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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 GONZÁLEZ (1876-1942). Maternité au chien (recto); Sans titre (mère et
    Jul. 02, 2026

    JULIO GONZÁLEZ (1876-1942). Maternité au chien (recto); Sans titre (mère et

    Est: £6,000 - £8,000

    JULIO GONZÁLEZ (1876-1942). Maternité au chien (recto); Sans titre (mère et enfant) (verso). pencil, watercolour and gouache on buff paper10 3/8 x 6 5/8 in. (26.3 x 16.5 cm.).

    Christie's
  • Julio González, 1876-1942, Femme debout mains tendues
    Jun. 22, 2026

    Julio González, 1876-1942, Femme debout mains tendues

    Est: CHF3,000 - CHF5,000

    Signed with the monogram and dated lower right: J.G., 1935. (Frame).

    Germann Auction House Ltd
  • Masque
    Jun. 04, 2026

    Masque

    Est: €300 - €500

    Julio González 1876 - 1942 Masque with the printed signature and date, numbered 12/200 in pencil lithograph printed in colours on wove paper sheet: 355 by 250 mm. 14 by 9⅞ in. Executed in 1940, this impression is number 12 from the edition of 200.

    Sotheby's
  • JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942). "Tête à l'auréole", ca. 1932. Bronze, copy 1/2. Signed and numbered. With foundry stamp E. Godard Fond.
    May. 20, 2026

    JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942). "Tête à l'auréole", ca. 1932. Bronze, copy 1/2. Signed and numbered. With foundry stamp E. Godard Fond.

