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Juli (1876) González Sold at Auction Prices

Sculptor, Painter, b. 1876 - d. 1942

Julio González i Pellicer (21 September 1876 - 27 March 1942) was a Spanish sculptor and painter who developed the expressive use of iron as a medium for modern sculpture.

Julio González Pellicer was born in Barcelona, on September 21, 1876. He came from a line of metalsmith workers; his grandfather was a goldsmith in Galicia.[1] González's father, Concordio González, owned a workshop and as a young boy, González learned from him the techniques of gold, silver, and iron metalwork. He and his older brother, Joan González, both studied these techniques. Further, all three González children studied at Circol Artist Sant Luc, a Catholic school that remodeled its education on the medieval art guilds, influenced by the Arts and Crafts movement in England.[1] In 1896, González's father, died. The family workshop was passed onto the older son, Joan. With Joan directly involved with the family workshop, Joan and Julio focused on their metalwork techniques and artistic aspirations. By the end of the century, both brothers began to frequent visiting Els Quatre Gats, a café which was the meeting point of many artists, especially those related with modernisme.[2] It was there where they met artists like Joan Miró and Pablo Picasso.

By the turn of the 20th century, Pablo Picasso and Julio González became great friends. González moved to Paris in 1902, but traveled to Barcelona several times in the early 20th century. At the Picasso Museum in Barcelona, their close friendship is verified by a drawn portrait, entitled "Julio González and the Robust Man Seen from Behind".[3] They remained close friends until 1908; scholars do not know why their friendship ended at this time, but based on González archival materials, it appears to be related to previous dispute with Julio's brother, Joan.[4]

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        • Julio Gonzalez (1876-1942), Femme dite Les trois plis , 1984, bronze, éd. 1/2, signée, cachet de fondeur, 136x27,7x16 cm (avec s
          Dec. 11, 2024

          Julio Gonzalez (1876-1942), Femme dite Les trois plis , 1984, bronze, éd. 1/2, signée, cachet de fondeur, 136x27,7x16 cm (avec s

          Est: CHF200,000 - CHF300,000

          Julio González (1876-1942), Femme dite Les trois plis , 1984, modèle c. 1931-1932, sculpture en bronze à patine brun foncé, éd. 1/2, inscrit J. González © , cachet de fondeur E. Godard Fond , 121x27,7x16 cm (hors socle) et h. 136 (avec socle)Provenance: Succession de l'artiste, Paris, Galerie de France, Paris, 1989, Collection Jean-Pierre Cassigneul Bibliographie: Jörn Merkert, Julio González: Catalogue raisonné des sculptures, Electa Spa, Milan, 1987, p. 121, no. 130, (une autre épreuve illustrée), Tomás et Boye Llorens, Julio González: Catalogo general razonado de le pintures, esculturas y dibujos, Vol. V. 1928-1935, Fundación Azcona, Madrid, 2022, no. 3017 (une autre épreuve illustrée)Exposition: Galerie Pieter Coray, Selezione: sculture e disegni, Editions Galleria Pieter Coray Lugano, 1984, no. 9 Exécutée en fer vers 1931-32 et coulée en bronze en 1984 dans une édition de 2 et quatre épreuves marquées 0, 00, EA et HC Julio González (1876-1942) - Femme dite Les trois plis La sculpture Femme dite aux trois plis de Julio González, réalisée dans les années 1930, est une oeuvre majeure du début du XXe s. qui incarne la transition d'une représentation réaliste vers une abstraction géométrique. L'oeuvre représente une figure féminine stylisée, réduite à des formes géométriques simples, sans détails réalistes. Les trois plis verticaux, évoquant une jupe, sont les éléments structurants de la forme qui créent un équilibre visuel entre stabilité et légèreté. Cette simplification de la silhouette humaine traduit la volonté de González d'abandonner les conventions traditionnelles de la sculpture figurative pour explorer de nouvelles dimensions de l'espace et de la forme. Influencé par sa collaboration avec Picasso, González adopte une technique qu'il définit comme un dessin dans l'espace , où il joue avec la tridimensionnalité sans recourir à des représentations pleines et fermées. Le métal, qu'il façonne avec une grande maîtrise, devient le moyen d'exprimer la fluidité de l'abstraction tout en suggérant subtilement le corps humain. Le choix du métal fait ici par l'artiste est un tournant central dans la modernisation de la sculpture anticipant l'utilisation de matériaux industriels dans les courants du minimalisme et de l'art contemporain. Le bronze, coulé seulement 2 exemplaires (hors EA), capte les subtilités du modelé avec une grande précision, tout en préservant la rigueur des lignes géométriques. Plus noble et durable que le fer forgé, il confère à l'oeuvre une dimension intemporelle. Au coeur de cette sculpture se trouve une recherche de fusion de la part de l'artiste entre sculpture, dessin et abstraction influencée par le cubisme qui positionne Julio González comme un pionnier de l'avant-garde de l'art contemporain. Collection Jean-Pierre Cassigneul - Peintre et collectionneur Jean-Pierre Cassigneul, né en 1935 à Paris, est un peintre français qui grandit au coeur de la haute couture, entouré par l'univers de la maison Jean Dessès fondée par son grand-père. Très tôt, il s'imprègne de l'élégance, des couleurs, des motifs et des textures qui se retrouvent dans son oeuvre. Diplômé des Beaux-Arts, il connaît une ascension rapide grâce notamment à sa rencontre déterminante avec le marchand d'art japonais Kiyoshi Tamenaga, qui lui achète plusieurs oeuvres lors de l'une de ses premières expositions. Le succès international de ses oeuvres en Asie, notamment au Japon où il devient un véritable phénomène dès les années 70, et aux États-Unis, témoigne de la pérennité de son style et de son influence. Tout au long de sa carrière, il a pris plaisir à nouer des amitiés durables avec des artistes de son époque, comme Bernard Buffet et Marcel Fleiss. Douceur de Mai est une toile réalisée dans les années 1980 qui met en scène un vocabulaire en tout point représentatif de la démarche artistique du peintre. La femme est au coeur de sa peinture et elle se pare le plus souvent des plus beaux atouts : soit du bleu serein d'un paysage marin ou lacustre, soit d'une nature luxuriante d'un jardin aux mille fleurs. La recherche d'une élégance mystique, personnifiée par une figure féminine immuable et raffinée dans des décors intemporels, est un leitmotiv dans son oeuvre. À travers ses toiles, Jean-Pierre Cassigneul tisse un dialogue subtil entre la beauté classique et une modernité délicate, prenant ses distances avec les courants dominants et avant- gardistes tout en les réinterprétant à sa manière. Cette toile n'a jamais été présentée sur le marché et provient de sa collection personnelle, qui regroupe très peu de ses réalisations. Peintre et collectionneur, Jean-Pierre Cassigneul a pris soin de s'entourer d'oeuvres d'artistes qu'il affectionne et de techniques novatrices pour leur époque, acquises dans des galeries et des ventes de renom. Cela comprend notamment des séries lithographiques de peintres nabis comme Bonnard (lot 22 et 23) ou Vuillard, qu'il admirait pour leur traitement de la couleur et la force de suggestion de leur travail, ou encore le bronze de González (lot 32) qui reprend son thème de prédilection : la figure féminine.

