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)

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.

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)

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)

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

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

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

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.