Image description


Joseph Beuys (1921 - 1986)

Joseph Beuys Filzpostkarte


Medium: Original Screenprint on Felt , 1985

Size:4 x 5 3/4 x 1 1/4 in. (10.2 x 14.6 x 3.2 cm).

Edition: There was a signed edition of 120. Ours comes from the unlimited unsigned edition

Publishers: Edition Staeck, Heidelberg

Note: Filzpostkarte (by Joseph Beuys) is not just the title of the item, it is also a play with words: Fil

postkarte – felt postcard-, and Feldpostkarte – a postcard sent to and from soldiers on in the battlfield.

Joseph Beuys’s “Filzpostkarte,” reflects the artist’s esteem for the postcard in general because of its

double function as a vehicle for communication and a simple artistic medium. He, therefore trans

ferred a multitude of materials, important to his work - like wood, copper and even sulphur- into the

form of a postcard.

Public Collections: Walker Art Centre Library Collection

Literature: Joseph Beuys: The Multiples, Schellmann, 539

Price : £50-00  (free standing)

Joseph Beuys Holzpostkarte


Medium: Original Screeprint on Pine Wood, 1974

Size:4 x 5 3/4 x 1 1/4 in. (10.2 x 14.6 x 3.2 cm).

Edition: There was a signed edition of 120. Ours comes from the unlimited unsigned edition

Publishers: Edition Staeck, Heidelberg

Literature: Jorg Schellmann, Joseph Beuys Die Multiples, Schirmer/Mosel Verlag, Munich, 1985, cat no 104 (another version, illustrated page 133)

Price : £50-00  (free standing)


Joseph Beuys Postkarten


Original Screenprint on carton , 1962, signed in pencil and stamped with FREE INTERNATIONAL UNIVERSITY stamp.

Size: 23 x 18.5 cm

Edition: From the hand signed edition

Publishers: Edition Staeck, Heidelberg

Literature: Joseph Beuys: The Multiples, Schellmann

Price : £125-00  (mounted on black paper)


Joseph Beuys saw postcards as an ideal medium for the dissemination of his ideas. The first original graphic postcard size "friedrich space" started the long-standing cooperation with the equally postcard enthusiastic lawyers, artists, publishers and current president of the Art Academy Berlin, Klaus Staeck. An existing Fotopostkarte became the basis of Beuys processing. The artist was the pioneer in brown print and provided it with the stamp "German Student Party". This alienation of banal postcard motif in connection with the 4th Documenta in 1968 put an associative process in motion: Shall we understand as an art viewer us as students? Is the Documenta a "University of 100 Days"? Refers the Beuysian Brown to the national-socialist past and at the same time on the restart as he started on the Documenta in Kassel with the opening of international art after the Second World War? "Trying to bless Kassel with this type of card, came to one of my biggest publishing flops" reported Staeck years later. Even collectors often need more time to perceive these postcards as original graphic - in order to understand them - and therefore as collectible objects. Since Beuys looked at works of art in the postcards from the beginning, he devoted to the design and printing of a postcard as much energy as in his artistic work.
Hartmut Kraft Biography: Joseph Beuys, Born 1921 in Krefeld. After participating in the Second World War from 1947 to 1951 studied at the Dusseldorf Art Academy at Ewald Mataré; 1961-1972 professor there. With his "actions", his idea of an "expanded concept of art" and the introduction of new materials (fat, felt, sulfur) he had as an artist and as a teacher great influence on the development of art. He died in 1986 in Dusseldorf. Literature: Gold H et al. (Ed.): Who does not want to think, thrown out. Joseph Beuys Postcards - Collection Neuhaus. Edition Braus, Heidelberg 1998. Schellmann J (ed.): Joseph Beuys. The Multiples - raisonné of support objects and Printmaking 1965 -1986. Edition Schellmann, Munich and New York 1992nd

Allen Jones (b.1937)

Allen Jones Shining
Allen Jones Shining


Aluminium sculpture, 1993, signed and numbered on the sculpture. 

Edition: 9999 copies

Size: 17 cm 

Note: This was part of a perfume edition by Les Beaux Arts (design edition no.2) which was made in Germany. There were three, different colour sculptures of a lady's boot rested on a perfume bottle. The titles of the three sculptures were: 1) Shining, 2) Shocking and 3) Sparkling. An example with the perfume bottle can be seen at the Victoria & Albert Museum:

The perfume bottle in this example has been replaced by a custom made wooden plinth.

Price: £75-00