          Piguet Hôtel des Ventes | Genève
        • Julio GONZALEZ (1876-1942), 'Masques', Ensemble de deux œuvres
          Nov. 26, 2024

          Julio GONZALEZ (1876-1942), 'Masques', Ensemble de deux œuvres

          Est: CHF1,500 - CHF2,000

          Julio GONZALEZ (1876-1942), 'Masque pour le monument aux résistants', Ensemble de deux œuvres, Encre, aquarelle et crayons sur papier, daté "6 4 41" (chaque). Annotées au dos "Je certifie que ce dessin a été exécuté par mon père qui l'a daté Roberta Gonzalez". H. 22 x 15 cm (à vue) et H. 23.5 x 15 cm (à vue) Repertorié dans les archives de Madame Clerc-de Goumoëns "Atelier de l'artiste 1941" piqûres

          Dogny Auction
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom
          Sep. 12, 2024

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom

          Est: €4,500 - €4,700

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom. Description: "Visage de M.H. inquiet, recensé FW n 52 raisonné, PG 24664 et cachet bleu au dos". Publications: catalog raisonné of drawings. Josette Gilbert, volume "Portraits", pg 137, illustrated. Measurements: 31 x 23,5 cm. Made a year before his death, this female portrait is ascribed to a certain desire to return to localist naturalism (after having ventured into formal purification) that characterized the sculptor's last period, in line with the theme of Montserrat (Catalan peasant women with headscarves). Considered the father of iron sculpture, Julio González is a key artist for the avant-garde of the 20th century. He was born into a family of goldsmiths, learning the trade in modernist Barcelona. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went to Paris, where he frequented the artistic environments and maintained contact with Picasso, Gargallo and Brancusi, among others, which marked a before and after in his language. There he learned the technique of autogenous welding, key to his research with the expressiveness of iron. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, and a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began to participate in the Parisian salons. In 1920 he opened his own forge workshop, and two years later he made his debut at the Povolovsky Gallery. During these years he experimented with the two-dimensionality of the plane, and continued in this line of exploration of volume until 1928, when he was asked to collaborate in the realization of the funerary monument of his friend Apollinaire, characterized by its transparent forms and its emptying. With Picasso, he puts his previous experiments into practice for the first time and proves their viability, given the perfect harmony between them and Picasso's synthetic capacity for drawing. Thus, the delicate small-format irons are finished, and his forms will be increasingly imposing and complex, pushing the artist internationally. Thus, at the end of the twenties he began his first sculptures in wrought iron. During the thirties his work became more abstract, and the first spatial constructions appeared. He prioritizes "the marriage between matter and space" and moves away from traditional symmetrical compositions, through what he himself called "drawing in space". These are improvised pieces, built directly with the wrought iron rod, which build schematic, abstract images of great formal complexity. In parallel, he will work with iron plate, creating a series of works that scholars have related to cubism. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Universal Exhibition in Paris (1937), his work, as a result of the shortage of iron, focuses on a new material, gypsum, and on drawings with war themes. On the other hand, in 1937 he had achieved the culmination of his sculptural work in iron with "La Montserrat" and "Mujer ante el espejo". A key artist to understand the Spanish avant-garde, his work has been vindicated by important exhibitions such as the retrospective exhibition dedicated to him in 2009 at the MNCARS in Madrid. On the other hand, Gonzalez is represented in the most important contemporary art collections in the world, including the Georges Pompidou Center in Paris, the Reina Sofia in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZÁLEZ Barcelona 1876-Arcueil, France 1942...
          Jul. 02, 2024

          JULIO GONZÁLEZ Barcelona 1876-Arcueil, France 1942...

          Est: -

          JULIO GONZÁLEZ Barcelona 1876-Arcueil, France 1942 Deux paysannes au bord du village. 1929 Etching on paper Signed in pencil Numbered 13/60 Measurements 13 x 18 cm (imprint); 20 x 28.5cm (paper)

          Subastas Segre
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Le repos sour les saules (Resting under the willows)", 1924. Watercolor on paper. Signed with initials and dated in the lower right corner.
          May. 23, 2024

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Le repos sour les saules (Resting under the willows)", 1924. Watercolor on paper. Signed with initials and dated in the lower right corner.

          Est: €5,000 - €5,500

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Le repos sour les saules (Resting under the willows)", 1924. Watercolor on paper. Signed with initials and dated in the lower right corner. Measurements: 17 x 25 cm; 31 x 39,5 cm (frame). Julio González is not only considered an important figure within the artistic panorama of the 20th century for his sculptures in iron, but also for his excellent, although less known, facet as a draftsman. Gonzalez's drawings are inspired by the work of Pablo Picasso due to the relationship he had with the painter from Malaga, a collaboration that began in 1928 and culminated with the execution in wrought bronze of the sculpture "Femme au jardin". Thanks to his drawings it is possible to delve into the exciting world of González, with female figures captured with enormous skill and delicacy, or with the sketches prior to his iron sculptures, which demonstrate his exceptional and unlimited artistic capacity. Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and maintained contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, as well as by a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began his participation in the Parisian salons, specifically in the Salon d'Automne, the Salon des Indépendants and the Salon de la Société Nationale des Beaux-Arts. In 1920 he opened his own forge workshop, and two years later he made his individual debut at the Povolovsky Gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then was considered merely decorative. During the thirties his work became more abstract, and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the beginning of World War II his work, as a result of the shortage of iron, focuses on a new material, plaster, and on drawings with war themes. González is represented at the Georges Pompidou Center in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZALEZ (1876-1942) Maternité oil on board 16 x 12 7⁄8 in. (40.8 x 3
          May. 18, 2024

          JULIO GONZALEZ (1876-1942) Maternité oil on board 16 x 12 7⁄8 in. (40.8 x 3

          Est: $25,000 - $35,000

          JULIO GONZALEZ (1876-1942) Maternité oil on board 16 x 12 7⁄8 in. (40.8 x 32.7 cm.)

