Darío de Regoyos

Taramona collection, Spain
Isabel Arana, widow of the above
Acquired by the present owner in 1981

Bilbao, Salón Delclaux, Darío de Regoyos, 1909, no. 9
Barcelona, Palacio de Bellas Artes, VI Exposición Internacional de Arte, 1911, no. 52
Bilbao, Sociedad Filarmónica, VII Exposición de arte modernista, 1911, no. 9
San Sebastián, Gran Casino, Exposición de la Asociación de artistas vascos, 1928, no. 153
Bilbao, Museo de Bellas Artes, Exposición “Homenaje a Darío de Regoyos”, 1951, no. 65
Oviedo, Museo Provincial de Bellas Artes; San Sebastián, Museo de San Telmo; Bilbao, Museo de Bellas Artes; Marbella, Salas del Banco de Bilbao, Exposición “Homenaje a Regoyos”, 1980, no. 29

Juan San Nicolás, Darío de Regoyos. Catálogo razonado, Museo de Bellas Artes de Asturias y Fundación Azcona, 2014, p. 342, no. 451, illustrated

The canvas has not been lined. There are some pin-head sized nail holes in the four far corners, visible upon close inspection. Ultra-violet light reveals two minor spots of cosmetic retouching in the upper left and upper right corners and one small area in the mountain in the left of the composition closer to the lower left corner, possibly addressing an old repair (also patched on the reverse). This work is otherwise in good condition and ready to hang. Presented in a decorative frame with a beige inner slip.
"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."

Painted in 1905, the present work is one of several views painted by Regoyos depicting the Puente Nuevo in Ronda, Andalusia. The construction of the bridge started in 1759 and it was completed by the end of the 1790s. The bridge, which still stands today, is an imposing stone structure that divides the city of Ronda and overlooks the Guadalevín River.

In 1879 Regoyos had moved to Brussels, a defining journey for the artist. Here, he became friends with members of the avant garde Les XX, before joining the group himself. Les XX were closely attuned to the 'New Painting', later known as Impressionism, in France. From the 1890s, the influence of the Belgian and the French Post-Impressionists became ever more present in Regoyos' work. As in the present work, Regoyos' fondness for Spain found expression in the lyrical and emotive enthusiasm translated in his beautiful landscapes and scenes of everyday Spanish life.