    Est: €60,000 - €70,000

    JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942). "Tête à l'auréole", ca. 1932. Bronze, copy 1/2. Signed and numbered. With foundry stamp E. Godard Fond. Edition of two copies, plus two castings marked with the initials EA and HC. Provenance: Estate of the artist; Leandro Navarro Gallery, Madrid; Private collection, Spain. Exhibitions: - Paris, Musée National d'Art Moderne, Julio González: Sculptures, 1952 (illustrated in the catalog, no. 51). -Amsterdam, Stedelijk Museum, Julio González, 1955 (illustrated in the catalog, no. 59). - Brussels, Palais des Beaux-Arts, Julio González, 1955 (illustrated in the catalog, no. 59). - Kunsthalle Bern, Julio González, 1955 (illustrated in catalog no. 31). - La Chaux-de-Fonds, Musée des Beaux-Arts, Julio González 1955 (illustrated in catalog no. 31) and Julio González 1956 (illustrated in catalog no. 35). - Hannover, Kestner-Gesellschaft. Julio González, 1957 (illustrated in catalog no. 34). - Krefeld, Museum Haus Lange. Julio González, 1958 (illustrated in catalog no. 34). - Dortmund, Museum am Ostwall. Julio González, 1958 (illustrated in catalog no. 34). - Leverkusen, Städtisches Museum Schloss Morsbroich. Julio González, 1958 (illustrated in catalog no. 34) . - New York, The Pace Gallery. Julio González. Sculpture and drawings, 1981. - Paris, GDF, Julio González, David Smith, Anthony Caro, Tim Scott, Michael Steiner, 1980. Itinerant: Bielefeld, Kunsthalle, 1980; Berlin, Haus am Waldsee, 1980; Tübingen, Kunsthalle, 1980; Hamburg, Galerie Wentzel, 1980 and Ludwigshafen, Wilhelm-Back-Museum, 1981. Parallels: - "Tête à l'auréole," ca. 1932, Institut Valencià d'Art Modern (IVAM), Valencia. - "Woman with hair pulled back in a bun," ca. 1930, Art Institute of Chicago, Chicago. Bibliography: - Léon Degand, González. Cologne/Berlin, Kiepenheuer & Witsch, 1956, illustrated no. 7 Vicente Aguilera Cerni. Julio González. Rome, Edizioni dell'Ateneo, 1962. Illustration XXVI. - Vicente Aguilera Cerni. Julio, Joan, Roberta: The Journey of a Dynasty Barcelona, Ediciones Poligrafa, 1973. No. 144, illustration p. 20. - Josephine Withers. Julio González, Sculpture in Iron. New York, New York University Press, 1978. No. 58. - Alain Kirili. Virgins & Totems. In: Art in America, New York, October. Measurements: 21 x 14,8 x 3,8 cm. "Tête à l'auréole" is an outstanding example of the influence that Pablo Picasso exerted on Julio González in the context of a decisive artistic exchange for the renewal of 20th century sculpture. Between 1928 and 1931, the two prolific artists maintained a particularly fruitful collaboration: Gonzalez contributed his technical mastery of iron, while Picasso introduced innovative approaches. This dialogue was key to transferring the principles of Cubism to the sculptural realm and to propelling Gonzalez's evolution towards abstraction. The work also reflects a moment of transition in which the human figure is simplified until it is reduced to essential lines, anticipating later developments in abstract art. The museum projection of this work is reinforced by placing it in dialogue with closely related pieces held in leading institutions, such as Tête à l'auréole at the IVAM in Valencia or Woman with Hair in a Bun at the Art Institute of Chicago. In this context, our work is not only fully integrated into this group, but also participates significantly in one of the most innovative moments of Julio Gonzalez's career. All three share the use of forged, cut and welded iron, a technique that the artist developed in the 1930s and which is fundamental in the redefinition of modern sculpture. Thus, our piece is placed at the height of these museum examples, demonstrating its historical, technical and artistic relevance. It is also worth noting the special relevance of the piece in bidding as a specimen 1 of 2, a condition that underlines its rarity and value within the artist's production. The "halo" that gives the sculpture its title is materialized in this case as a circle or metallic arc that surrounds or crowns the head, incorporating a symbolic dimension. This curved form establishes an interesting contrast with the angular lines of the face, generating a balance between the geometric and the organic that denotes Gonzalez's artistic maturity in abstract art and metalwork. The use of welded metal is fundamental: he transforms this industrial material into a poetic and dynamic expression, in which space and emptiness are as important as the material itself. Julio González, considered the father of iron sculpture, was a key figure of the 20th century avant-garde. Trained in a family of goldsmiths in modernist Barcelona, he moved to Paris in 1900, where he came into contact with artists such as Picasso, Brancusi and Gargallo. There he learned autogenous welding, fundamental for his sculptural innovation. After a first stage with naturalist and symbolist influences, he evolved towards experimentation with volume and space. His collaboration with Picasso in the 1920s was decisive in applying the cubist language to sculpture. From then on, he developed his characteristic use of wrought iron, creating increasingly abstract and complex works based on "drawing in space". In the 1930s his work became more abstract, combining linear structures and cubist-influenced metal plates. During World War II, due to the shortage of iron, he worked mainly with plaster and addressed war themes.

    Setdart Auction House
  • JULIO GONZALEZ (1876-1942). La Chevelure. bronze with dark brown patinaHeig
    May. 19, 2026

    JULIO GONZALEZ (1876-1942). La Chevelure. bronze with dark brown patinaHeig

    Est: $50,000 - $70,000

    JULIO GONZALEZ (1876-1942). La Chevelure. bronze with dark brown patinaHeight (excluding base): 11 ¼ in. (28.6 cm.).

    Christie's
  • JULIO GONZALEZ (1876-1942). Masque My. bronze with black patinaHeight (incl
    May. 19, 2026

    JULIO GONZALEZ (1876-1942). Masque My. bronze with black patinaHeight (incl

    Est: $80,000 - $120,000

    JULIO GONZALEZ (1876-1942). Masque My. bronze with black patinaHeight (including base): 8 7/8 in. (22.6 cm.).