          Christie's
        • JULIO GONZÁLEZ (1876-1942) Étude pour l'homme cactus 14 3/4 x 10 5/16 in (37.5 x 26.2 cm) (Executed on February 12, 1939)
          May. 16, 2024

          JULIO GONZÁLEZ (1876-1942) Étude pour l'homme cactus 14 3/4 x 10 5/16 in (37.5 x 26.2 cm) (Executed on February 12, 1939)

          Est: $15,000 - $20,000

          JULIO GONZÁLEZ (1876-1942) Étude pour l'homme cactus signed with the artist's initials and dated '2-12-39 J.G.' (lower left) watercolor and pen and India ink on paper 14 3/4 x 10 5/16 in (37.5 x 26.2 cm) Executed on February 12, 1939

          Bonhams
        • Julio Gonzalez
          Apr. 28, 2024

          Julio Gonzalez

          Est: €14,000 - €28,000

          (1876 Barcelona - 1942 Arcueil b. Paris) "Caveau des innocents" (Höhle der Unschuldigen). Originaltitel In lockerem und kraftvollem Duktus gemalte Milieustudie Gonzalez', die zwei in sich gekehrte, wortkarge Absinthtrinker vor ihren Gläsern schildert, die sich durch die dunkle Farbgebung ihrer Bekleidung von dem neutral gelassenen Malgrund effektvoll abheben. Gonzalez, der zunächst als Goldschmied bei seinem Vater ausgebildet wurde und parallel abendliche Zeichenkurse an der Kunsthochschule in Barcelona besuchte, kam 1899 mit seiner Familie nach Paris, drei Jahre nachdem sein Vater verstorben war. In der französischen Metropole angekommen, schließt er schnell enge Kontakte mit Künstlern wie Pablo Picasso, Georges Braque, Max Jacob, Joaquín Torres García, Pablo Gargallo und Constantin Brâncusi. Er beschloss zunächst Maler zu werden, doch als 1908 sein Bruder starb, stürzte dies den Künstler in eine tiefe seelische Krise. Er gab die Malerei auf und lebte fortan sehr zurückgezogen. Nur zu Pablo Picasso und Constantin Brâncusi hielt er den Kontakt aufrecht. Seinen Lebensunterhalt verdiente er sich als Goldschmied und begann 1918 eine Lehre als Schweißer bei Renault, was einen wichtigen Wendepunkt in seinem künstlerischen Werk darstellt. Die neu erworbenen Fähigkeiten setzte er ein, um erste Skulpturen zu fertigen, die noch den Traditionen der klassischen Skulptur in Form und Stil folgten. 1922 fand seine erste Einzelausstellung in der Galerie Povolovsky in Paris statt und im Jahr darauf begann er seine Zusammenarbeit mit Pablo Picasso. Gonzalez unterrichtete den Surrealisten in den Künsten der Metallverarbeitung, während dieser wiederum Gonzalez dazu brachte, immer abstraktere Werke zu kreieren. 1931 fand eine gemeinsame Ausstellung der beiden Ateliersgenossen im Pariser "Salon des Sur-Indépendants" statt. Öl/Karton, kaschiert auf Karton. L. u. betitelt, mit Ortsangabe Paris, dat. 1905 und monogr.; 26 cm x 41 cm. Rahmen. Provenienz: aus einer Münchner Privatsammlung. Oil on cardboard, laid down on cardboard. Inscribed with title and location Paris, dated 1905 and monogrammed.

          Kunstauktionshaus Schloss Ahlden
        • Le couple
          Apr. 24, 2024

          Le couple

          Est: €8,000 - €12,000

          Property from a Private French Collection Julio González 1876 - 1942 Le couple numbered 7/9, stamped with the foundry mark E. GODARD CIRE PERDUE and incised J. GONZALEZ © bronze height: 13,5 cm; 5¼ in. length: 17,7 cm; 7 in. width: 11 cm; 4⅜ in. Conceived circa 1914, this work is number 7 from an edition of 9, plus five additional casts. _________________________________________________________________ Provenant d'une Collection Particulière Française Julio González 1876 - 1942 Le couple numéroté 7/9, porte la marque du fondeur E. GODARD CIRE PERDUE et incisé J. GONZALEZ © bronze hauteur: 13,5 cm; 5¼ in. longeur: 17,7 cm; 7 in. profondeur: 11 cm; 4⅜ in. Conçue vers 1914, cette œuvre est le numéro 7 d'une édition en 9 exemplaires, plus cinq épreuves additionelles.

          Sotheby's
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Deux baigneuses", 1921. Pastel on paper. Certified on the back by Roberta González, daughter of the artist.
          Mar. 12, 2024

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Deux baigneuses", 1921. Pastel on paper. Certified on the back by Roberta González, daughter of the artist.

          Est: €5,000 - €6,000

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Deux baigneuses, 1921. Pastel on paper. Certificate on the back by Roberta González, daughter of the artist. Size: 34 x 26 cm; 50 x 42,5 cm (frame). Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and was in contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work on embossed metal masks in a style marked by naturalistic and symbolist features and by a new conception of the human figure, with synthesised volumes and lines. During these years González began to take part in the Parisian salons, particularly the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine Arts. In 1920 he opened his own forge and two years later made his individual debut at the Povolovsky gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then had been considered merely decorative. During the 1930s his work became more abstract and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as the Spanish Art exhibition at the Jeu de Paume Museum (1936) and the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the outbreak of the Second World War his work, as a result of the shortage of iron, focused on a new material, plaster, and on drawings with war themes. González is represented at the Centre Georges Pompidou in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZALEZ Barcelona (1876) / Paris, France (1942) "Cactus Man", 1939
          Mar. 05, 2024

          JULIO GONZALEZ Barcelona (1876) / Paris, France (1942) "Cactus Man", 1939

          Est: €22,500 - €30,000

          Inks on paper. Signed and dated on the lower left. Provenance: -Jean Cassou Collection, Paris -Artcurial sale, Paris, May 2012 -Private collection, Madrid Bibliography:-"Jean Cassou and his friends", exhibition Centro Cultural Conde Duque. Madrid, 200, reproduced p. 138. Measurements: 31 x 27 cm

          Ansorena
        • Julio González. Screaming woman
          Feb. 21, 2024

          Julio González. Screaming woman

          Est: -

          Pencil drawing on paper. Provenance: - Juana Mordó Gallery, Madrid (Label on the back). - Helga de Alvear Gallery, Madrid (Label on the back). - Private collection.

          Duran Arte y Subastas
        • JULIO GONZALEZ Barcelona (1876) / Paris (1942) "La fenetre"
          Jan. 23, 2024

          JULIO GONZALEZ Barcelona (1876) / Paris (1942) "La fenetre"

          Est: €4,500 - €6,000

          "La fenetre", c.1939-40 Inks and watercolor on paper Titled, signed and dated on the back Provenance: -Roberta Gonzalez Collection, Barcelona -Joan de Muga Collection, Barcelona -Gallery Dau al Set, Barcelona -Private collection, Barcelona Bibliography: Josette Gibert, "Julio Gonzalez dessins", Editions Carmen Martinez, 1975, p. 81 This work will be included in Volume VI of the catalog raisonne of drawings by Julio Gonzalez from the Azcona Foundation made by Boye Llorens Peters Measurements: 15 x 8.3 cm

          Ansorena
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom.
          Jan. 15, 2024

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom.

