DARIO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913) "Stagecoach of Segovia", 1882. Oil on cardboard. Signed, dated and located in the lower margin. Provenance: This work belonged to the illustrious pianist and composer Isaac Albéniz, a great friend and admirer of Regoyos. After his death it passed into the hands of one of his heirs. Work reproduced and catalogued in the catalog raisonné of the Museum of Fine Arts of Asturias by Mr. Juan San Nicolás. We thank Mr. Juan San Nicolás for his invaluable help and collaboration in the cataloguing of the work. Number 1557 is inscribed on the back. This painting was part of the anthological exhibition of the artist organized by the Fundación La Caixa in 1986-1987 in Madrid and Barcelona, as stated on the exhibition label on the back. Measurements: 30 x 42 cm, 45 x 57 cm. Bibliography: - Museum, monthly magazine of ancient and modern Spanish art and contemporary artistic life, volume II, number 8, 1912, article written by Paul Lafond. Establecimiento Gráfico Thomas, Barcelona. Reproduced in black and white on page 285 under the title La diligencia de Segovia. - Revista La Esfera, year VII, nº 336, June 12, 1920, Ilustración Mundial, reproduced in black and white in an article by Silvio Lago on the exhibition Homenaje a Regoyos held at the Exposición Nacional de Bellas Artes. - Enciclopedia Espasa Calpe, published in 1923. Reproduced in black and white on page 261 with an article describing his father, Darío de Regoyos y Molenillo. - Rafael Benet, Darío de Regoyos. Impressionism and beyond impressionism, Barcelona. Ediciones Iberia-Joaquín Gil 1944, reproduced in black and white on plate 8. - José María Donosty, article entitled "Regoyos, el pintor humano y alegre" published on May 22, 1949 in the newspaper La Voz de España. Reproduced in black and white. - Antonio García Miñor, El pintor Darío de Regoyos y su época, published by Diputación de Asturias, Instituto de Estudios Asturianos del Patronato José Mª Quadrado, 1958. Reproduced in black and white in the plates on page 112. - Darío de Regoyos, catalog of the exhibition held at the Fundación Caja de Pensiones in Barcelona and Madrid, 1986-1987. Reproduced in color on page 97 and in black and white on page 36. - Julián Gállego, "Regoyos, pintor impresionista", article published in Quaderns, Fundació Caixa de Pensions, no. 34, November 1986, Barcelona. Reproduced in color on page 21. - Art Masters of the 19th and 20th centuries, Darío de Regoyos-1, by Juan San Nicolás. Dicionari Ràfols, Barcelona, 1990. Reproduced in color on page 198. - Tradición y modernidad en la pintura de Darío de Regoyos, catalog of the exhibition organized by the City Council of Gijón at the Nicanor Piñole Museum in Gijón, July-September 2002. Reproduced in color on page 45. - Pinceladas, posiciones hispanas ante el impresionismo, exhibition organized by Cajasur at the Sala Municipal San Hermenegildo in Seville. -San Hermenegildo Municipal Hall of Seville in May 2003 and in the Museum Exhibition Hall of CajaSur in June 2003. Reproduced in color on page 85. - Valeriano Bozal, Darío de Regoyos, published by the Mapfre Foundation in 2011. Reproduced in color on page 13. Exhibitions: - L'Essor, Exposition d'études rapportées d'Espagne et du Maroc par Franz Charlet, Théo Van Rysselberghe et Dario de Regoyos, Brussels, Palace of Fine Arts, Rue de la Régence, April 1-15, 1883. Exhibited as No. 92 under the title La diligence de Ségovie. - XIV International Exhibition of Fine Arts, Madrid, inaugurated on October 22, 1892. Exhibited with the nº 985, La diligencia de Segovia. - Darío de Regoyos, exhibition held at the Fayans Catalá Galleries. Cortes nº 615, Barcelona, from January 18 to February 3, 1912. Exhibited as nº 3 under the title La diligencia de Segovia. - Darío de Regoyos, exhibition held at the Fundación Caja de Pensiones in Barcelona and Madrid, 1986-1987. It appeared in the catalog as work nº 8. - Tradition and modernity in the painting of Darío de Regoyos. at the Nicanor Piñole Museum in Gijón, July-September 2002. Exhibited as nº 1 Regoyos executed "La diligencia de Segovia" in 1882, a date on which he toured Spain with Emile Verhaeren, a trip whose fruit would be the illustrated edition of "España Negra". The woodcuts of this emblematic book and the present painting share a dark vision, to a certain extent tenebrist, of Spanish society. In this painting, unlike the woodcuts, he does not show scenes of extreme devotion or a particularly impoverished Spain. However, in spite of showing us figures dressed in popular costume, he avoids a purely folklorist vision (rather, he opts for anti-folklorism). The mules are lined up in pairs, and the villagers huddle in small groups or remain isolated under their cloaks and coats. Regoyos knew how to move away from the stereotypes that weighed on the Spanish, associated with Andalusian and gypsy dance. The loose and synthetic brushstroke, combined with a palette of earthy and black tones, prefigures expressionism.