    Christie's
  • JULIO GONZÁLEZ - Téte - Tétes de femme
    May. 12, 2026

    JULIO GONZÁLEZ - Téte - Tétes de femme

    Est: -

    JULIO GONZÁLEZ Barcelona 1876-France 1942 Head - Heads of a Woman. c. 1930-1932 Pencil on paper (two works) Signed and dated 6-4-32 (one) Dimensions 16.8 x 13.68 cm (each) PROVENANCE Guereta Gallery, Barcelona Private collection BIBLIOGRAPHY Boye Llorens, "Julio González. Catalogue Raisonné Vol V", Ed. Fundación Azcona, Madrid 2025, p. 360, nos. 3134 and 3137

    Subastas Segre
  • Julio González (Spanish, 1876–1942) Envelope, 1930
    Apr. 27, 2026

    Julio González (Spanish, 1876–1942) Envelope, 1930

    Est: $30,000 - $40,000

    Hammered and welded iron  Height: 34.5 cm Height Including marble base: 42.3 cm Signed  on the underside lower left Provenance: Urban Gallery, Tel Aviv Condition: For a detailed condition report, please contact: info@hammersite.com

    Hammersite
  • JULIO GONZALEZ Barcelona (1876) / Paris, France (1942) "Mask"
    Jan. 21, 2026

    JULIO GONZALEZ Barcelona (1876) / Paris, France (1942) "Mask"

    Est: €375 - €500

    Lithograph on paper Signed and dated in the plate, justified in pencil in the lower right corner 4/200 Measurements: Paper: 36 x 25 cm

    Ansorena
  • Julio González, 1876-1942, Untitled
    Nov. 24, 2025

    Julio González, 1876-1942, Untitled

    Est: CHF3,000 - CHF5,000

    Signed and monogrammed lower right: 30-11-38, j.G. (Frame).

    Germann Auction House Ltd
  • JULIO GONZÁLEZ (1876-1942) Femme se coiffant 12 3/8 x 9 3/8 in (31.5 x 23.8 cm) (Executed in 1934-1936)
    Nov. 20, 2025

    JULIO GONZÁLEZ (1876-1942) Femme se coiffant 12 3/8 x 9 3/8 in (31.5 x 23.8 cm) (Executed in 1934-1936)

    Est: $8,000 - $12,000

    JULIO GONZÁLEZ (1876-1942) Femme se coiffant signed with the artist's initials and dated 'J.G. 1934-6' (lower left) pen and India ink, wax crayon and pencil on paper 12 3/8 x 9 3/8 in (31.5 x 23.8 cm) Executed in 1934-1936

    Bonhams
  • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Face in profile", 1941. Inks and watercolor on paper. Signed and dated in the lower corner.
    Nov. 20, 2025

    JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Face in profile", 1941. Inks and watercolor on paper. Signed and dated in the lower corner.

    Est: €5,500 - €6,000

    JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Face in profile", 1941. Inks and watercolor on paper. Signed and dated in the lower corner. Enclosed certificate from Viviane Grimminger, Paris. Published in the artist's catalog raisonné. Measurements: 16 x 19.5 cm; 31 x 33.5 cm (frame). This drawing, made with great economy of means, shows the profile of a mature woman, recognizable by her low chignon and her serene countenance. The lines, soft, essential and sure, trace the oval of the face, the jaw and the main features with a precision that eliminates all superfluous detail. The use of gray and black gives the figure a sculptural air, as if the watercolor anticipates the volume of a future sculpture in iron or stone. In fact, it is probably a preparatory study for a three-dimensional piece, since González used to transfer his drawings directly to the sculptural plane, conceiving the stroke as an equivalent of wrought iron. However, the drawing definitely has artistic value in itself. This type of drawing is in line with his last period (1938-42), marked by the purification of gesture and expressive interiorization. After his collaboration with Picasso and his research on space, Gonzalez turned to the human figure (especially the female face) as a vehicle for a pained, but also dignified and contained humanity. 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 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 to participate in the Parisian salons, specifically in the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine 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 GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "La fenetre", 1939-40. Inks and watercolor on paper. Titled, signed and dated on the back. Certificate attached. Work published in Volume VI of the catalog raisonné
    Nov. 19, 2025

    JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "La fenetre", 1939-40. Inks and watercolor on paper. Titled, signed and dated on the back. Certificate attached. Work published in Volume VI of the catalog raisonné

