drypoint and aquatint in colours, signed 'Max Ernst' lower right and numbered '11/25', image 17 x 13,8 cm. sheet 24,8 x 19,3 cm.; with the publication by Tristan Tzara, stamp numbered '11' on the justification page

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 (illustrated in b/w back cover)

Literature: Spies & Leppien 23. Printed by Stanley William Hayter, New York, published by Guy Levis Mano, Paris

five drawings, wax crayon on paper in a cover with handwritten text, each signed and dated 'Constant '51', dedicated 'fait pour Aldo van Eyck une soirée de Mai 1951 à Pigalle, Constant' on the inside of the cover, each drawing 31 x 38,5 cm.

Provenance: A gift from the artist to Aldo van Eyck in May 1951; Exhibited: Rotterdam, Museum Boijmans van Beuningen, Cobra 1948/51, 20 May-17 July 1966, no. 83 (one illustrated in b/w p. 64); Amsterdam, Stedelijk Museum, Constant: een illustratie van vrijheid, 28 November 1974-5 January 1975 (one illustrated in b/w); Amstelveen, Cobra Museum of Modern Art, Constant: ruimte + kleur, 28 May-25 September 2016, pp. 32/33 (illustrated in colour) and p. 137; Literature: Museumjournaal: themanummer Cobra, VII, no. 7/8, January/February 1962, p. 164 (illustrated in b/w); Willemijn Stokvis, Cobra, Amsterdam, 1985, p. 180 and p. 276, fig. 45 (illustrated in b/w); Jean-Clarence Lambert, Constant: les trois espaces, Paris, 1992, p. 52, no. 33 (one illustrated in b/w) and p. 206, no. 33

etching, signed ' Miro' lower left, image 14,6 x 9 cm. sheet 22,5 x 16 cm.

Literature: Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986 (illustrated in b/w inside back cover)

Literature: Dupin 43. Printed by Atelier 17 and Henri Hecht, Paris, in an edition of 113

etching, signed ' Miro' and numbered '69/150', image 10 x 8 cm., sheet 17,5 x 14,6 cm.

Literature: Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986 (illustrated in b/w inside back cover)

Literature: Dupin 42. Printed by Atelier 17, Paris and published by Guy Lévis Mano, Paris

lithograph, signed lower right, image 32,7 x 33,4 cm. sheet 41 x 31 cm.

published in the portfolio 'Die Schaffenden', 1921, by the Euphorion-Verlag, Weimar, in an edition of 100

Literature: Grohmann GL 5

oil on canvas, signed and dated (scratched) 'Constant '49' centre left, 17,2 x 20,5 cm.

Provenance: Acquired directly from the artist by Aldo and Hannie van Eyck

pencil and coloured chalk on handwritten postcard, sent by the artist from Paris to Aldo van Eyck on the 1st of February 1951, 10,2 x 14,8 cm.

Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025; Literature: Aldo en Hannie van Eyck met Karel Appel in Middelburg, Stichting Beeldende Kunst Middelburg, 1992 (illustrated in b/w); Francis Strauven, Aldo van Eyck: relativiteit en verbeelding, Amsterdam, 1994, p. 144 (illustrated in colour)

For other works by the artist with the subject of 'Vragende Kinderen/Questioning children', see lot numbers 1011 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). In his postcard from Paris, Appel asks Aldo for the addresses of his landlord and a few others who he needs to contact before returning to Amsterdam in a few months' time. He describes to Aldo how he is working hard, but cannot afford to buy new materials due to lack of finances. Appel and his wife Tony Sluyter are living 'like hermits, we don't go anywhere and don't see anybody'.

portfolio with eight pochoirs in colours, numbered '221' on the justification page, 32.5 x 25 cm.

printed by Saude, Paris and published by Editions Jeanne Bucher, Paris, in an edition of 300

Literature: Dupin 1-8

oil on canvas, inscribed by Nelly van Doesburg 'Voor Theo van Doesburg 1915-'16 Nelly (Petro) van Doesburg' on the stretcher, 19,5 x 11,5 cm.