DARIO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913) "Strike in Béjar", 1900. Oil on canvas. Signed, dated and located in the lower margin. Provenance: This work belonged to the illustrious pianist and composer Isaac Albéniz, a great friend and admirer of Regoyos. After his death it passed into the hands of one of his heirs. With a label of the Kunstsalon Hermes & Co. of Frankfurt with the number 4523 and another unknown label with the number 9965. Work reproduced and catalogued in the catalog raisonné of the Museum of Fine Arts of Asturias by Mr. Juan San Nicolás. We thank Mr. Juan San Nicolás for his invaluable help and collaboration in the cataloguing of the work. Measurements: 39 x 30 cm. Bibliography: -Darío de Regoyos, catalog of the exhibition held by the Fundación Caja de Pensiones in Barcelona and Madrid, 1986-1987. Reproduced in color on page 166 and described on page 290. -Joaquín de la Puente, Juan San Nicolás, Los Genios de la Pintura Española: "Regoyos", published by Sarpe in 1988. Reproduced in color in plate nº 26 and on page 89. -Centro y Periferia en la Modernización de Pintura Española, catalog of the exhibition held by the Ministry of Culture at the Palacio de Velázquez (Madrid) and the Museo de Bellas Artes (Bilbao) from December 1993 to March 1994. It appeared in color on page 64 and in black and white on page 87. -Tradition and Modernity in the Painting of Darío de Regoyos, catalog of the exhibition held by the City Council of Gijón at the Nicanor Piñole Museum in Gijón, from July 4 to September 8, 2002. Reproduced in color on page 57. -Barón, Javier, "La recepción crítica de Darío de Regoyos en la España de su tiempo", published in the catalog of the exhibition Darío de Regoyos. The Impressionist Adventure, held at the Bilbao Fine Arts Museum from October 7, 2013 to January 26, 2014. Reproduced in color on page 36. Exhibitions: -Regoyos, exhibition held at the Galerie Durand-Ruel, 16 rue Lafitte, Paris, April 1901. Appeared as No. 8 of the works exhibited under the title Les grèves (Estrémadure). -Exhibition of Regoyos's work held at Kunstsalon Hermes & Co, Frankfurt am Mein, 1901. No catalog available. -17e Salon des Artistes Indépendants, Grande Serre de l'Alma, au Cours la Reine, Paris, April 20 to May 21, 1901. It was exhibited under No. 848 under the title Les grèves (Estrémadure). -I Exhibition of the New Society of Spanish Artists (The XV), San Sebastian, July 15, 1905. San Martín Market. Appeared as number 91 under the title Las huelgas en Béjar. -Darío de Regoyos, exhibition held at Galerías del Fayans Catalá, Cortes nº 615, Barcelona, from January 18 to February 3, 1912. It appeared as nº 14 of the works exhibited under the title Las huelgas en Béjar, owned by Isaac Albéniz. -Darío de Regoyos, exhibition held by the Fundación Caja de Pensiones in Barcelona and Madrid, 1986-1987. It appeared as nº 74 of the works exhibited under the title La huelga en Béjar (The Strike in Béjar). -Centro y Periferia en la Modernización de Pintura Española, exhibition held by the Ministry of Culture at the Palacio de Velázquez (Madrid) and the Museo de Bellas Artes (Bilbao) from December 1993 to March 1994. It appeared as number 8 of the works exhibited under the title La huelga en Béjar. -Tradition and Modernity in the Painting of Darío de Regoyos, exhibition held by the City Council of Gijón at the Nicanor Piñole Museum in Gijón, from July 4 to September 8, 2002. It appeared as number 7 of the works exhibited under the title La huelga en Béjar (The strike in Béjar). This work became Isaac Albéniz's