    Est: €3,400 - €3,600

    JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "La fenetre", 1939-40. Inks and watercolor on paper. Titled, signed and dated on the back. Certificate attached. Work published in Volume VI of the catalog raisonné of drawings by Julio González of the Azcona Foundation, Boye Llorens Peters. Bibliography: Josette Gibert, "Julio González dessins", Editions Carmen Martinez, 1975, p. 81. Measurements: 15.5 x 8.5 cm; 43 x 35 cm (frame). In this drawing, Gonzalez represents a woman with her back turned, contemplating the outside through a window. We only see the upper back, neck and head, with a short haircut, outlined with clean, confident lines. The play of straight lines of the window frame and the simplified forms of the exterior landscape (a chimney, a roof) contrast with the organic softness of the female body. This opposition between the human and the architectural, between the warm and the geometric, becomes a recurring motif in her latest production. The use of ink and watercolor reinforces the sensation of space and silence: the transparency of the grays and soft tones suggests distance, atmosphere, a contained melancholy. As in many of his drawings, there is no explicit narrative, but a visual meditation on form and emptiness, on the place of the human being before the outside world. 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 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 to participate in the Parisian salons, specifically in the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine 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 twenties 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 mystique. pen and India ink and wash
    Nov. 18, 2025

    JULIO GONZALEZ (1876-1942). Maternité mystique. pen and India ink and wash

    Est: $6,000 - $8,000

    JULIO GONZALEZ (1876-1942). Maternité mystique. pen and India ink and wash on paper9 ½ x 9 ¼ in. (24 x 23.5 cm.).

    Christie's
  • Julio Gonzaález (Barcelona, 1876 - Arcueil, Paris, 1942)
    Sep. 25, 2025

    Julio Gonzaález (Barcelona, 1876 - Arcueil, Paris, 1942)

    Est: €1,500 - €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 GONZÁLEZ. ADÁN Y EVA. PLATO EN BRONCE.
    Jul. 09, 2025

    JULIO GONZÁLEZ. ADÁN Y EVA. PLATO EN BRONCE.

    Est: €15,000 - €20,000

    Julio González (Barcelona, 1876-Arcueil, Francia, 1942) Adán y Eva. Plato en bronce repujado. Realizado c.1910-1914. Apoya sobre plafón en madera. Exposiciones: "Secretos del desnudo". Exposición celebrada en la Sala de exposiciones Caja Vital. Vitoria, Septiembre-Octubre, 2000. Reproducida la obra en el catálogo. "Julio González". Exposición celebrada en el Castillo de Maya. Pamplona, Septiembre-Octubre, 2001. Reproducida la obra en el catálogo, pág.: 62. "El Arte del desnudo" 2002-2003. Exposición itinerante. Reproducida la obra en el catálogo, pág.: 129. "Escultura española contemporánea" exposición celebrada en el Centro de Arte Palacio Almudi. Murcia, Marzo-Mayo 2005. Reproducida la obra en el catálogo, pág. 21. "El Arte del denudo". Exposición celebrada en la Sala exposición Caja Canarias. Santa Cruz de Tenerife, 2006. Reproducida la obra en el catálogo, pág.: 39. Exposición celebrada en el Espacio Cultura Caja Ávila. Iglesia de San Martín de Arévalo. Reproducida la obra en el catálogo, pág.: 96. "Modernismo Catalán". Exposición celebrada en la Fundación Picasso. Málaga, Marzo-Mayo, 2007. Reproducida la obra en el catálogo, pág.: 107. Procedencia: Colección particular, Barcelona. Bibliografía de referencia: "Julio González: Catálogo razonado de las pinturas, esculturas y dibujos", por Tomás Llorens. Vol I. 1900-1918. Vol II 1912-1923. Editorial Fundación Azcona. 2007. Adjunta certificado de autenticidad expedido por Philippe Grimminger, representante de la Sucesión Julio González. La obra será incluida en el último volumen de su catálogo razonado en preparación. Diámetro: 29 cm.

