H. 8 cm.

Provenance: acquired from Aaron Vecht, Amsterdam, ca. 1947; Charles Ratton, Paris, before 1940. This figurine is very akin to the one that once belonged to Carl Einstein and was published in his 'Afrikanische Kunst' (1921) pl. 43 and is now in the Rietberg Museum, Zurich. Huguette Van Geluwe wrote in an answer to a request by Aldo van Eyck dd. 6 july 1994: 'Your figurine and the one in Zurich are undoubtedly from the same hand and are like twin sisters with some small varieties, but hardly determinable.'

H. 41 cm., mounted

Provenance: Italiaander Galleries, Amsterdam and by repute Christian Duponcheel (1941-2004)

L. 98,5 cm.

L. 92,5 cm.

Provenance: Anthony J.P. Meyer, Paris, 1989; Private collection Great Britain end of the 18th Century; Published: Galerie Meyer (1989), Casse-tete, p.25, no. 31.

L. 9,9 and 5,4 cm.

Provenance: Collection James Hooper. no.385 and 386; Christie's London, 3-7-1990, lot 82. Publ.: Steven Phelps, 1976, page 90 and 419.

L. 104,5 cm. on custom made stand

Provenance: Italiaander Galleries, Amsterdam, 1994; American private collection.

diam. outer ring 30,5 and mask L. 25,5 cm.

h. 12,3 cm. (without feathers)

w. 14,3 cm.

Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025

H. 6,5; 8,2 and 14,7 cm.

Provenance: Loed van Bussel, Amsterdam 1988; Matthias Lemaire, Amsterdam 1975 and 1983.

H. 15,2 cm.

diam. 46,1 cm.

Provenance: acquired in the 1950s. The roof construction of the Municipal Orphanage in Amsterdam was inspired by this specific bowl. Published: Straufen, Francis (1998), Aldo van Eyck, The Shape of Relativity, p. 312

L. ca. 450 cm.

ink and watercolour on paper, signed and dated 'Corneille 50' lower right, dedicated 'Voor Hanny en Aldo voor de heerlijke tijd bij jullie doorgebracht Corneille' on the reverse, 44 x 44 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck; Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025

watercolour on paper, signed and dated 'CK Appel '50' and dedicated 'Voor Hannie van Karel en Tony 26 maart '50' lower right, 24,6 x 30,3 cm.

Provenance: A gift from the artist to Hannie van Eyck on the 26th of March 1950

wax crayon and chalk on paper, signed and dated 'Constant 1949' lower left, 49,7 x 50,2 cm.

Provenance: Acquired directly from the artist by Aldo and Hannie van Eyck; Exhibited: The Hague, Haags Gemeentemuseum, Constant: schilderijen plastieken New Babylon, 1 October-21 November 1965, no. 100; Rotterdam, Museum Boijmans van Beuningen, Cobra 1948/51, 20 May-17 July 1966, no. 77 (illustrated in b/w p. 63); Amsterdam, Stedelijk Museum, Constant: een illustratie van vrijheid-tekeningen 1945-74, 28 November 1974-5 January 1975; Literature: Cobra nr. 4, Amsterdam, November 1949, p. 24 (illustrated in b/w; in a different orientation); Bert Schierbeek, De experimentelen, Amsterdam, 1963, fig. 8 (illustrated in b/w); Hans Redeker, "Cobra een eeuw geleden", in Algemeen Handelsblad, 4 June 1966 (illustrated in b/w); Willemijn Stokvis, Cobra, Amsterdam, 1985, p. 178 and p. 275, fig. 42 (illustrated in b/w); Willemijn Stokvis, Cobra 1948-1951: terug naar de bronnen van kunst en leven, Zwolle, 2008, pp. 80/81, fig. 45 (illustrated in colour); Michael Baumgartner a.o., Klee en Cobra, exhibition catalogue Amstelveen/Gent, 2012, p. 81, fig. 3 (illustrated in colour)

portfolio with 34 plates after pencil frottages, publisher's imprint signed and numbered '11' (one of 20 numbered copies of the de-luxe edition on Japon), 52 x 35 cm.

vintage postcard with mixed media drawing and printed paper collage (recto/verso), sent to Aldo van Eyck from Copenhagen, December 1949, signed and inscribed by both artists, oval, 12,2 x 8,5 cm.

