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).

graphite and photo-collage on paper, signed with initials and dated 'CV 75' lower centre, 61 x 65 cm.

Exhibited: Amsterdam, Stedelijk Museum, Carel Visser: papierbeelden, 6 April-21 May 1978, no. 11 (illustrated in b/w); Literature: Aldo van Eyck, Niet om het even … wel evenwaardig, van en over Aldo van Eyck, Rotterdam, 1986, p. 62 (illustrated in b/w)

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

mixed media on paper, signed with initials and dated '986 RL' lower centre, dedicated on the reverse of the frame 'Voor Hannie & Aldo 20.3.88. Luc Lucassen', 29 x 42 cm.

Provenance: A gift from the artist to Aldo and Hannie van Eyck on the 20th of March 1988

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.

woodcut, sheet 40,5 x 30,6 cm.

See Geurt Imanse, De Russische avant-garde: de Khardzhiev-collectie in het Stedelijk Museum Amsterdam, Rotterdam, 2013, p. 471, no. 675 (illustrated in colour) for another example of this print.

Collected in New York by Aldo van Eyck, 1980's. For a similar jewelled candlestick see Christie's, 'The Ann and Gordon Getty Collection: Temple of Wings', New York sale, ex lot's 104 and 105, with a different glass shade.

h. 75 cm.

H. 61 cm. lacquered laminated wood.

(for more background information on the Danish Chair by Rietveld, view the pdf presented on our online catalogue)