    Aletheia Subastas
  • JULIO GONZÁLEZ - Visage Criant
    Jul. 01, 2025

    JULIO GONZÁLEZ - Visage Criant

    Est: -

    JULIO GONZÁLEZ Barcelona 1876-France 1942 Visage Criant. c. 1939-41 Oil, gouache and pencil on paper Back: ballpoint pen sketch of an animal Measurements 25 x 13.2 cm Authenticity confirmed by Julio González Administration. ORIGIN Saidenberg Gallery, New York Private collection USA Daniele Lasser Collection, New York Private collection, Madrid EXHIBITIONS 1969 (March-April), "Julio González. Les matèriaux de son expression", Saidenberg Gallery, New York, cat nº 41 BIBLIOGRAPHY Josette Gilbert, "Catalogue raissonnè des dessins de Julio Gonzalez, Vol II. Scènes Paysannes", Ed. Carmen Martinez, Paris 1975, page 329

    Subastas Segre
  • JULIO GONZALEZ (1876-1942). Mère et enfant. pencil on paper7 ¾ x 6 1/8 in.
    May. 13, 2025

    JULIO GONZALEZ (1876-1942). Mère et enfant. pencil on paper7 ¾ x 6 1/8 in.

    Est: $5,000 - $7,000

    JULIO GONZALEZ (1876-1942). Mère et enfant. pencil on paper7 ¾ x 6 1/8 in. (19.8 x 15.5 cm.).

    Christie's
  • JULIO GONZALEZ (1876-1942). Petite tête cubiste. colored wax crayons and pe
    May. 13, 2025

    JULIO GONZALEZ (1876-1942). Petite tête cubiste. colored wax crayons and pe

    Est: $10,000 - $15,000

    JULIO GONZALEZ (1876-1942). Petite tête cubiste. colored wax crayons and pen and India ink over pencil on paper8 ½ x 4 ½ in. (21.5 x 11.5 cm.).

    Christie's
  • JULIO GONZÁLEZ 1876-1942 Autoritratto 1941 - JULIO GONZÁLEZ 1876-1942 Self portrait 1941
    May. 13, 2025

    JULIO GONZÁLEZ 1876-1942 Autoritratto 1941 - JULIO GONZÁLEZ 1876-1942 Self portrait 1941

    Est: €2,000 - €3,000

    Matite colorate su carta.  22,50 x 16,00 cm Datato, 27-7-41, al recto in basso a sinistra, al verso del cartoncino di supporto timbro della dogana di Parigi e iscrizione: ‘T119, auto-portrait, F.C. ITA, F.G.’. - Colored pencils on paper. 8.86 x 6.30 in. Dated 27-7-41, lower left recto, on the reverse of the support card stamp of the Paris customs and inscription: ‘T119, auto-portrait, F.C. ITA, F.G.’.

    Aste Bolaffi
  • JULIO GONZALEZ (1876-1942) Forme sévère welded iron Height (excluding base)
    May. 12, 2025

    JULIO GONZALEZ (1876-1942) Forme sévère welded iron Height (excluding base)

    Est: $8,000,000 - $12,000,000

    JULIO GONZALEZ (1876-1942) Forme sévère welded iron Height (excluding base): 31 ¼ in. (79.4 cm.)

    Christie's
  • JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942). "Adam and Eve", ca. 1910-14. Relief in bronze. Certificate of authenticity attached.
    Mar. 19, 2025

    JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942). "Adam and Eve", ca. 1910-14. Relief in bronze. Certificate of authenticity attached.