oil and coloured crayon on board laid down on plywood, signed and dedicated 'for Hannie and Aldo S. Tajiri 16.4.60' on the reverse of the plywood, 33 x 26 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck on the 16th of April 1960; Exhibited: Amsterdam, Stedelijk Museum, Exposition International d'Art Expérimental, 3-28 November 1949; Literature: Willemijn Stokvis, Cobra, Amsterdam, 1985, pp. 214/216 (illustrated in b/w); Ida Boelema a.o., Shinkichi Tajiri: beeldhouwer, Monografieën van Nederlandse Kunstenaars IX, The Hague, 1991, p. 36, fig. 28 (illustrated in colour) and p. 38; André Stufkens a.o., Shinkichi Tajiri: snelheid, erotiek en geweld, Nijmegen, 2003, p. 170 (illustrated in colour); Peter Shield, "The 1949 Cobra Exhibition at the Stedelijk Museum Amsterdam - A substantive reconstruction", in Jong Holland, XXII, 2006, no. 1, p. 16

The present lot is one of four similar works which the artist exhibited at the first Cobra-exhibition in Amsterdam in 1949 (the others were titled 'Oiseaux', 'Femme enceinte' and 'Paysage'). His painting style in those years showed the influences of Mexican art and folk art.

oil on canvas, 20,5 x 120,5 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck on the 19th of November 1966; Exhibited: Zürich, Kunsthaus Zürich, Richard P. Lohse, 21 September-21 October 1962, no. 74

This work is registered in the catalogue of works at the Richard Paul Lohse-Stiftung under inventory number 74

lithograph in colours, signed ' Klee' lower right, dated and inscribed with the artist's work number '1923 138' lower left, image 44 x 26.6 cm. sheet 52 x 36,7 cm.

Literature: Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 68 (illustrated in b/w); Francis Strauven, Aldo van Eyck: relativiteit en verbeelding, Amsterdam, 1994, p. 197 (illustrated in colour); Vincent Ligtelijn, Aldo van Eyck: Works, Bussum, 1999, p. 26 (illustrated in b/w); Robert MacCarter, Aldo van Eyck, New Haven/London, 2015, p. 19, fig. 1.8 (illustrated in b/w)

Literature: Kornfeld 95-IV. Printed by the Staatliches Bauhaus, Weimar and published in the portfolio 'Kunst der Gegenwart' by R. Piper & Co., Munich, with his Ganymede blindstamp, in an edition of 220

watercolour and ink on paper, signed and dated 'Corneille 49' upper right, signed, dated and annotated 'Route barrée' on the reverse of the backing board, 46,3 x 45 cm.

Exhibited: Rotterdam, Museum Boijmans van Beuningen, Cobra 1948/51, 20 May-17 July 1966, no. 95 (illustrated in b/w p. 65); Amstelveen, Cobra Museum of Modern Art, Miró & Cobra: Experimenteel spel, 15 October 2015-31 January 2016, pp. 190/191 (illustrated in colour) and p. 217; Amstelveen, Cobra Museum of Modern Art, Corneille en Noord-Afrika, 12 March 2022-15 January 2023; Literature: Christian Dotremont, Corneille, Bibliothèque de Cobra serie 1, no. 7, Copenhagen, 1950 (illustrated in b/w); Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 187 (illustrated in b/w); Bert Schierbeek, De experimentelen, Amsterdam, 1963, fig. 9b (illustrated in b/w); Willemijn Stokvis, "De Nederlandse Experimentelen en de Cobrabeweging", in Openbaar Kunstbezit, XI, 1967, p. 74b and p. 76, fig. 4 (illustrated in b/w); Erik Slagter, "Corneille, de dichtende schilder, vijftig jaar", in Ons Erfdeel, XV, 1972, p. 19 (illustrated in b/w); Willemijn Stokvis, Cobra, Amsterdam, 1985, pp. 190/191 (illustrated in b/w); Willemijn Stokvis, Cobra: de weg naar spontaniteit, Naarden, 2000, pp. 352/353, fig. 187 (illustrated in b/w); Willemijn Stokvis, Cobra: the last avant-grade movement of the twentieth century, London, 2004, pp. 278/279, fig. 187 (illustrated in b/w); Willemijn Stokvis, Cobra 1948-1951: terug naar de bronnen van kunst en leven, Zwolle, 2008, p. 188 and p. 192, fig. 106 (illustrated in colour); Willemijn Stokvis, Cobra: a history of a European avant-garde movement 1948-1951, Rotterdam, 2017, p. 276, fig. 290 (illustrated in colour)

two printed pamphlets, each with handcolouring in watercolour by Karel Appel, each signed by artist and author, 47 x 63 cm.