          Est: €6,000 - €7,000

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom. Description: "Visage de M.H. inquiet, recensé FW n 52 raisonné, PG 24664 et cachet bleu au dos". Publications: catalog raisonné of drawings. Josette Gilbert, volume "Portraits", pg 137, illustrated. Measurements: 31 x 23,5 cm. Made a year before his death, this female portrait is ascribed to a certain desire to return to localist naturalism (after having ventured into formal purification) that characterized the sculptor's last period, in line with the theme of Montserrat (Catalan peasant women with headscarves). Considered the father of iron sculpture, Julio González is a key artist for the avant-garde of the 20th century. He was born into a family of goldsmiths, learning the trade in modernist Barcelona. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went to Paris, where he frequented the artistic environments and maintained contact with Picasso, Gargallo and Brancusi, among others, which marked a before and after in his language. There he learned the technique of autogenous welding, key to his research with the expressiveness of iron. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, and a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began to participate in the Parisian salons. In 1920 he opened his own forge workshop, and two years later he made his debut at the Povolovsky Gallery. During these years he experimented with the two-dimensionality of the plane, and continued in this line of exploration of volume until 1928, when he was asked to collaborate in the realization of the funerary monument of his friend Apollinaire, characterized by its transparent forms and its emptying. With Picasso, he puts his previous experiments into practice for the first time and proves their viability, given the perfect harmony between them and Picasso's synthetic capacity for drawing. Thus, the delicate small-format irons are finished, and his forms will be increasingly imposing and complex, pushing the artist internationally. Thus, at the end of the twenties he began his first sculptures in wrought iron. During the thirties his work became more abstract, and the first spatial constructions appeared. He prioritizes "the marriage between matter and space" and moves away from traditional symmetrical compositions, through what he himself called "drawing in space". These are improvised pieces, built directly with the wrought iron rod, which build schematic, abstract images of great formal complexity. In parallel, he will work with iron plate, creating a series of works that scholars have related to cubism. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Universal Exhibition in Paris (1937), his work, as a result of the shortage of iron, focuses on a new material, gypsum, and on drawings with war themes. On the other hand, in 1937 he had achieved the culmination of his sculptural work in iron with "La Montserrat" and "Mujer ante el espejo". A key artist to understand the Spanish avant-garde, his work has been vindicated by important exhibitions such as the retrospective exhibition dedicated to him in 2009 at the MNCARS in Madrid. On the other hand, Gonzalez is represented in the most important contemporary art collections in the world, including the Georges Pompidou Center in Paris, the Reina Sofia in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZALEZ
          Dec. 01, 2023

          JULIO GONZALEZ

          Est: €1,900 - €3,800

          JULIO GONZALEZ 1876 Barcelona, Spain - 1942 Arcueil, France ABSTRAHIERTE FIGUR (1935) Pen-and-ink drawing in black over pencil and pencil on vellum. 15,2 x 12,2 cm (f. 42,5 x 52,5 x 2,5 cm). Monogrammed and dated lower right. Minimally stained. Mounted in a passepartout and framed behind glass (unopened). JULIO GONZALEZ 1876 Barcelona, Spanien - 1942 Arcueil, Frankreich ABSTRAHIERTE FIGUR (1935) Feder in Schwarz über Beistift und Bunstift auf Velin. 15,2 x 12,2 cm (R. 42,5 x 52,5 x 2,5 cm). Unten rechts monogrammiert und datiert. Minimalst fleckig. Im Passepartout montiert und hinter Glas gerahmt (ungeöffnet). Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG).

          Hargesheimer Kunstauktionen Düsseldorf
        • JULIO GONZÁLEZ (1876-1942) Tête Montserrat criant bronze with dark brown pa
          Nov. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Tête Montserrat criant bronze with dark brown pa

          Est: $30,000 - $50,000

          JULIO GONZÁLEZ (1876-1942) Tête Montserrat criant bronze with dark brown patina Height: 12 ¾ in. (32.5 cm.)

          Christie's
        • JULIO GONZALEZ (1876-1942)
          Nov. 07, 2023

          JULIO GONZALEZ (1876-1942)

          Est: €2,500 - €3,500

          Raised right hand, Bronze proof, no. 5/8. Sculpture signed "J. Gonzalez" underneath. Lost wax casting by Valsuani Foundry, Chevreuse - Foundry mark and numbering on the base. Approximate Time: 10:42 Lot No: 59

          Sheppards
        • Julio González (1876-1942) Têtes graphite sur papier chaque: 13 x 16 cm. (3
          Oct. 24, 2023

          Julio González (1876-1942) Têtes graphite sur papier chaque: 13 x 16 cm. (3

          Est: €6,000 - €8,000

          Julio González (1876-1942) Têtes graphite sur papier chaque: 13 x 16 cm. (3)

          Christie's
        • Julio Gonzalez (1876 - 1942): Tete de Montserrat Criant
          Sep. 23, 2023

          Julio Gonzalez (1876 - 1942): Tete de Montserrat Criant

          Est: $30,000 - $50,000

          Julio Gonzalez Tete de Montserrat Criant bronze with green patina signed and numbered "Gonzalez [copyright] S.H.C." and with Valsuani "Cire Perdue" foundry mark to neck

          Abell Auction
        • JULIO GONZÁLEZ - Studies of masques (1930-1936)
          Sep. 19, 2023

          JULIO GONZÁLEZ - Studies of masques (1930-1936)

          Est: -

          JULIO GONZÁLEZ Barcelona 1876-France 1942 Etudes de masques (1930-1936). 1935 Ink and pencil on paper Back titled and certified by Dª Roberta González Measurements 11 x 14 cm ORIGIN Dª Roberta Gonzalez Collection La Polígrafa, Barcelona br> Eusebio Sempere Collection Private collection BIBLIOGRAPHY Josette Gilbert, "Julio González dessins. Projects pour sculptures. Figures", Ed. Editions Carmen Martínez, Paris 1975, reproduced. p. 38

          Subastas Segre
        • JULIO GONZÁLEZ (1876-1942) Petite tête, Monthyon
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Petite tête, Monthyon

          Est: €7,000 - €10,000

          JULIO GONZÁLEZ (1876-1942) Petite tête, Monthyon signé et marque de la fonderie 'J. Gonzalez © E. Godard Cire Perdue' (au revers) et inscrit 'E. A.' (sur le côté droit) bronze à patine marron Conçue en 1934–1936, cette version a été coulée par la fonderie Godard. 16.7cm (6 9/16in). hauteur signed and stamped with the foundry mark 'J. Gonzalez © E. Godard Cire Perdue' (on the reverse) and inscribed 'E. A.' (to the right side) bronze with brown patina Conceived circa 1934–1936, this bronze version cast by the Godard Foundry. 16.7cm (6 9/16in). high

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Nu allongé au livre
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Nu allongé au livre

          Est: €7,000 - €10,000

          JULIO GONZÁLEZ (1876-1942) Nu allongé au livre signé, numéroté et daté 'Gonzalez © 1914 7/9' (derrière à gauche) et marque du fondeur 'E. Godard Cire Perdue' (derrière à droite) bronze à patine marron Conçue en 1914, cette version en bronze a été coulée par la Fonderie Godard dans une édition numérotée de 2/9 à 9/9, ainsi que trois fontes additionnelles : 0, 00 et EA. signed, numbered and dated 'Gonzalez © 1914 7/9' (back left) and stamped with the foundry mark 'E. Godard Cire Perdue' (back right) bronze with brown patina Conceived in 1914, this bronze version cast by the Godard Foundry in an edition numbered 2/9 - 9/9 plus three additional casts: 0, 00 & EA. 8.9 x 21.2cm (3 1/2 x 8 3/8in).