    Est: €12,000 - €15,000

    JULIO GONZÁLEZ (Barcelona, 1876 - Arcueil, France, 1942). "Adam and Eve", ca. 1910-14. Relief in bronze. Certificate of authenticity attached. Measurements: 29 cm. diameter. In this bronze relief, Julio Gonzalez reinterprets the biblical theme of Adam and Eve in the Garden of Eden. Gonzalez suggests that the couple overcomes the serpent, incarnation of evil. Adam holds the zigzagging body of the animal with his right hand and rests his left hand on Eve's shoulder, who lies peacefully on the grass. Contradicting the way in which art has traditionally bequeathed us the image of repentance and modesty before naked bodies after being tempted by the perfidious animal, Gonzalez shows us both bodies reconciled with their nakedness and natural beauty. The rounded contours of the female bust and hips, following Julio Gonzalez's characteristic canons, reinforce this idea. In short, we observe in this relief inscribed in a medallion with a hexagonal center the triumph of human love over everything else. 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 as a child in the stimulating context of modernist Barcelona. 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. His stay in the French capital marked a before and after in his language. There he learned the industrial technique of autogenous welding, key to his later 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, 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. During these years he experimented with the concept of the two-dimensionality of the plane through his embossed reliefs, 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, illustrating the poet's own words "a solid statue of nothingness". With Picasso, Gonzalez puts his previous experiments into practice for the first time and proves their viability, given the perfect harmony established between them and Picasso's synthetic capacity for drawing. The delicate, small-format ironwork in which the sculptor had worked until then came to an end, and from now on his forms became increasingly imposing and complex, giving the artist international impetus. Thus, at the end of the twenties he began to develop his first sculptures in wrought iron, a material that until then had been considered merely decorative. During the thirties his work became more abstract, and the first spatial constructions appeared. Always focused on aesthetic and theoretical research, with his filiform sculptures Gonzalez 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 wrought iron rods, which construct schematic, abstract images of great formal complexity. In parallel, he will work with the iron plate, creating a series of works that scholars have related to cubism, since in them the sculptor decomposes the volume and incorporates the empty space, playing at the same time with the contrast of lights and shadows. 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), at the beginning of the Second World War his work, as a result of the shortage of iron, focuses on a new material, plaster, and drawing on war themes.

    Setdart Auction House
  • 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)
    Mar. 18, 2025

    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)

    Est: €4,000 - €5,000

    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 20 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. He later 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 become more and more 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. Work reproduced in: Julio González, itinerario de una dinastía. Vicente Aguilera Cerni. Ediciones Polígrafa 1973. Page 343, nº 533. Provenance: Fernando Mignoni Collection, Julian Coca Collection. Presents label on the back of the Joan Prats Gallery (Barcelona).

    Setdart Auction House
  • JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Paysanne au panier et a la gerbe", 1935-36. Gouache and pen on paper. Provenance: Elvira Gonzalez Gallery, Madrid.
    Feb. 19, 2025

    JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Paysanne au panier et a la gerbe", 1935-36. Gouache and pen on paper. Provenance: Elvira Gonzalez Gallery, Madrid.

    Est: €4,000 - €5,000

    JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Paysanne au panier et a la gerbe", 1935-36. Gouache and pen on paper. Provenance: Elvira Gonzalez Gallery, Madrid. Work published in the catalog raisonné of drawings, Vol.II. Paris, 1975, pg.206. Measurements: 28,5 x 19 cm; 47 x 39,5 cm (frame). In this drawing of a peasant woman with basket and sheaf, Julio Gonzalez extracts from the figure an essential humanity. While elements such as the corn and the handkerchief reinforce the connection with the social and the land, the way of resolving the features, which seem to be carved with a gouge, transmits a strength that transcends the traditional representation. 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 kept in touch 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 to participate in the Parisian salons, specifically in the Autumn Salon, the Salon des Indépendants and the Salon of the National Society of Fine 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 GONZÁLEZ (1876-1942). 'Maternite noire et rose', circa 1929.
    Feb. 13, 2025

    JULIO GONZÁLEZ (1876-1942). 'Maternite noire et rose', circa 1929.

    Est: €3,750 - €6,000

    Pen, Indian ink and gouache on paper. The work is neither signed nor dated. Literature: Gibert, Josette, 'Julio González, Les maternités'. Ed. Carmen Martínez. P. 52. 23 x 10.5 cm; 36.4 x 24.3 cm (frame).

    Subarna Subastas
  • JULIO GONZÁLEZ - Deux femmes aux gerbes de ble
    Feb. 11, 2025

    JULIO GONZÁLEZ - Deux femmes aux gerbes de ble

    Est: -

    JULIO GONZÁLEZ Barcelona 1876-France 1942 Deux femmes aux gerbes de ble. 1929 Watercolor and pen on paper Signed and dated 1929 Measurements 12.2 x 17 cm ORIGIN (label on the back) Oriol Galeria d'Art, Barcelona Private collection BIBLIOGRAPHY Josette Gibert, "Julio Gonzalez Dessins, Scenes Paysannes", Ed. Carmen Martínez, Paris 1975, page. 180

    Subastas Segre
  • 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
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