published by the Experimentele Groep Holland, Amsterdam in an edition of unknown size

For other works by the artist with the subject of 'Vragende Kinderen/Questioning children', see lot numbers 1041 and 1045. The series of works from 1948/1949 with the subject of 'Vragende Kinderen/Questioning Children' were inspired by the sight of begging children during a train journey through Germany that Karel Appel made soon after the end of World War II (see the website of the Stedelijk Museum, Amsterdam, for more information on this subject).

wax crayon and watercolour on paper, signed and dated 'CK. Appel '49' lower left, 45,2 x 54,2 cm.

Exhibited: Amstelveen, Cobra Museum of Modern Art, Miró & Cobra, 10 October 2015-31 January 2016, p. 153 (illustrated in colour) and p. 216; Literature: Cobra: International Zeitschrift für Moderne Kunst. Deutsche Ausgabe, no. 5, Hannover 1950 (illustrated in b/w); Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 162 (illustrated in b/w); Willemijn Stokvis, Cobra: a history of a European avant-garde movement 1948-1951, Rotterdam, 2017, p. 131, fig. 121 (illustrated in b/w)

etching, signed and inscribed 'Alberto Giacometti' lower right and 'Epreuve d'essai' lower left, plate 29 x 23,8 cm. sheet 36,7 x 31 cm..

published by H. Orobitz, Paris, in an edition of 50

Literature: Lust 80

etching, signed 'Picasso' lower right, numbered '24' lower left, image 13 x 11 cm. sheet 60,5 x 44 cm.

Literature: Vincent Ligtelijn, Aldo van Eyck: Works, Bussum, 1999, p. 22 (illustrated in b/w)

Literature: Baer 32. Printed by Delâtre, Paris and published by Henry Kahnweiler, Paris, in an edition of 100

oil on canvas, signed 'CK. Appel' lower right, dedicated 'voor Tess. van Karel' on the reverse, 50,7 x 29 cm.

Provenance: A gift from the artist to Tess van Eyck (b. 1945), daughter of Aldo and Hannie, in 1949; Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025; Literature: Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 53 (illustrated in b/w); Robert MacCarter, Aldo van Eyck, New Haven/London, 2015, p. 30

Aldo van Eyck remembers how the children of Appel's friends were each invited to the artist's studio, to choose a painting of their liking (Aldo van Eyck 1986, p. 53). The present lot hung in an alcove above Tess van Eyck's bed and the photograph which Jan Versnel took of this corner of her bedroom (part of a series of the interior of the Van Eycks' apartment on the Binnenkant, Amsterdam, first published in the magazine 'Goed Wonen' in February 1951) has been widely featured since in publications about Aldo and Hannie van Eyck's work and life. Another example of such a 'Kinderschilderij' (children's painting) was sold at Christie's Amsterdam, 25 April 2023, lot 57.

watercolour, gouache and pencil on paper (reproduction of a lithograph of Amsterdam by an unknown artist on the reverse), signed and dated 'Constant '48' centre, 42,7 x 32,5 cm.

Provenance: Acquired directly from the artist by Aldo and Hannie van Eyck; Exhibited: Amsterdam, Stedelijk Museum, Constant: een illustratie van vrijheid-tekeningen 1945-74, 28 November 1974-5 January 1975; Literature: Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 163 (illustrated in b/w); Willemijn Stokvis, Cobra: de weg naar spontaniteit, Naarden, 2000, p. 172, fig. 40 (illustrated in b/w); Willemijn Stokvis, Cobra: the last avant-grade movement of the twentieth century, London, 2004, p. 160, fig. 40 (illustrated in b/w) and p. 164; Willemijn Stokvis, Cobra: a history of a European avant-garde movement 1948-1951, Rotterdam, 2017, p. 93, fig. 81 (illustrated in colour)

iron, 29 x 15 x 10 cm.

Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025

iron, h. 29 x 10 x 10 cm.

Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025

bronze, 25 x 11 x 7 cm.

folio with 16 collotypes, signed, dedicated, numbered and dated in ink 'pour l'ami Aldo architecte, exemplaire: no 1 et signé par l'auteur 17 Septembre 1949 Corneille' on the back cover, 18 x 24 cm.

