Darío de Regoyos

Acquired by the present owner in the 1970s

The canvas has not been lined. There are some fine lines of craquelure, notably in areas where the impasto is thicker, and slightly more pronounced in the sky and above the carriage to the lower left corner. Inspection under ultra-violet light reveals some strokes of cosmetic reotuching addressing the aforementioned craquelure, notably a vertical line towards the upper centre of the composition, some fine lines in the foliage of the trees to the left, and some circular lines in the sky. However, these have been finely applied and are not particularly distracting to the naked eye. This work is otherwise in good condition and ready to hang. Presented in a decorative gilt frame with a green and cream inner slip. Colours are somewhat less yellow and softer in reality than in the printed catalogue.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

From his father, Regoyos inherited several apartments in the Barrio de Argüelles district of north west Madrid, in which he would stay on his trips to the capital from San Sebastián. From a high floor, he painted three panoramic views looking west across the tracks of what was then Madrid's Estación del Norte (North Station). The present version is the last of three, one of which, depicting the view in winter (fig. 1), Regoyos dedicated to his friend and fellow artist Enrique Simonet.

Inspired by his French contemporaries Camille Pissarro, Georges Seurat, and Paul Signac, Regoyos applied their impressionistic and post-impressionist techniques to quintessentially Spanish subjects and vignettes of everyday Spanish life, expressions of his enduring fondness for the country of his birth. Having remained in private hands since its execution, the present work is a rediscovery in Regoyos's oeuvre.