Purchased at the above sale by the late owner
Asmund Arle, González, Paletten, Gothenburg, 1957, illustration of the iron version p. 20
Pierre Restany, 'Julio González', in Art International, vol. 3, New York, 1959, nos. 3-4, illustration of the iron version p. 30
Poul Vad, 'Optegnelser af González', in Signum, vol. 2, Copenhagen, 1962, no. 1, illustration of the iron version p. 12
Carlos Antonio Arean, 'Julio González y le problematica de la esculture del siglo XX', in Cuardernos de arte del Ateneo de Madrid, vol. 60, Madrid, 1965, illustration of the iron version
Carlos Antonio Arean, '...and González in New York', in The Christian Science Monitor, Boston, 24th February 1969, illustration of the iron version
Pierre Descargues, Julio González, Paris, 1971, illustration of the iron version p. 21
Vicente Aguilera Cerni, Julio, Joan, Roberta González - Itinerario de una dinastia, Barcelona, 1973, no. 227, illustration of the iron version p. 270
Josephine Withers, Julio González, Sculpture in Iron, New York, 1978, no. 97, illustration of the iron version p. 80
Hilton Kramer, 'González', in The New York Times Magazine, March 1983, illustration of the iron version p. 44
Jörn Merkert, Julio González. Catalogue raisonné des sculptures, Milan, 1987, no. 203, illustrations of the iron version pp. 216-217; the present cast listed p. 216
Discussing González’s remarkable accomplishments, Margit Rowell commented: ‘González transformed the face of twentieth century sculpture from an art of representational images to an art of invention: an art of formally self-referential objects evoking ideas. A subway was no longer a model to be imitated but a theme on which to compose autonomous formal variations. A material was no longer a medium in the literal sense but the basic determinant of form. A technique was no longer relegated to the hands of a master craftsman or technician but remained in the hands of the artist alone. In fact, it was through the artist’s direct realization of his work – the direct forging of metals – that the new vision of sculpture as we know it today was born’ (M. Rowell in Julio González. A Retrospective Exhibition (exhibition catalogue), The Solomon R. Guggenheim Museum, New York, 1983, p. 30).
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