Provenance: A gift from the artist to Aldo van Eyck on the 17th of September 1949. This copy contains the original design, in watercolour, for the cover and back cover.

ink on paper, signed and dated 'Corneille '53' lower right, 17,7 x 20,2 cm. and a postcard from the artist to Aldo en Hannie van Eyck sent from Albisola, Italy on the 15th of August 1954 with the front highlighted with ink and gouache, 10,5 x 15 cm.

Literature: Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 43 (drawing only; illustrated in b/w)

In the postcard written on the 15th of August 1954, the artist refers to the 'Incontro internazionale della ceramica' (International Ceramics meeting) which Asger Jorn had organized that summer in Albisola. Corneille writes that he is working in 'one of the largest ceramics factories', in the company of Asger Jorn, Roberto Matta and 'some other good Italian painters'.

coloured crayon on an enlarged photocopy of a fax on paper from the artist for the 80th birthdays of Aldo and Hannie van Eyck, signed and dedicated 'Karel/aldo Hannie' lower centre, 42 x 29,5 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck

wax crayon on paper laid down on cardboard, signed and dated 'CK Appel '48' lower left, dedicated 'Quinten. Voor zieke Hanny die nu beter is 22 Febr 1950' on the cardboard, 39,8 x 24,8 cm.

Provenance: A gift from the artist to Hannie van Eyck on the 22nd of February 1950; Literature: Cathérine van Houts, Karel Appel: de biografie, Amsterdam, 2000, p. 112

etching, signed in red pencil 'Alberto Giacometti' lower right, plate 16,4 x 13,4 cm. sheet 25,1 x 18,5 cm.

published by Cahiers d'Art, Paris, in an edition of 45

Literature: Lust 76

colour lithograph poster, signed and dedicated 'Pour Hannie van Eyck avec les amitiés de Miró' lower left, sheet 60 x 43 cm.

Provenance: A gift from the artist to Hannie van Eyck

Literature: Corredor-Matheos 4/Mourlot 67. Printed by Mourlot, Paris and published by Galerie Maeght, Paris, in an edition of 300

watercolour on paper, signed and dated 'Alechinsky VIII 1977' lower right, 98 x 66 cm.

eighteen etchings with aquatint, with the artist's stamped signature on the justification page and on two of the sheets, numbered '695' on the justification page and numbered '695/850' on two of the sheets, album size 29,5 x 39,5 cm.

Provenance: Acquired by Aldo and Hannie van Eyck in Zürich circa 1943-1944 (in a photograph of the interior of their apartment in the Frohburgstrasse, a frame with four prints from this portfolio can be seen hanging on a wall; see Francis Strauven, Aldo van Eyck: relativiteit en verbeelding, Amsterdam, 1994, p. 88)

Literature: Baer 615e-616

folio, phototype, handcolouring with coloured pencil, signed by artist and author, numbered '22' on the justification page, 25 x 17,1 cm.

published by the Experimentele Groep in Holland, Amsterdam, in an edition of 30

wax crayon and crayon on paper, signed and dated 'Constant '49' lower left, 48,5 x 53,6 cm.

Provenance: Acquired directly from the artist by Aldo and Hannie van Eyck; Exhibited: Amsterdam, Museum Fodor, De Keerkring, 16 April-8 May 1949 (as: Zondagsschool; illustrated in b/w); Amsterdam, Stedelijk Museum, 150 Jaar Nederlandse Kunst: Schilderijen, beelden, tekeningen, grafiek 1813-1963, 6 July-29 September 1963, no. 197 (illustrated in b/w), p. 151, cat.no. T216; Amsterdam, Stedelijk Museum, Constant: een illustratie van vrijheid-tekeningen 1945-74, 28 November 1974-5 January 1975; Literature: L.P.J. Braat, Nieuwe stromingen in de beeldende kunst, Amsterdam, 1950, fig. 11 (illustrated in b/w); Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 163 (illustrated in b/w); Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 40 (illustrated in b/w); Marcel Hummelinck, Après nous la liberté: Constant en de artistieke avant-garde in de jaren 1946-1960, Amsterdam 2002, p. 111, fig. 52 (illustrated in b/w)

ink on paper, signed and dated 'C.K. Appel '49' lower left, 20,3 x 30,4 cm.