property at the end of 1905, when Regoyos sent several oil paintings to his house, some to sell and others to keep. With this painting he returned to social themes, in this case showing the peaceful attitude of a group of workers portrayed in the main square of Béjar, next to the market. It is a sunny day and passers-by stop to contemplate the strikers and their activities. Regoyos was one of the first artists to depict a strike in Spain. The distribution of space and color have been perfectly perfectly executed in this painting. The great impressionist painter Dario De Regoyos visited Béjar in 1900, at a time when strikes and popular uprisings were frequent. He would stay in a hotel in the Plaza Mayor, and from the balcony of his room he painted the scene shown here: two groups of men in dark suits are gathered in the center of the square, probably to demonstrate in front of the town hall. The arcades frame the line of stately houses in the background and a second group of people breaks up in the background next to a wall. In the foreground, we see the market stalls. From a bird's eye view, they only show us the awnings and, underneath, boxes overflowing with fruits and vegetables. The white cobblestone path that zigzags between the pebbled ground contributes to the configuration of the space. In this painting, the painter combines his pictorial and social concerns. Unlike many impressionists, Regoyo does not favor bright and luminous colors, but his dark but richly nuanced palette conveys a somewhat melancholic and reflective mood. The son of a prominent architect then active in Asturias, Darío de Regoyos trained in Madrid, at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he would be a disciple of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, an interest in which he himself would play an eminent role. Thus, he was part of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never took root anywhere; even during his Belgian period he frequently returned to Spain, and during the eighties he lived in the Basque Country, where he revitalized the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip through Spain (he had already done it before with other Belgian companions), which would be the germ of his famous series "España negra" (Black Spain), published in Barcelona in 1899. With this work, Regoyos was a pioneer in Spain of the so-called neoxylography or creative xylography. If during the 1880's he only participated in exhibitions in Belgium and Holland, in the 1890's he would also participate in Paris, taking part regularly in the Salon des Indépendants. From these years he would also show his work in Madrid, Munich and Barcelona, the latter city where his painting was honored in 1894 by the most important figures of modernism. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its origin (1894), an association that gathered in this country the inheritance of the artistic modernity. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, would take place at Els Quatre Gats in Barcelona, where he was the artistic director of the magazine "Luz", and from 1900 the range of his exhibitions expanded, his work being shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastian, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Prado Museum, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Northern town Pencil on paper Signed Measurements 12 x 19 cm We would like to thank Mr. Juan San Nicolás for his help in cataloguing this work, which will be included in the Catalogue Raisonné of Drawings currently in preparation.