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Femme assise penchée
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Femme assise penchée

          Est: €7,000 - €10,000

          JULIO GONZÁLEZ (1876-1942) Femme assise penchée signé et daté 'j. Gonzalez 1914' (sur la base); inscrit '1-25' (sous la base) bronze patiné signed and dated 'j. Gonzalez 1914' (on the base); inscribed '1-25' (underneath) bronze with patina 16 x 12 x 12cm (6 5/16 x 4 3/4 x 4 3/4in).

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Femme nue
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Femme nue

          Est: €6,000 - €8,000

          JULIO GONZÁLEZ (1876-1942) Femme nue signé et daté 'J. Gonzalez 1913' (en bas à droite) pastel, fusain et rehauts de gouache sur papier Exécuté en 1913 signed and dated 'J. Gonzalez 1913' (lower right) pastel, fusain et gouache highlights on paper Executed in 1913 37.6 x 16cm (14 13/16 x 6 5/16in).

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Portrait de Madame Second-Weber
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Portrait de Madame Second-Weber

          Est: €7,000 - €10,000

          JULIO GONZÁLEZ (1876-1942) Portrait de Madame Second-Weber signé et daté 'J. Gonzalez 1913' (au centre à droite) pastel sur papier signed and dated 'J. Gonzalez 1913' (right centre) pastel on paper 60 x 51cm (23 5/8 x 20 1/16in).

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Femme tenant un bébé
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Femme tenant un bébé

          Est: €20,000 - €30,000

          JULIO GONZÁLEZ (1876-1942) Femme tenant un bébé signé 'Jules Gonzales' (en bas à droite) huile sur carton Peint circa 1906 signed 'Jules Gonzales' (lower right) oil on cardboard Painted circa 1906 78.5 x 59cm (30 7/8 x 23 1/4in).

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Femme et bébé avec petite maison
          May. 11, 2023

          JULIO GONZÁLEZ (1876-1942) Femme et bébé avec petite maison

          Est: €10,000 - €15,000

          JULIO GONZÁLEZ (1876-1942) Femme et bébé avec petite maison huile sur carton Peint circa 1906 oil on carboard Painted circa 1906 57 x 42.5cm (22 7/16 x 16 3/4in).

          Bonhams
        • JULIO GONZÁLEZ (1876-1942) Femme au moulin à café (Executed circa 1940)
          Apr. 20, 2023

          JULIO GONZÁLEZ (1876-1942) Femme au moulin à café (Executed circa 1940)

          Est: £6,000 - £8,000

          JULIO GONZÁLEZ (1876-1942) Femme au moulin à café watercolour, pen and India ink, wash, black crayon and pencil on paper 38.2 x 31.7cm (15 1/16 x 12 1/2in). Executed circa 1940

          Bonhams
        • Julio GONZALEZ 1876 - 1942 Composition - 1941 Pastel, encre et crayon sur papier
          Apr. 04, 2023

          Julio GONZALEZ 1876 - 1942 Composition - 1941 Pastel, encre et crayon sur papier

          Est: €6,000 - €8,000

          Julio GONZALEZ 1876 - 1942 Composition - 1941 Pastel, encre et crayon sur papier Signé des initiales et daté en bas à droite "10-2-41 / j.G.", signé des initales, daté et annoté au dos "xxx (illisible) / - amicalement / jG / le 5-1-41" h: 24 w: 16 cm Provenance : Vente Finarte Milan, 13 mai 1971, lot 65 Acquis par le père de l'actuel propriétaire lors de cette vente Collection particulière, Milan Commentaire : Un certificat du Comité Julio Gonzalez sera remis à l'acquéreur. Pastel, ink and pencil on paper; signed with the intials and dated lower right; signed with the initials, dated and annotated on the reverse Estimation 6 000 - 8 000 €

          Artcurial
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Deux baigneuses", 1921. Pastel on paper. Certified on the back by Roberta González, daughter of the artist.
          Dec. 13, 2022

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Deux baigneuses", 1921. Pastel on paper. Certified on the back by Roberta González, daughter of the artist.

          Est: €5,000 - €6,000

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Deux baigneuses, 1921. Pastel on paper. Certificate on the back by Roberta González, daughter of the artist. Size: 34 x 26 cm; 50 x 42,5 cm (frame). Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and was in contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work on embossed metal masks in a style marked by naturalistic and symbolist features and by a new conception of the human figure, with synthesised volumes and lines. During these years González began to take part in the Parisian salons, particularly the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine Arts. In 1920 he opened his own forge and two years later made his individual debut at the Povolovsky gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then had been considered merely decorative. During the 1930s his work became more abstract and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as the Spanish Art exhibition at the Jeu de Paume Museum (1936) and the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the outbreak of the Second World War his work, as a result of the shortage of iron, focused on a new material, plaster, and on drawings with war themes. González is represented at the Centre Georges Pompidou in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • Julio GONZALEZ 1876 - 1942 Personnage allongé - 1936 Encre et pastel sur papier
          Dec. 07, 2022

          Julio GONZALEZ 1876 - 1942 Personnage allongé - 1936 Encre et pastel sur papier

          Est: €6,000 - €8,000

          Julio GONZALEZ 1876 - 1942 Personnage allongé - 1936 Encre et pastel sur papier Signé des initiales et daté en bas à droite "j.G./1936" h: 15,90 w: 24 cm Provenance : Offert à l'actuel propriétaire par Roberta Gonzalez Bibliographie : Cette oeuvre sera incluse dans le nouveau catalogue raisonné général de Julio González actuellement en préparation par la Julio Gonzalez Administration. Commentaire : Ink and pastel on paper ; signed with the initials and dated lower right Estimation 6 000 - 8 000 €

          Artcurial
        • JULIO GONZÀLEZ (1876-1942) Abstrait watercolor and pen and India ink on pap
          Nov. 19, 2022

          JULIO GONZÀLEZ (1876-1942) Abstrait watercolor and pen and India ink on pap

          Est: $20,000 - $30,000

          JULIO GONZÀLEZ (1876-1942) Abstrait watercolor and pen and India ink on paper 12 1/2 x 9 7/8 in. (31.8 x 25.1 cm.)