Literature: Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 197 (illustrated in b/w)

oil on canvas, signed and dated 'Corneille 51' lower right and signed on the stretcher, 54 x 65 cm.

Provenance: Acquired by Aldo and Hannie van Eyck in the mid-1950s; Exhibited: Liège, Palais des Beaux-Arts, IIe Exposition Internationale d'art experimental, 6 October-6 November 1951, no. 113 or 114 (see painting hanging on the left wall in Liege, © Violette Cornelius / Nederlands Fotomuseum) Paris, Galerie Collette Allendy, Corneille, 13-26 March 1953; The Hague, Corneille, 14 July-3 September 1961, no. 16 (this exhibition travelled to Eindhoven, Stedelijk Van Abbemuseum, 15 September-19 October 1961); Amstelveen, Cobra Museum of Modern Art, Corneille 100, 3 July 2022-15 January 2023; Literature: Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 188 (illustrated in b/w); F.Th. Gribling, Corneille, Amsterdam, 1972, fig. 12 (illustrated in b/w)

The present lot is one of two paintings titled 'Ville en Mouvement' which Corneille created in 1951. That same year both works were included in the second Cobra-exhibition in Liège (no. 113 'Ville en Mouvement I' and no. 114 'Ville en Mouvement II'). The other painting has been in the collection of the Van Abbe Museum, Eindhoven, since 1954 (inv.no. 67). In a postcard sent by Corneille to Aldo van Eyck in 1957, the artist lovingly describes the Van Abbe painting as "het broertje van jullie schilderij" ('the little brother of your painting') (postcard collection Van Eyck family). In a photograph taken by Violette Cornelius at the Liège exhibition, the present lot can be discerned in the left background, where it is shown in the presence of two Alberto Giacometti sculptures (collection Nederlands Fotomuseum, inv.no. VIC-521).

a 16-page booklet with three drawings and three handwritten pages with three poems by the artist, all ink on paper, signed and dated 'in 1951 geschreven en getekend door Lucebert' on the inside back cover, 28 x 23,7 cm.

Provenance: A gift from the artist to Aldo van Eyck circa 1951; Exhibited: Alkmaar, Stedelijk Museum Alkmaar, 100x Lucebert, 30 March-1 September 2024; Literature: Ad Petersen, Lucebert in het Stedelijk: catalogus van alle schilderijen, tekeningen, gouaches, aquarellen en prenten in de verzameling, Amsterdam, 1987, p. 81; Hans Groenewegen a.o., Licht is de wind der duisternis: over Lucebert, Groningen, 1999, pp. 170/171, under 'g' and pp. 172/175 (illustrated in colour); Piet Gerbrandy and Suzanne Héman, Lucebert: Unica: 7 unieke cahiers in facsimile, Amsterdam, 2011 (facsimile reproduction of the complete booklet)

The present lot is the seventh in a series of eight known booklets which Lucebert created as gifts for close friends between 1949 and 1951. Each booklet is unique and different in style; each contains handmade drawings and (mostly) handwritten poetry by Lucebert. Other examples from this series were dedicated to Frieda Koch and her husband Bert Schierbeek, Remco Campert, Paula Eisenloeffel and Ferdinand Langen. The first five of the series are in the collection of the Stedelijk Museum, Amsterdam, since 1996. The present lot is one of three still remaining in private hands. Lucebert became friends with Aldo during the preparation of the first Cobra-exhibition in the Stedelijk Museum, Amsterdam, in November 1949.

wax crayon and crayon on paper, signed and dated 'Theo Wolvekamp 49' lower right, 37,4 x 56,3 cm.

Provenance: Acquired from the artist by Aldo van Eyck in 1949 (the first work sold by the artist); Exhibited: Amstelveen, Museum Aemstelle, Wolvecamp: werken op papier, 10 October 1994-15 January 1995, p. 5 (illustrated in colour); Amstelveen, Cobra Museum, Theo Wolvecamp, 4 October-8 December 2002, p. 172 (illustrated in colour); Literature: Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 188 (illustrated in b/w)

folio with photocopy and handcolouring in gouache, signed by artist and author, dedicated by the artist 'voor Aldo 25-12-1950' on the title page, numbered '3' on the justification page, 27,5 x 22,7 cm.

Provenance: A gift from the artist to Aldo van Eyck on the 25th of December 1950

Printed in Paris in an edition of 200