14cm. diameter
Provenance: Galerie Lemaire, Amsterdam, early 1990's.
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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.
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D. 14,8 cm.
Provenance: Loed van Bussel, Amsterdam, 1988; Lore Kegel-Konietzko, Hamburg
set with turquoise beads.
272 gramm.
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with an intricate geometrical pattern
diam. 50 cm.
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leather bag, beaded bands, tin cones and dyed feathers.
34.5 cm wide and 26 cm high
Provenance: Janet Fleisher Gallery, Philadelphia, 1974.
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L. 73 x 11, 23 and 22 cm.
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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.
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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
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H. 13 and 14,4 cm.
Provenance: Loed van Bussel, Amsterdam ca. 1981
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the finial carved as a mythological head.
L. 30,4 cm.
Provenance: Loed van Bussel, Amsterdam 1980s.
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bone handle, braided coconut fibre whisk.
H. ca. 42 cm; handle 17,5 cm.
Provenance: Loed van Bussel, Amsterdam 1987
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human hair, walrus ivory pendant.
H. 27,5 cm. (without string), length hook 11 cm, width hook 3.7 cm
Provenance: Private German Collection; Galerie Lemaire, Amsterdam, early 1980's. Ref. for a simular necklace see Metropolitan Museum New York, no. 1979.206.1623. (black and white photograph from the archives of Galerie Lemaire, Amsterdam)
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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
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with red-brown pigments.
L. 17 cm.
Provenance: Loed van Bussel, Amsterdam 1988; Ernst Heinrich, Stuttgart Bad Cannstatt.
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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.
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in a kneeling position, hands touching the cheeks. (EU-Cites certificate no. 25NL340237/20)
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.'
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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.
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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.
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inlaid bone iris with black stone pupils.
L. 104,5 cm. on custom made stand
Provenance: Italiaander Galleries, Amsterdam, 1994; American private collection.
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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
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H. 6,5; 8,2 and 14,7 cm.
Provenance: Loed van Bussel, Amsterdam 1988; Matthias Lemaire, Amsterdam 1975 and 1983.
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the upper part with a triangular cross section and three vertical ridges.
H. 15,2 cm.
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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 geometrical patterns.
L. ca. 450 cm.
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showing animal- and geometrical motifs. In black and red pigments. (with damage and restorations)
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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
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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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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.
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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.
Sechs ineinandergehende gleiche Gruppen mit gleichen Farbmengen 1950/61/2 (1961)
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
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This work is registered in the catalogue of works at the Richard Paul Lohse-Stiftung under inventory number 74
Seiltänzer (1923)
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)
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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
Voiles partout (1949)
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)
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Een appèl aan de verbeelding (1950)
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
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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).
Untitled (1949)
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)
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