          Christie's
        • JULIO GONZALEZ Barcelona (1876) / Paris (1942) "Mère et enfant criant", 1941
          Nov. 03, 2022

          JULIO GONZALEZ Barcelona (1876) / Paris (1942) "Mère et enfant criant", 1941

          Est: €9,000 - €12,000

          Inks on paper Dated and signed in pencil on the lower right On the back: "Raisonné 237 FW Méreet enfant criant 0.203x0156 Recensé" This work will be included in Volume VI of the artist's catalog raisonné in preparation for the Azcona Foundation Bibliography: Josette Gibert "Les Maternités" Editions Carmen martinez, 1975, p. 91 Measurements: 17 x 11 cm

          Ansorena
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Untitled", Le Villars, Saone et Loire, 1922. Watercolour and charcoal on paper. Signed and dated in the lower right area, located on the back.
          Oct. 06, 2022

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Untitled", Le Villars, Saone et Loire, 1922. Watercolour and charcoal on paper. Signed and dated in the lower right area, located on the back.

          Est: €3,000 - €4,000

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Untitled", Le Villars, Saone et Loire, 1922. Watercolour and charcoal on paper. Signed and dated in the lower right area, located on the back. Measurements: 20 x 15 cm; 37 x 31 cm (frame). Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and was in contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work on embossed metal masks in a style marked by naturalistic and symbolist features and by a new conception of the human figure, with synthesised volumes and lines. During these years González began to take part in the Parisian salons, specifically the Salon d'Automne, the Salon des Indépendants and the Salon de la Société Nationale des Beaux-Arts. In 1920 he opened his own forge and two years later made his individual debut at the Povolovsky gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then had been considered merely decorative. During the 1930s his work became more abstract and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as the Spanish Art exhibition at the Jeu de Paume Museum (1936) and the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the outbreak of the Second World War his work, as a result of the shortage of iron, focused on a new material, plaster, and on drawings with war themes. González is represented at the Centre Georges Pompidou in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZALEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "In the suburbs", July 1, 1906. Ink on pink beige paper. Signed there dated in the lower right area. Certified on the back by Roberta González, daughter of the artist.
          Oct. 06, 2022

          JULIO GONZALEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "In the suburbs", July 1, 1906. Ink on pink beige paper. Signed there dated in the lower right area. Certified on the back by Roberta González, daughter of the artist.

          Est: €6,000 - €6,500

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Dans la banlieue", 1 July 1906. Ink on pinkish beige paper. Signed and dated at lower right. Certified on the back by Roberta González, the artist's daughter. Reproduced in the catalogue raisonné of drawings by Julio González "Les Maternités", p. 12. Provenance: -Roberta González (daughter of the artist). - Succession González, Paris, France. - Private collection, Paris, France. Size: 22,3 x 23,9 cm; 53 x 46 cm (frame). Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and was in contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work on embossed metal masks in a style marked by naturalistic and symbolist features and by a new conception of the human figure, with synthesised volumes and lines. During these years González began to take part in the Parisian salons, particularly the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine Arts. In 1920 he opened his own forge and two years later made his individual debut at the Povolovsky gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then had been considered merely decorative. During the 1930s his work became more abstract and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as the Spanish Art exhibition at the Jeu de Paume Museum (1936) and the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the outbreak of the Second World War his work, as a result of the shortage of iron, focused on a new material, plaster, and on drawings with war themes. González is represented at the Centre Georges Pompidou in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZALEZ (1876-1942) - Le cri, 1940
          Jun. 13, 2022

          JULIO GONZALEZ (1876-1942) - Le cri, 1940

          Est: €6,000 - €8,000

          JULIO GONZALEZ (1876-1942) Le cri, 1940 Crayon de couleur, plume et encre de Chine sur papier bleu. Signé et daté 28/4/40 en bas à droite. Kleurpotloden, pen, Oost‐Indische inkt op blauw papier. Gesigneerd en gedateerd 28/4/40 rechtsonder. 33.5 x 24, 3 cm Bibliographie/Bibliografie: Julio Gonzalez, Dessins Catalogue Raisonné par Josette Gilbert, fascicule « Scènes Paysannes », Œuvre reproduite en page 340.Editions Carmen Martinez. Imprimerie Arte, Adrien Maeght, Paris, 1975. Provenance / Herkomst : Galerie de France, Paris Collection privée, Bruxelles (acquis auprès de la galerie de France). Le Comité Julio Gonzalez a confirmé l’authenticité de cette œuvre. Cette œuvre sera répertoriée dans le nouveau catalogue raisonné général en préparation par l’historien de l’art Tomas Llorens.

          Cornette de Saint-Cyr-Bruxelles
        • JULIO GONZÁLEZ (BARCELONA, 1876 - ARCUEIL, PARIS, 1942)
          Jun. 09, 2022

          JULIO GONZÁLEZ (BARCELONA, 1876 - ARCUEIL, PARIS, 1942)

          Est: €1,200 - €2,500

          Julio González (Barcelona, 1876 - Arcueil, Paris, 1942) "Conversation between three country folk" Watercolour, gouache and pencil on paper. 21 x 16 cm. Signed, dated 1922 and dedicated "A mon vieux Mati". This refers to Julio González’s friend the sculptor Désirée Mathivet (Tournus, 1887 - 1966). The watercolour was presented to Le Villars (Saône et Loire). A similar painting, entitled "Paysannes et Paysan", is reproduced on page 67 of the book "Julio Gonzalez - Scènes paysannes" (1975), by Josette Gibert, Ediciones Carmen Martínez.

          La Suite Subastas
        • Julio Gonzalez (1876-1942) Masque d’adolescent, 1929-1930
          Jun. 03, 2022