Provenance: Nelly van Doesburg, from whom acquired by Aldo and Hannie van Eyck in 1951; Exhibited: Paris, Parc des Expositions, "1940" Deuxième exposition (retrospective Van Doesburg), 15 January-1 February 1932, p. 5, no. 33? (as Portrait); Eindhoven, Stedelijk van Abbemuseum, Theo van Doesburg, 3 December 1968-26 January 1969, cat.no. A11 (as Compositie/'Zelfportret', 1917) (this exhibition travelled to The Hague, Gemeentemuseum, 7 February-23 March 1969 and Basel, Kunsthalle, 9 August-7 September 1969); Literature: Sergio Polano ed., Theo van Doesburg: Scritti di arte e di architettura, Rome, 1979, p. 527, cat.no. PITT 116, fig. 69 (illustrated in b/w, as 'Composizione/'Autoritratto'); Els Hoek ed., Theo van Doesburg Oeuvre Catalogus, Utrecht/Otterlo 2000, p. 526, no. 849 (illustrated in colour)

ink on paper, signed and dated 'Theo Wolvekamp 49' upper left, 21,8 x 33,2 cm.

coloured pencil and wax crayon on paper, signed and dated 'CK Appel '48' lower left, 20,3 x 30,4 cm.

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

For other works by the artist with the subject of 'Vragende Kinderen/Questioning children', see lot numbers 1011 and 1041. 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).

portfolio with eight lithographs, each signed 'Constant' verso, numbered '1' and dedicated 'exemplaire pour Aldo et Hanny Constant' on a label inside the portfolio, sheet 40 x 28 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck, circa 1951

Published by the artist, Amsterdam, in an edition of 50

portfolio with nine woodcuts in colours, signed by artist and author, numbered '31' on the justification page, 34,4 x 27,2 cm.

printed by G.A. Verweij, Schiedam and published by Galerie le Canard, Amsterdam, in an edition of 125

coloured chalk on paper, signed 'Aldo van Eyck' lower right, 30 x 42 cm.

The current composition, featuring perhaps Aldo Van Eyck's most famous quote, was used for a lithograph published in 1991 by the Peninsula Galerie & Uitgeverij, Eindhoven, as part of the portfolio Bibliothèque de l'architecte (printed in an edition of 45).

iron, 50 x 41 x 5,5 cm.

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. 64 (illustrated in b/w). The statue can be seen standing in Aldo's office in Loenen aan de Vecht in the centre of the photograph, standing in the window alcove. (photo by Alejandro Campos Uribe)

In an interview with the artist in Aldo van Eyck 1986 (pp. 62-63), Carel Visser remembered meeting the ten-year older Aldo van Eyck in the early 1950s through Carel's brother Martin Visser. In Carel's words, it was 'friendship at first sight'; the early recognition from Aldo of Visser's work was very important to the young sculptor. Van Eyck spoke to Visser about Constantin Brancusi and made it possible for the Vissers to meet Brancusi at his studio in Paris, a visit which had a lasting impact. Aldo van Eyck designed three exhibitions of Visser's work: in De Zonnehof, Amersfoort (together with paintings by Joost van Roojen) in 1972, in the Stedelijk Museum, Amsterdam, in 1972 and finally in the Kröller-Müller Museum, Otterlo, in 1989. See Carel Blotkamp, Carel Visser, Utrecht, 1989, p. 79, for another version of the same sculpture. Another version of the same size is in the collection of the Stedelijk Museum, Amsterdam (as 'Wandelend Gezin', inv.no. BA 529).

iron, 71 x 20 x 20 cm.

See Carel Blotkamp, Carel Visser, Utrecht, 1989, pp. 76/77, for a larger version of the same sculpture. A smaller version is in the collection of the Stedelijk Museum, Amsterdam (inv.no. BA 387).

iron and concrete, 26,5 x 70 x 15,2 cm.

