION OF ANNOUNCEMENT CARDS, LEAFLETS & POSTCARDS BY JOSEPH BEUYS. 1965 – 1986.

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.

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+.

JOSEPH BEUYS. 1977.

München, Schulmann & Kluger, 1977
10.7 x 21.2cm, 6pp asymmetric folded card with 10.5 x 13.8cm, b/w illustration of a lithograph "Letter from London" 1976 which the card is offering for 3,200 DM. 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.

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