胡里歐·岡薩雷斯

Dr Walter A. Bechtler, Zollikon

Galerie Hauser & Wirth, Zurich

Private Collection, Switzerland

Sale: Sotheby's, New York, 3rd May 2006, lot 41

Purchased at the above sale

Zurich, Art Focus & New York, Dickinson Roundell Inc., Julio González - A retrospective exhibition, 2002, no. 18, illustrated in the catalogue

New York, Jan Krugier Gallery & Richard L. Feigen & Co., Drawing in Space, 2007-08, no. 17, illustrated in colour in the catalogue

Barcelona, Museu Nacional d'Art de Catalunya & Madrid, Museo Nacional Centro de Arte Reina Sofía, Julio González, retrospectiva, 2008-09, no. 145, illustrated in colour in the catalogue

David Smith, 'González: First Master of the Torch', in Art News, no. 54, New York, February 1956, illustration of the iron version p. 34

Manfred de la Motte, 'Die Kunst des 21. Jahrhunderts', in Das Kunstwerk, no. 12, Baden Baden, September 1958, illustration of the iron version p. 30

Jörn Merkert, Julio González, Catalogue raisonné, Sculpture, Milan, 1987, no. 145, edition catalogued p. 141; illustrations of the iron version pp. 141-143

Julio González’s Surrealist sculpture, La Grande trompette, was originally conceived in iron around 1932-33. The piece consists of spherical, cylindrical and conical shapes and cut pieces that have been welded together and appear to be revolving around an axis. The early 1930s was a period of enormous creativity, in which González, working alongside Pablo Picasso, developed a revolutionary sense of spatial freedom in his sculpture.

In her monograph on the artist's work, Josephine Withers has written the following about this model: 'The Grande trompette, named, no doubt, for the inverted projecting cone, includes many of the same motifs as the Rêve, assembled in a different way: the hollow half-spheres, the cones, and the suggestions of hair strands attached at an angle. While the leading edge of the head of the Grande trompette is centered on its cylindrical base, the profile face and its accompanying hair strands are barely attached and appear to be flying off. This sculpture is quite dense and space-filling in a way which cannot be fully appreciated in photographs. What can be seen, however, is that there is no one dominant silhouette or outline, and because of the opaque forms, many parts of the sculpture are obscured from view and are only revealed as one moves around the sculpture... In addition, the convex and concave forms and the projections and recessions allow a fluid and plastic interplay between solid and void' (J. Withers, Julio González. Sculpture in Iron, New York, 1978, pp. 56-57).