joseph beuys at trag

Joseph Beuys
Germany 1921-1986

beuys - noiseless eraser

Noiseless Blackboard Eraser
Ronald Feldman Fine Arts, New York, 1974

Felt blackboard eraser multiple with yellow label. Signed by Beuys in felt pen in Sütterlinschrift (prewar German) script; numbered in felt pen.
Beuys had the idea for this edition at a political lecture he held during his first trip to the United States. When collectors wanted to purchase a blackboard he had drawn and written on, Beuys had it erased with this type of blackboard eraser, thereby making a political-art-market statement. Edition of 550, plus 6 hors commerce. Edition 91/550.
Ref:
Klüser, B, Schellmann, J 6th edition 1985, Joseph Beuys Multiples, Catalogue Raisonné of Multiples and Prints 1965-1985, Editions Schellmann, Munich and New York. no. 93.
Schellmann, J (ed) 1997, Joseph Beuys : The Multiples, Catalogue Raisonné of Multiples and Prints, Edition Schellmann, Munich, New York. no. 101, p. 132.

 holzpostkarte

beuys-2

Edition Staeck, Heidelberg, 1974

Postcard multiple on wood. Screenprint on wood. Edition unlimited, unsigned, unnumbered. 600 copies signed and some stamped; 120 plus XX included in Postcards 1968-1974, (1974). 10.5 x14.7 x 1.0 cm.
Ref:
Klüser, B and Schellmann, J, 6th edition 1985, Joseph Beuys Multiples, Catalogue Raisonné of Multiples and Prints1965-1985, Editions Schellmann, Munich and New York. no. 99 (illustrated).
Schellmann, J (ed) 1997, Joseph Beuys : The Multiples, Catalogue Raisonné of Multiples and Prints, Edition Schellmann, Munich, New York. no. 104, p. 133 (illustrated).

filzpostkarte

beuys-1

Edition Staeck, Heidelberg, date unknown

Postcard multiple. Silkscreen on felt. Edition: unlimited, unsigned, unnumbered; 100 signed and numbered copies. 10.5 x14.7 x 0.9cm
Ref:
Schellmann, Jörg (ed) 1997, Joseph Beuys : The Multiples, Catalogue Raisonné of Multiples and Prints, Edition Schellmann, Munich, New York. no. 539, p. 396 (illustrated).
Stanhope, Zara, 1997, Multiplication: the multiple object in art, Monash University Gallery, Melbourne. pp. 5-6, p. 18.