          Julio Gonzalez (1876-1942) Masque d’adolescent, 1929-1930

          Est: €60,000 - €80,000

          Julio Gonzalez (1876-1942) Masque d’adolescent, 1929-1930 Épreuve en bronze, n°1/8 Fonte à la cire perdue Claude Valsuani, mars 1970 Signé : " GONZALEZ © " 31 x 17 x 3,5 cm Provenance : Galerie de France, Paris Collection particulière française, acquis en 1987 Dans l’atelier familial d’orfèvres, à Barcelone, Gonzalez apprend à travailler les métaux tout en étudiant le dessin et la peinture à l’école des Beaux-Arts. En 1900, la famille Gonzalez s’installe à Paris et Julio retrouve son ami Picasso qu’il avait connu à Barcelone. Il se lie d’amitié avec Manolo, Maurice Raynal et Max Jacob. Après la mort de son frère, il abandonne progressivement la peinture et exécute ses premières sculptures en métal repoussé. Malgré les difficultés matérielles qu’il rencontre, il poursuit ses recherches plastiques avec le soutien de Picasso, Gargallo et Despiau. Ce n’est qu’à partir de 1927 qu’il se consacre entièrement à la sculpture et exécute une série de Masques découpés. Le métal est un matériau qu’il connait bien et qu’il peut se procurer facilement. La collaboration avec Picasso et l’apprentissage de la soudure auprès de Gargallo autour de 1927-1928 est déterminante. Masque d’adolescent voit le jour dans ce contexte de création et participe au bouleversement que connaît alors la sculpture en renversant de manière radicale les rapports entre pleins et vides, entre volume et espace. La plaque de métal est travaillée comme une feuille de papier dans l’espace où le vide procède au dessin. Les traits du visage sont réduits à de simples lignes qui forcent le caractère synthétique de la sculpture. « Pour toute cette génération de sculpteurs, le passage du visage au masque marque la rupture. Ruptures avec Rodin, avec le modèle, la psychologie, le modelage [...]. » 1 Ce Masque d’adolescent est une fonte en bronze réalisée à partir de l’original en fer, conservé à l’IVAM (Institut Valencià d’Art Modern), à Valence en Espagne. Elle a été réalisée en 1970 par Roberta Gonzalez, sa fille, en collaboration avec la Galerie de France qui soutient l’œuvre de l’artiste depuis plus de quarante ans. Afin de diffuser l’œuvre de son père resté dans un cercle intime d’initiés - ses amis surréalistes et cubistes, Roberta Gonzalez édite quelques modèles dont la transposition en bronze conserve toutes les valeurs plastiques des originaux en fer, dans le cadre d’une exposition itinérante : Gonzalez, les matériaux de son expression. Une liste des modèles édités en bronze accompagne le catalogue, le Masque d’adolescent étant répertorié sous le numéro 58 2. Par fidélité, Roberta Gonzalez sollicite Claude Valsuani, le fondeur avec lequel Gonzalez avait déjà eu l’occasion de travailler de son vivant. Numérotée 1 sur 8, cette épreuve date de mars 1970. Elle figure parmi les six premiers tirages supervisés par Roberta auprès de Valsuani, les tirages suivants ayant été réalisés plus tardivement par le fondeur Godard. Elle est vendue en 1987 par la Galerie de France à un particulier, qui l’a conservée jusqu’à très récemment. 1. Brigitte Léal, cat. exp., Masques de Carpeaux à Picasso, cat. exp., Paris, Musée d’Orsay (21 octobre 2008 – 1er février 2009) ; Darmstadt, Institut Ma- thildenhöhe (8 mars – 7 juin 2009) ; Copenhague, Ny Carlsberg Glyptotek (août - octobre 2009), Paris, Hazan, musée d’Orsay, 2008, p.211. 2. Julio Gonzalez : les matériaux de son expression, vol. I, cat. exp., Paris : Galerie de France (1970), Paris, Edition Galerie de France, 1970, n°58. Littérature en rapport • Pierre Descargues, Gonzalez, sculpteur du fer, xxe siècle, n°35, décembre 1970, p.151. • Julio Gonzalez : les matériaux de son expression, cat. exp., Paris, Galerie de France (1970), Paris, Edition Galerie de France, 1970, n°58, vol.II • Donacion Gonzalez, Ayuntamiento de Bar- celona, Museo de Arte Moderno, Barcelone, El Ayuntamiento, 1974, n°18 (bronze MAM, Barcelona, non reproduit). • Josette Gibert, Catalogue raisonné des dessins de Julio Gonzalez, volume 8 : Pro- jets pour sculptures, figures, Paris, Editions Carmen Martinez, 1975. • Jörn Merkert (dir.), Julio Gonzalez, cata- logue raisonné des sculptures, Milan, Electa, 1987, n°106, p. 89 (fer reproduit) • Julio Gonzalez dans la collection de l’IVAM, cat. exp., Paris, Fondation Dina Vier- ny-musée Maillol (Paris, 17 novembre 2004- 21 février 2005), Paris, Hazan, Valence, Ins- titut Valenciá d’art modern, 2004, p.47 (fer reproduit). • Mercè Doñate, Julio Gonzalez retrospec- tiva, cat. exp., Barcelone, Musée National d’Art de Catalogne (25 octobre 2008 – 25 janvier 2009) ; Madrid, Musée National Centre d’Art Reine Sofia, (10 mars – 1er juin 2009), Barcelona, MNAC, Museu Nacio- nal d’Art de Catalunya ; Madrid, MNCARS, Museo Nacional Centro de Art Reina Sofía, 2008, n°101, p.80 (bronze MAM, Barcelona reproduit). • Tomàs Llorens Serra, Julio González, Catálogo general razonado de las pinturas, esculturas y dibujos, Vol. IV – 1925-1933, Madrid, Fundacíon Azcona, Valence, Insti- tut Valencia d’Art Modern, 2018, p. 402, n° 2598, repr. (fer reproduit)

          Crait-Muller
        • JULIO GONZÁLEZ (1876-1942) NU ALLONGÉ SOUS UN ARBRE, 1924 Pastel et crayon sur papier Signé et daté en bas à gauche Pastel a...
          May. 24, 2022

          JULIO GONZÁLEZ (1876-1942) NU ALLONGÉ SOUS UN ARBRE, 1924 Pastel et crayon sur papier Signé et daté en bas à gauche Pastel a...

          Est: €3,000 - €5,000

          JULIO GONZÁLEZ (1876-1942) NU ALLONGÉ SOUS UN ARBRE, 1924 Pastel et crayon sur papier Signé et daté en bas à gauche Pastel and pencil on paper; signed and dated lower left 16 X 24,2 CM - 6 1/4 X 9 1/2 IN.

          Tajan
        • Julio González (1876-1942) Paysage aux rayons crayon de couleurs et graphit
          Mar. 31, 2022

          Julio González (1876-1942) Paysage aux rayons crayon de couleurs et graphit

          Est: €1,200 - €1,800

          Julio González (1876-1942) Paysage aux rayons crayon de couleurs et graphite sur papier 12.5 x 10.4 cm.

          Christie's
        • Julio González (1876-1942) Maisons rurales en hiver aquarelle et plume et e
          Mar. 31, 2022

          Julio González (1876-1942) Maisons rurales en hiver aquarelle et plume et e

          Est: €5,000 - €7,000

          Julio González (1876-1942) Maisons rurales en hiver aquarelle et plume et encre de Chine sur papier 15.7 x 24 cm.

          Christie's
        • Julio González (1876-1942) Homme Cactus plume et encre de Chine, aquarelle,
          Mar. 31, 2022

          Julio González (1876-1942) Homme Cactus plume et encre de Chine, aquarelle,

          Est: €15,000 - €20,000

          Julio González (1876-1942) Homme Cactus plume et encre de Chine, aquarelle, crayon gras et graphite sur papier teinté 32.8 x 25 cm.

          Christie's
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "At the Fountain", 1930. Charcoal and wax on paper. Signed and dated in the lower left corner.
          Feb. 16, 2022

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "At the Fountain", 1930. Charcoal and wax on paper. Signed and dated in the lower left corner.

