Color photograph , inscribed by Joseph Beuys in brown ink. Signed and dated at the top, and titled at the bottom. 255 x 125 cm. , the full sheet.
Not unframed for cataloging. Made at the Hessian State Museum, Darmstadt (artist in front of a mastodon skeleton). Includes a full-size digital print of the original work and an accompanying confirmation of this reproduction issued by Eva Beuys dated June 21, 2011. [KA]..

• Unique piece.
• Photography as a medium: Beuys uses his own image as an independent artistic statement.
• Created in the year of the groundbreaking exhibition “Art = Capital - Joseph Beuys, Robert Rauschenberg, Andy Warhol” at Hans Mayer's gallery in Düsseldorf, where Beuys and Warhol met in person for the first time.
• In the same year, the Solomon R. Guggenheim Museum in New York dedicated an extensive retrospective to Beuys.
• Programmatic work title: a sharp statement of Beuys’ expanded concept of art.
• Joseph Beuys remains the most sought-after German artist of the postwar period on the international art market.

Joseph Beuys. Auch wenn ich meinen Namen schreibe zeichne ich, Galerie & Edition Schlégl, Zurich, September 26, 1989, pp. 48-49 (with full-page color illustration). Joseph Beuys. Aprovechar a las ánimas = Joseph Beuys. Fer profit a les ànimes, Centre de Cultura Sa Nostra, Palma de Mallorca, Nov. 10-Dec. 12, 1992. Beuys - Lehmbruck. Denken ist Plastik, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 2021, cat.no. 174 (illustrated in black and white on plate 14on p. 59)

Werner Krüger Collection, Cologne (acquired directly from the artist). Géza Istvan Schlégl Collection, Switzerland (acquired from the above)