See Carel Blotkamp, Carel Visser, Utrecht, 1989, p. 72, for another version of the same sculpture. A larger version is in the collection of the Stedelijk Museum, Amsterdam (inv.no. BA 571). In the present lot, the artist shows his admiration for the work of Constantin Brancusi by making the base a prominent part of the overall sculpture. It was Brancusi who drew the attention to the role of the base, he considered it to be a vital part of a sculpture. Visser greatly admired Brancusi and was able to visit him in his Parisian studio in the 1950s thanks to an introduction from Aldo van Eyck (see José Boyens, "Ik zoek niet naar een beeld, maar naar hèt beeld. Het werk van Carel Visser", in Ons Erfdeel, XXXII, no. 1, January-February 1989, p. 537). The statue can be seen standing on the lower right side in the photograph of the kitchen in Loenen aan de Vecht, under the counter in an build alcove. (photo by Alejandro Campos Uribe)

coloured paper collage on cardboard, signed, dated and dedicated 'Voor Hannie en Aldo van Eyck Joost Baljeu. 8-3-57.' on the reverse of the cardboard, image 10 x 6,5 cm. cardboard 16 x 12,2 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck on the 8th of March 1957

ink and chalk on paper, 26 x 20,5 cm.

Provenance: D. Rinsema, Meppel; Exhibited: Nijmegen, Cultureel Centrum de Lindenberg, Thijs Rinsema: een Dada-episode in Friesland, 14 April-14 May 1972, no. 134 (illustrated in b/w); Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025

etching and drypoint, signed 'Marc Chagall' lower right and numbered '21/110', image 19 x 25 cm. sheet 34,5 x 42 cm.

Published by Paul Cassirer, Berlin, in an edition of 110

Literature: Kornfeld 11

woodcut, signed 'R Hausman' lower right, image 18 x 16 cm. sheet 34 x 26 cm.

The artist featured the composition of the present lot in the first issue of the magazine 'Der Dada' (1919), which he published together with John Heartfield and Georg Grosz (composition shown in a different orientation). See Timothy O. Benson, Raoul Hausmann and Berlin Dada, Ann Arbor, 1987, p. 143, fig. 63, for another example of this woodcut (illustrated in a different orientation).

lithograph poster in colours, 64 x 46 cm.

Printed by Mourlot, Paris and published by Galerie Maeght, Paris, in an edition of 500

woodcut, signed 'Arp' lower left, image 32 x 30 cm. sheet 54 x 36,5 cm.

ink on paper, signed, dated and dedicated 'Corneille '55 voor Hanny en Aldo Parijs Juillet 1955' lower left, 21,5 x 18,2 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck, July 1955

two gouaches on paper, each signed 'Joost Baljeu' lower right, one inscribed, dated and numbered 'Saskatoon 1958 12/XII', the other inscribed, dated and numbered 'Saskatoon 1959 II/XII', each 18,5 x 38 cm.

Created during the artist's residency in Saskatoon, Canada, as a guest lecturer at the Art department of the University of Saskatchewan in 1958-1959.

oil on canvas, 100 x 80 cm.

In the early 1960s Jaap Hillenius and his wife Mies de Roos (1934-2008), an artist and photographer, moved into one of the artist studio apartments on the Zomerdijkstraat in Amsterdam. A few years later he was introduced to Aldo and Hannie van Eyck, from whom he rented a studio space in the garden of their home in Loenen aan de Vecht. Aldo, Hannie and Jaap shared a mutual passion for ethnographic art and they would develop a long standing friendship and appreciation of each other's work and interests.

lithograph in colours, signed 'R. Raveel h.c.' lower right, sheet 56 x 76 cm.

