Carel Willink

Galerie Mokum, Amsterdam
Galerie 86, Brussels
Collection R. Horst, Delden
Collectie Drs Loek Brons B.V., Amsterdam
Private Collection, Europe

Amsterdam, Stedelijk Museum, November - December 1956
Nijmegen, Waaggebouw, March - May 1958
Utrecht, Utrechtse Kring, Met Pyke Koch, March 1965
Brussels, Galerie Isy Brachot, 1965
Brussels, Galerie d'Art, L'Arte Moderna, March - April 1967
Amsterdam, Galerie Viruly, October - November 1967
Arnhem, Gemeentemuseum, June - September, 1968
Rotterdam, Museum Boymans-van Beuningen, December 1973 - January 1974
Amsterdam, Kunsthandel Van Wisselingh, April - May 1977
Zeist, Slot Zeist, Willink Natuurlijk, Carel Willinks kijk op de natuur, October - November 1988 

H. Jaffé, Willink, Amsterdam, 2000, p. 151, no. 257, illustrated in colour, p.259, illustrated
T. van Turnhout, Willink Natuurljik, Carel Willinks kijk op de natuur, Zeist 1988, pp.52, 53, illustrated in colour

In very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Carel Willink was very fond of animals. In his early works he sometimes included an animal in his compositions but in the period 1952-1962 he regularly used animals as his main subject. In this so-called animal period he painted seventeen paintings with different animals he saw in the Amsterdam Zoo Artis. One sees rhinoceroses, giraffes, anteaters, birds of prey, two yaks (see lot  56) and snakes . He depicts them in unusual surroundings to create a strange effect.

The period 1952-1962 saw the largest production of (human) portraits in his career. He supposedly needed these free animal compositions as a respite from his heavy work pressure.