abalone shell inlay plant fibre, bone
H. 12 cm.
[1]
marine ivory, mother of pearl, turtle shell and plant fiber.
L. 5 - 11,5 cm.
[4]
14cm. diameter
Provenance: Galerie Lemaire, Amsterdam, early 1990's.
[1]
consisting of four circular pendants decorated with avian motifs, twisted plant fibre string with strung shell beads.
D. 6 cm. (pendant)
Provenance: Loed van Bussel, Amsterdam, 1988.
[1]
D. 14,8 cm.
Provenance: Loed van Bussel, Amsterdam, 1988; Lore Kegel-Konietzko, Hamburg
set with turquoise beads.
272 gramm.
[1]
with an intricate geometrical pattern
diam. 50 cm.
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with geometrical patterns in red, green, yellow and black.
w. 22,5 cm.
Provenance: Harvey Menist, Amsterdam, 1977.
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leather bag, beaded bands, tin cones and dyed feathers.
Provenance: Janet Fleisher Gallery, Philadelphia, 1974.
[1]
L. 73 x 11, 23 and 22 cm.
[3]
with geometric patterns and wool tassels.
L. 34 cm. (without tassels)
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painted with stylized geometric shapes in black on a brown ground.
h. 28,3 cm.
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the interior of the scoop decorated with a zoomorphic pattern in black and red.
L. 30,5 cm.
Provenance: M.L.J Lemaire, Amsterdam, 1977.
[1]
the handle with mother of pearl inlay, the spoon with an incised whale pattern.
H. 21 cm., mounted on custom made stand.
Provenance: The Janet Fleisher Gallery, Philadelphia, 1982. Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025
[1]
H. 13 and 14,4 cm.
Provenance: Loed van Bussel, Amsterdam ca. 1981
[2]
the finial carved as a mythological head.
L. 30,4 cm.
Provenance: Loed van Bussel, Amsterdam 1980s.
[1]
bone handle, braided coconut fibre whisk.
H. ca. 42 cm; handle 17,5 cm.
Provenance: Loed van Bussel, Amsterdam 1987
[1]
human hair, walrus ivory pendant.
H. 27,5 cm. (without string)
Provenance: Private German Collection; Galerie Lemaire, Amsterdam, early 1980's. Ref. for a simular necklace see Metropolitan Museum New York, no. 1979.206.1623.
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with braided plant fibre anklets.
h. 10 cm. mounted
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pierced ears, headdress finial carved as a stylized reptile and remains of old reddish pigments.
H. 15.8 cm. mounted
Provenance: Kunsthandel Aalderink, Amsterdam, 1989. With inventory number in white ink 031
[1]
with red-brown pigments.
L. 17 cm.
Provenance: Loed van Bussel, Amsterdam 1988; Ernst Heinrich, Stuttgart Bad Cannstatt.
[1]
with traces of red pigment and plant fibre ear-strings
h. 27,7 cm. mounted
Provenance: Loed van Bussel, Amsterdam 1992; By repute acquired from Fred Gerrits.
Sculptures like these are relatively rare and are stylistically attributable to the Sepik-Ramu delta. The current figure is depicted completely nude except for a hood. She wears a nose ornament, and twisted strands hanging from her ears. The depiction of a reclining child in her arms is noteworthy. The entire body is covered with red ochre, indicating that a supernatural being is represented. These figures are generally associated with initiation rites for women. They have the ability to foretell and divine the future, to ease a difficult pregnancy and determine the sex of unborn babies, as well as assist in love magic. (Howarth, C. 2015, Myth + Magic, p. 75) As far as we know, this is the only figure where the woman holds a child in her arms, not in a gesture of mother love, but that of presenting a child to the viewer. As such, she may represent the mythical female culture hero Jari, who transmitted knowledge about canoe construction, fire, cooked food, and healthy childbirth.
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serrated hands and feet, the central panel topped by three anthropomorphic figures.
H. 91 cm.
[1]
in a kneeling position, hands touching the cheeks.
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.'
[1]
the wooden base covered by copper alloy plating, bands and tags.
H. 41 cm., mounted
Provenance: Italiaander Galleries, Amsterdam and by repute Christian Duponcheel (1941-2004)
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entirely decorated with various geometric patterns, anthropomorphic and zoomorphic figures.
L. 98,5 cm.
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the surface elaborately carved with various anthropomorphic figures, some wearing a club, birds and geometric patterns; the tip showing a standing anthropomorphic figure below a serrated crescent.
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.
[1]
with label and number on the back.
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.
[2]
inlaid bone iris with black stone pupils.
L. 104,5 cm. on custom made stand
Provenance: Italiaander Galleries, Amsterdam, 1994; American private collection.
[1]
plant fibre lashing, bird feathers, and natural pigments.
diam. outer ring 30,5 and mask L. 25,5 cm.
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h. 12,3 cm. (without feathers)
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each end with attachment holes.
w. 14,3 cm.
Exhibited: Rotterdam, Nieuwe Instituut, “Built Homecoming”: The House of Aldo and Hannie van Eyck, 12 September 2024-15 January 2025
[1]
H. 6,5; 8,2 and 14,7 cm.
Provenance: Loed van Bussel, Amsterdam 1988; Matthias Lemaire, Amsterdam 1975 and 1983.
[3]
the upper part with a triangular cross section and three vertical ridges.
H. 15,2 cm.
[1]
on four cylindrical slightly tapered feet and carved from one piece of wood.
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
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showing animal- and geometrical motifs. In black and red pigments.
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Zon boven stad (1950)
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
[1]
Springend poppetje (1950)
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
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La charette (het karretje) (1949)
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)
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Histoire naturelle (1926)
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.
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A toute épreuve (1958)
80 woodcuts in colours or in black, including the front cover, some plates heightened with collage, signed 'Miro' on the justification page, number 75 from the edition of 130, sheet 32 x 25 cm.
printed by Atelier Lacourière-Frélaut, Paris, and published by Gérald Cramer, Geneva
[1]
Literature: Cramer 49
Tombé amoureux du serpent (1949)
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.
[1]
L'Oiseau mécanique (1949)
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
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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.