          Est: €4,500 - €5,000

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "At the Fountain", 1930. Charcoal and wax on paper. Signed with initials and dated in the lower left corner. Size: 30 x 17 cm; 55 x 42 cm (frame). Julio González is not only considered an important figure on the 20th century art scene for his iron sculptures, but also for his excellent, though less known, facet as a draughtsman. González's drawings are inspired by the work of Pablo Picasso due to the relationship he had with the painter from Malaga, a collaboration that began in 1928 and culminated in the execution in wrought bronze of the sculpture "Femme au jardin". Thanks to his drawings it is possible to delve into the exciting world of González, with female figures captured with enormous skill and delicacy, or with the sketches prior to his iron sculptures, which demonstrate his exceptional and unlimited artistic capacity. Julio González was born into a family of goldsmiths, learning the trade as a child. He later studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and was in contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work on embossed metal masks, with a style marked by naturalistic and symbolist features and a new conception of the human figure, with synthesised volumes and lines. During these years González began to take part in the Parisian salons, particularly the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine Arts. In 1920 he opened his own forge and two years later made his individual debut at the Povolovsky gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then had been considered merely decorative. During the 1930s his work became more abstract and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as the Spanish Art exhibition at the Jeu de Paume Museum (1936) and the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the outbreak of the Second World War his work, as a result of the shortage of iron, focused on a new material, plaster, and on drawings with war themes. González is represented at the Centre Georges Pompidou in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • JULIO GONZÁLEZ. "Maternité". (d)
          Dec. 16, 2021

          JULIO GONZÁLEZ. "Maternité". (d)

          Est: €2,500 - €2,800

          Ink drawing and ink wash on paper Signed. On the back, an inscription titles it and dates it to 1933 27x18 cm.

          Balclis
        • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Smiling Virgin (study for a virgin", 1941. Crayon and watercolor on paper.
          Dec. 14, 2021

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Smiling Virgin (study for a virgin", 1941. Crayon and watercolor on paper.

          Est: €5,000 - €6,000

          JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Smiling Virgin (study for a virgin", 1941. Crayon and watercolor on paper. Presents label on the back of the Joan Prats Gallery (Barcelona). Work framed with museum glass. Signed and dated in the lower central area. Measurements: 31 x 19,7 cm; 59 x 48 cm (frame). -Work reproduced in: Julio González, itinerary of a dynasty. Vicente Aguilera Cerni. Ediciones Polígrafa 1973. Page 343, nº 533. -Provenance: Fernando Mignoni Collection, Julian Coca Collection. Considered the father of the sculpture in iron, Julio González is a key artist for the vanguard of the 20th century. He was born into a family of goldsmiths, learning the trade in modernist Barcelona. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went to Paris, where he frequented the artistic environments and maintained contact with Picasso, Gargallo and Brancusi, among others, which would mark a before and after in his language. There he learned the technique of autogenous welding, key to his research with the expressiveness of iron. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, and a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began to participate in the Parisian salons. In 1920 he opened his own forge workshop, and two years later he made his debut at the Povolovsky Gallery. During these years he experimented with the two-dimensionality of the plane, and continued in this line of exploration of volume until 1928, when he was asked to collaborate in the realization of the funerary monument of his friend Apollinaire, characterized by its transparent forms and its emptying. With Picasso, he puts his previous experiments into practice for the first time and proves their viability, given the perfect harmony between them and Picasso's synthetic capacity for drawing. Thus, the delicate small-format irons are finished, and his forms will be increasingly imposing and complex, pushing the artist internationally. Thus, at the end of the twenties he began his first sculptures in wrought iron. During the thirties his work became more abstract, and the first spatial constructions appeared. He prioritizes "the marriage between matter and space" and moves away from traditional symmetrical compositions, through what he himself called "drawing in space". These are improvised pieces, built directly with the wrought iron rod, which build schematic, abstract images of great formal complexity. In parallel, he will work with iron plate, creating a series of works that scholars have related to cubism. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Universal Exhibition in Paris (1937), his work, as a result of the shortage of iron, focuses on a new material, gypsum, and on drawings with war themes. On the other hand, in 1937 he had achieved the culmination of his sculptural work in iron with "La Montserrat" and "Mujer ante el espejo". A key artist to understand the Spanish avant-garde, his work has been vindicated by important exhibitions such as the retrospective exhibition dedicated to him in 2009 at the MNCARS in Madrid. On the other hand, Gonzalez is represented in the most important contemporary art collections in the world, including the Georges Pompidou Center in Paris, the Reina Sofia in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

          Setdart Auction House
        • A Julio Gonzalez (Spanish, 1876 - 1942) Exhibition   Poster 60 x 47 1/2 inches.
          Dec. 09, 2021

          A Julio Gonzalez (Spanish, 1876 - 1942) Exhibition   Poster 60 x 47 1/2 inches.

          Est: $200 - $300

          A Julio Gonzalez (Spanish, 1876 - 1942) Exhibition   Poster 60 x 47 1/2 inches. Property of Mr. Akko van Acker, Miami Beach

          Hindman
        • Julio GONZALEZ 1876 - 1942 Deux paysannes avec leur nourrisson - 1928 Aquarelle, pastel et crayon sur papier
          Dec. 08, 2021

          Julio GONZALEZ 1876 - 1942 Deux paysannes avec leur nourrisson - 1928 Aquarelle, pastel et crayon sur papier

          Est: €1,500 - €2,000

          Julio GONZALEZ 1876 - 1942 Deux paysannes avec leur nourrisson - 1928 Aquarelle, pastel et crayon sur papier Signé et daté en bas à gauche "J.G. /1928" h: 18,30 w: 15,50 cm Provenance : Georges Benero, Paris A l'actuel propriétaire par cessions successives Bibliographie : J.Gibert, Julio Gonzalez, dessins, les maternités, Editions Carmen Martinez, Paris, 1975, reproduit en noir et blanc p.45 Commentaire : Watercolor, pastel and pencil on paper ; signed and dated lower left Estimation 1 500 - 2 000 €

          Artcurial
        • JULIO GONZALEZ (1876-1942) - Le cri, 1940
          Dec. 05, 2021

          JULIO GONZALEZ (1876-1942) - Le cri, 1940

          Est: €8,000 - €12,000

          JULIO GONZALEZ (1876-1942) Le cri, 1940 Crayon de couleur, plume et encre de Chine sur papier bleu. Signé et daté 28/4/40 en bas à droite. Kleurpotloden, pen, Oost-Indische inkt op blauw papier. Gesigneerd en gedateerd 28/4/40 rechtsonder. 33.5 x 24, 3 cm Bibliographie/Bibliografie : Julio Gonzalez, Dessins Catalogue Raisonné par Josette Gilbert, fascicule « Scènes Paysannes », Œuvre reproduite en page 340.Editions Carmen Martinez. Imprimerie Arte, Adrien Maeght, Paris, 1975. Provenance / Herkomst : Collection privée, Bruxelles.

          Cornette de Saint-Cyr-Bruxelles
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