Oil on panel Signed D. de Regoyos in the lower right corner Bibliography: San Nicolas, Juan "Dario de Regoyos" Museum of Fine Arts of Asturias and Azcona Foundation; Cat.Nº408, page 308 Measurements: 25 x 33cm
DARÍO DE REGOYOS (Asturias, 1857 - Barcelona, 1913). "Forest". ca.1897 Oil on canvas adhered to cardboard. Signed in the lower right corner. The work will be included in the next catalog raisonné of the artist. It was owned by the draftsman Manuel Feliú. We thank Mr. Juan San Nicolás for his help in cataloguing the work. You can attach a certificate of authenticity at the request and expense of the buyer. Measurements: 18 x 18 cm; 30 x 30 cm (frame). Next to a narrow sand road grow trees of leafy crown. A Roman bridge is outlined in the distance. In this landscape, Regoyos uses a juicy brushstroke, rich in shades ranging from emerald green to lemon green. With subtle iridescence he translates the play of light that filters the branches and is projected with skill and poetic wisdom on the grass. Through small touches of the brush Regoyos reveals a composition where the colorful and shady atmosphere of this place is faithfully reflected. Regoyos was one of the impressionist masters in the capture of fleeting light. Trained at the San Fernando Academy of Fine Arts in Madrid, where he studied landscape painting with the Belgian artist Carlos de Haes as his teacher. It was then that the Asturian artist's knowledge began to expand towards Belgian landscape trends, a taste and interest that he developed by traveling to Belgium in 1879. The stay in Brussels was enriching for Regoyos, attending the Royal Academy of Fine Arts in Brussels as a student. However, the academicism integrated in the institution caused the artist to leave, and he turned to the former teacher of Carlos de Haes, Joseph Quinaux, in order to acquire new techniques.Regoyos became perfectly integrated in his new place of residence, he met a large number of artists, poets and writers, from whom he learned and completed himself as an artist. His recognition advanced thanks to his dynamism and artistic skill, which allowed him to enter the famous Circle of the XX (act. 1883-1894). It could be said that it was from then on when Regoyos' artistic career began to mature. In 1886, the Asturian artist developed a pointillist stage promoted by George Seurat's participation in one of the exhibitions held at the Circle of the XX. The commotion and impact caused by Seurat's treatment provoked the creation of a pointillist group, in which Darío de Regoyos participated. This innovative movement attracted French impressionist artists such as Paul Signac, another reference in the artistic technique of Regoyos. After the dissolution of Los XX in 1893, Regoyos decided to return to Spain where the artistic panorama was limited, since the new tendencies had not yet arrived from France. It could be said that this was the end of his apprenticeship period, becoming a teacher of artists liberalized from the "sorollismo" rooted in the field of landscape painting, and encouraging them to spread his ideas through the media of the time. The Asturian artist's exhibition career covered a large number of cities, such as Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastian, London, Mexico City, Bordeaux and Buenos Aires, among others. It is also represented in institutions such as the Prado Museum, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.
Charcoal drawing on paper. Signed, located and dated (1877) in the lower left corner. After the death in 1876 of Regoyos' father D. Manuel Darío de Regoyos Molenillo (10/25/1815-01/16/876), his mother Regoyos Dª Benita Valdés y Sierres (03/21/1828- 10/24/1888) had to travel to Ribadesella in the autumn of 1877, due to issues related to the family inheritance, a trip that she had to make accompanied by her son Darío, having recently married Amalia Pascuala, on August 5, 1876 (his only living brother) with D. José Alonso Colmenares. Regoyos carried out this drawing there (at the end of 1877), when he had already enrolled in the Academy of Fine Arts Arts of San Fernando, for the subject "Landscape-Elementary Section", for the 1877-1878 academic year, with Mr. Carlos de Haes as professor. He had already painted and drawn works before perfecting his training at this center, as can be seen in this excellently made drawing, and in the portrait of Manolito Pendás 1876 (pencil drawing, today property of the MAPFRE Foundation), where you can appreciate in both their exceptional gifts for pictorial art. This work is unpublished and must have remained in the hands of its owner since he obtained it. We thank Mr. Juan San Nicolás for his collaboration in the cataloging of this work.
