Joseph Beuys (1921-1986) - Gletscher – Schwamm – Totenbett - (vendu sans prix de réserve)






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Joseph Beuys, Gletscher – Schwamm – Totenbett, 1979, lithography, edition 5/75, 99 × 71 cm, signed by hand and numbered, produced in Germany by Galerie, in good condition with a center crease.
Description from the seller
Splendid grand textual work by sculptor Joseph Beuys, artist of the Fluxus movement. Edition limited to 75 copies, this one numbered 5.
Title: "Gletscher – Schwamm – Totenbett"
Artist: Joseph Beuys (1921-1985)
Technique: heliogravure
Style: Fluxus [Contemporary]
Signature: Signed and numbered by hand in pencil
Format: 99 x 71 cm
Condition: Good; traces of a crease at the center, small defects to report
Work addressing the cycle of life and matter (Gletscher – Schwamm – Totenbett).
The text continues with a poem evoking the “Dragon Country” (Drachenland): “The land of dragons still lives, still lives the land of dragons...”. For Beuys, Drachenland symbolizes the world of fairy tales, ancient mythology, and pure imagination. By linking this fantastical world to rougher terms (such as the “shuttle of the Dragon Country”), he expresses the idea that spiritual power, myth, and the forces of artistic creation survive, even in a modern materialist and degraded world.
[Kellerman]
Seller's Story
Splendid grand textual work by sculptor Joseph Beuys, artist of the Fluxus movement. Edition limited to 75 copies, this one numbered 5.
Title: "Gletscher – Schwamm – Totenbett"
Artist: Joseph Beuys (1921-1985)
Technique: heliogravure
Style: Fluxus [Contemporary]
Signature: Signed and numbered by hand in pencil
Format: 99 x 71 cm
Condition: Good; traces of a crease at the center, small defects to report
Work addressing the cycle of life and matter (Gletscher – Schwamm – Totenbett).
The text continues with a poem evoking the “Dragon Country” (Drachenland): “The land of dragons still lives, still lives the land of dragons...”. For Beuys, Drachenland symbolizes the world of fairy tales, ancient mythology, and pure imagination. By linking this fantastical world to rougher terms (such as the “shuttle of the Dragon Country”), he expresses the idea that spiritual power, myth, and the forces of artistic creation survive, even in a modern materialist and degraded world.
[Kellerman]