Printed by Piet Clement, Amsterdam and published by Printshop, Amsterdam-Antwerp, in an edition of 100

Literature: Scheire 72

lithograph in colours, signed and numbered 'R Raveel 109/110' lower right, sheet 76 x 56 cm., in the original portfolio, missing the other 4 lithographs

printed by Piet Clement, Amsterdam, and published by the Vereniging voor het Museum van Hedendaagse Kunst, Ghent

Literature: Scheire 76.3

portfolio in two parts with one part with nine etchings and text and the other with nine etchings on eight sheets, signed ' R. Raveel' and numbered '8/40', 35 x 27,6 cm.

printed by Piet Clement, Amsterdam and published by o.s.-Editions, Gent/Printshop, Amsterdam

Literature: Scheire 199

pochoir in colours, sheet 35,6 x 26,2 cm.

printed by Jacomet, Paris and published by Tériade, Paris, in an unknown edition

Literature: Dupin 1310

lithograph in colours, signed and numbered 'R Raveel 53/100' lower right, sheet 60 x 51 cm.

printed by Piet Clement, Amsterdam and published by Van Spijk bv., Venlo

Literature: Scheire 101

pochoir in colours, from Cahiers d’Art nos. 4-5, image 24 x 18 cm. sheet 31,5 x 49 cm.

printed by Moderne Imprimerie, Paris and published by Cahiers d’Art, Paris, in an edition of unknown size

Literature: Dupin 17

oil on canvas, signed and dated 'J Hillenius 1986' lower left, signed, titled and dated 'J Hillenius VIII mei 1986 Wisselend Zonlicht' on the stretcher, 50 x 50 cm.

bronze, 22 x 20 x 18 cm.

Provenance: P.N. van Eyck, the father of Aldo van Eyck. See Roger Avermaete, Rik Wouters, Brussels, 1962, p. 213 (b/w illustration) for another version of the same sculpture. Another example from the edition of unknown size is in the collection of Museum Boijmans, Rotterdam (inv.no. BEK 1360).

pencil on paper, signed and dated 'C.N. Visser. 1955.' lower right, 52,7 x 40 cm.

graphite on paper, signed and dated 'CN. Visser '89' lower centre, 50 x 64 cm.

photograph and feather collage on postcard, sent to Aldo and Hannie van Eyck on the 15th of August 1982, 13,5 x 10 cm.

oil on canvas, signed and dated 'J Hillenius 1980', dedicated 'voor Hannie en Aldo's verjaardag' lower right and inscribed 'MIES' lower left, 40 x 30 cm.

Provenance: a gift from the artist to Aldo and Hannie van Eyck, circa 1980

seven watercolours on paper, one ink on paper and one lithograph, all signed and/or dated, some titled, the majority dedicated to Hannie and/or Aldo van Eyck, various sizes

Provenance: (the majority) Gifts from the artist to Aldo and Hannie van Eyck

painted wood, signed, dedicated, titled and dated 'for Aldo Shinkichi Pre-Colombian landscape 1967' on the underside, 48 x 23,5 x 22,5 cm.

Provenance: A gift from the artist to Aldo van Eyck in 1967

welded iron, h. 7 cm. and h. 5 cm.

In the early 1950s Ferdi Jansen studied sculpture in Paris with Ossip Zadkine and took welding lessons from Shinkichi Tajiri, her future husband. Her insect-inspired sculptural jewelry which she created from iron and glass in the mid-1950s in Paris attracted the attention of American collectors and was also sought after in Japan. See www.ferdi-tajiri.com for more information.

mixed media and encaustic on board, signed 'R.J. Grootveld' and titled 'THE SIGN OF GNOT' on the reverse, 46,5 x 52,5 cm.