Graphite on paper Signed in the lower right corner Regoyos, advised by his Spanish friends, among whom were Severo Echenagusia, his brother the painter José Echena and the Benlliure brothers wanted to see the Munchener Jahresausstellung von Kunstwerken aller nationen, which took place in Königl. Glaspalaste, in August 1890. Regoyos did not participate in it on this occasion, but he did visit it several times. During his stay in the city he made several Conté pencil drawings in his travel notebook (hence the measurements of this work), among which this one is found. This drawing represents a typical street in Upper Bavaria in which part of it is under a porch. It shows that the sky is cloudy and also indicates the texture of the walls, columns and supports. People wander through it indicating social activity. We thank Juan San Nicolas for his collaboration in cataloging this work. Measurements: 16 x 10 cm
Oil on cardboard Signed in the lower right corner Between 1885 and 1887 when Regoyos lived in Irun, he carried out this work which represents the passage of a ship leaving the port. This work, due to its spatula workmanship, corresponds to those years, in it the painter wishes to transfer the movement of the ship, through its shadows on the waves and the background formed by the frieze of the buildings and the horizon with the mountain, in a sunset with waning light. These light effects are notable because they give depth to the scene and make the difference between the still part and the mobile part. The way light is worked on both sea and sky, as well as in buildings and landscape, show his unquestionable authorship, as well as the signature that is fully incorporated. We thank Don Juan San Nicolas for his collaboration in cataloging this work. Measurements: 13 x 19 cm
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Tree Watercolor on paper Signed Measurements 10.9 x 15, cm Certificate signed by Dª Isabel Regoyos (widow of Beruete) Authenticity confirmed by D. Juan San Nicolás. This work will be included in the Catalog Raisonné of Watercolors, pastels, drawings and engravings currently being prepared.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Landscape of Guipuzcoa. c, 1900 Oil on cardboard Signed Measures 10.2 x 10.8 cm Certificate signed by D. Juan San Nicolás.
DARIO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913). "Landscapes". Oil on canvas with light weight glued on cardboard (x3). A certificate of the work can be issued by Juan San Nicolás at the buyer's expense. We are grateful for the help of D. Juan San Nicolás, in the cataloguing of the work. Measurements: 13,5 x 8,5 cm; 8,5 x 13,5 cm; 8,5 x 13,5 cm. Following the words of the expert on Regoyos, San Juan Nicolás; "These three marine paintings by the painter Darío de Regoyos, c. 1890, were the property of Edmond Picard, (Brussels1836-Namur1924) who was a great friend of Regoyos, writer, judge by profession and patron of the arts, promoter of the activity of the artistic movements of the circles of the XX and of La libre Esthètique and co-founder of the Belgian magazine L'Art Moderne. These three works, when they were in their original frames, were placed together, with the signed work supporting the authorship of the other two. They all depict light effects, a favourite subject for Regoyos, and are scenes of Belgium painted on different occasions. Of these, the work "Looking at the Sea at Dusk" has a correct signature incorporated into the work, which indicates that it was probably executed at the end of the 1880s, and it is worth noting that, apart from its excellent execution, the man depicted is wearing a traditional Belgian regional hat. The area probably depicted in the excellent seascape with waves is that of Ostend beach, which was visited on several occasions by Regoyos, Picard and the painters Théo Van Rysselberghe and Willy Schlobach, who lived there with their friend and sparring partner, the painter James Ensor, and was an area much appreciated and painted by them. Finally, this sunset effect, in which the intense blue of the sea contrasts with an evening sky full of nuances, is full of depth and success". Darío de Regoyos He trained in Madrid at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip to Spain (he had already done so before with other Belgian companions), which was to be the germ of his famous "España negra" series, published in Barcelona in 1899. While during the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, etc.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Women. (Varieties). 1888-1892 Pencil on paper Signed and titled Measurements 12 x 16 cm We thank D. Juan San Nicolás for his help in cataloging this work. "The title given by him is "Las Variedades" and its execution corresponds to the philosophical period of his painting, which is that of Black Spain, in which for him the woman was a favorite subject for his role In the family and their education, as well as respect for the Catholic tradition, this scene could very well correspond to that of women going to or leaving Mass. It cannot be set a fixed date as we do not know where it was drawn, but it can be indicated that he drew it between 1888 and 1892" Juan San Nicolás