Provenance: Galerie Mokum, Amsterdam, 1968; Acquired at the exhibition of 'De Keerkring' at the Stedelijk Museum, Amsterdam, in 1969; Exhibited: Amsterdam, Stedelijk Museum, Tentoonstelling van de Keerkring, 14 February-10 March 1969; Literature: Max Reneman, "De stoel van Claus (voor dr. Levie)", in De nieuwe linie, 31 August 1968 (illustrated in b/w); Lambert Tegenbosch, "Stoel van Klaas", in De Volkskrant, 20 February 1969; Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 144

The GNOT-apple image was created by the artist and Bart Huges in 1962. It was adopted by the Amsterdam Provo-movement in 1965 as their main symbol. The term Gnot is a combination of the words 'God' and 'Genot' (pleasure).

with the annotation by Aldo van Eyck 'Original print by Brassai given to me in Zürich by Albert Skira in 1945 Aldo v Eyck’ on the reverse of the cardboard backing, gelatin silver print, printed 1932/1933, 29 x 23 cm.

Provenance: A gift from Albert Skira to Aldo van Eyck, Zürich, 1945; Literature: Maurice Raynal, "Dieu-Table-Cuvette", in Minotaure, no. 3-4, December 1933, p. 47 (illustrated in b/w)

gelatin silver print, printed before 1934, 19 x 28,5 cm.

Provenance: A gift from Albert Skira to Aldo van Eyck, Zürich, 1945; Literature: Maurice Raynal, "Dieu-Table-Cuvette", in Minotaure, no. 3-4, December 1933, p. 43 (illustrated in b/w); Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 7 (illustrated in b/w); Francis Strauven, Aldo van Eyck: relativiteit en verbeelding, Amsterdam, 1994, p. 97 (illustrated in b/w)

gelatin silver print, printed before 1934, 19 x 27 cm.

Provenance: A gift from Albert Skira to Aldo van Eyck, Zürich, 1945; Literature: Maurice Raynal, "Dieu-Table-Cuvette", in Minotaure, no. 3-4, December 1933, p. 42 (illustrated in b/w)

gelatin silver print, printed before 1934, 22 x 28 cm.

Provenance: A gift from Albert Skira to Aldo van Eyck, Zürich, 1945; Literature: Maurice Raynal, "Dieu-Table-Cuvette", in Minotaure, no. 3-4, December 1933, p. 42 (illustrated in b/w)

In an article published in 1982, Aldo van Eyck looked back on his formative years in Zürich during World War II, where he studied architecture at the Eidgenössische Technische Hochschule (the ETH) and would meet his future wife, Dutch-born Hannie van Roojen. Aldo and Hannie shared a strong interest in contemporary art and started collecting as a young couple under the guidance of Carola Giedion-Welcker (known as C.W.). Towards the end of the war, Aldo travelled to Paris from Zürich as a "kind of envoy-carrier sent by C.W. and those around her". During this visit, he met Brancusi for the first time, an encounter which Aldo remembers as follows: "I had messages with me for Giacometti, Tzara, Léger, Braque, Pevsner, Vantongerloo, Nelly van Doesburg and for Brancusi, a weighty trunk full of roasted coffee beans, tobacco and Cognac. Having found Impasse Roncin and the door of his [Brancusi] rural atelier finally opened, the trunk lock burst open and all the luxuries avalanched onto the floor in front of the great fish! I visited Constantin Brancusi many times after that; with my wife, Felix Schwarz or alone. [...] For us, Brancusi was the summit of what art could mean, and I'll be damned if we weren't right!" (Aldo van Eyck, "Ex Turico Aliquid Novum", in Architese 5-81 (Holland 1950-80), 1981, p. 37). On a photograph from 1966 added to the online catalogue you can see Aldo van Eyck holding a bronze head by Brancusi which was included in the exhibition 'Sonsbeek '66' (La Muse endormie, 1910, collection Centre Pompidou/MNAM, Paris, inv.no. AM1374S). Aldo is seated in the temporary pavilion which he designed for Sonsbeek '66, the 5th sculpture exhibition in Park Sonsbeek, Arnhem, which took place from May 27th to September 25th, 1966.