Pencil on paper Titled and signed at the bottom. On the back, text in pencil by Regoyos. Label of the Biosca Gallery in Madrid Exhibitions: - Biosca Gallery, Madrid, 1980. Exhibition organized for the fortieth anniversary of the Gallery's existence, in whose catalog it is reproduced. Origin: - Properties of the painter's daughters - Collection by D. Santiago Castro - Private Collection, Madrid Upon returning to Spain from Brussels, where he participated in the most avant-garde Belgian circles, he lived in Irún in 1882 and 1883, in the Casa del Cura. From there he decided to make an artistic excursion to Zaragoza in December 1883, which was collected in the correspondence with Octave Maus, who was the organizer of the recently created Círculo de Los 20th century of which Regoyos was a founding member. Regoyos in a tavern carried out this drawing, as well as an oil painting that is currently unaccounted for unknown “A coffee in Zaragoza”. Fundamentally, he was interested in collecting scenes from common life and the customs of simple people, as happens in this drawing. On the back, Regoyos wrote a comment-complaint in prose in pencil regarding the lack of hygiene that was found, as well as the excess of spices in the meals, the stone paths and the animal sounds. This story is at the origin of what he would late r call Black Spain. We thank don Juan San Nicolás for his help in cataloging this lot Measurements: Original paper:
DARIO DE REGOYOS (Ribadesella, Asturias, 1857 – Barcelona, 1913). “La Concha at sunset”, 1894. Oil on table. Attached certificate issued by Don Juan San Nicolás. Work reproduced in the catalog raisonné of Juan San Nicolás File nº 214. Signed in the lower right corner. Measures: 26 x 33.5 cm; 59 x 66 cm (frame). Work reproduced in: -Luis de Castresana, Basque Painters and Sculptors of Yesterday, Today and Tomorrow, Bilbao. Editorial The Great Basque Encyclopedia, volume IX, fascicle 89, Darío de Regoyos III, 1975, reproduced.p 268 and 269. -Darío de Regoyos, catalog of the exhibition held by Fundación Caja de Pensiones Barcelona and Madrid, 1986-1987. reproduced, p. 141. -Masters of Art of the 19th and 20th centuries, San Nicolás, Juan: “Darío de Regoyos”, Dicionari Ràfols, Barcelona, 1990.p. 308. Work exhibited in: -XV General Exhibition of Fine Arts Madrid.1895. No. 978. -III Exhibition of Fine Arts and Artistic Industries, Constitutional City Council of Barcelona), Palace of Fine Arts, 1896.No. 374. -Dario de Regoyos, Caja de Pensiones Barcelona and Madrid, 1986-1987.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Peasants. 1895-1900 Watercolor on paper Signed Back watercolor with bullring theme (possibly from Miranda or San Sebastián) Size 15.4 x 11.7 cm We thank D. Juan San Nicolás for his help in cataloging this work.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Miranda de Ebro. 1903 Watercolor on paper Signed in Miranda- de Ebro Size 26.5 x 20.5 cm < br> Certificate of Ms. Isabel Regoyos We thank Mr. Juan San Nicolás for his help in cataloging this work.
Oil on panel Dedicated, signed and dated in the lower left corner: "A mon ami P.Emile/D. de Regoyos/1881". On the back, an old label dedicated, signed, located "Paris" and dated Since the painter Darío de Regoyos began in 1879 and until 1883, his trips to Brussels and return to the Basque Country, to complete his training, it was always thought that his stay in Paris it would be transit, but recently discovered data confirm that this was not the case, in this capital in those years he made new friends and carried out multiple works, all of them dedicated to his new friends, among whom were: the great composer Charles Bordes (1863-1909), the painter Paul Émile Sautai (1842-1901) whose work is owned by the Museo del Pardo and the distinguished engineer Jean Maurice Émile Baudot (1845-1903), who invented the telegraph device and the Baudot code (Baudio unit of measurement that was the key in telecommunications). This unpublished work, (which for reasons of generational change has appeared on the market) was carried out in 1881 and was dedicated "To mon ami P Emile" by the aforementioned French painter, which represents a view of the Pont Royal in Paris and in the background the silhouette of the dome of the Petit Palais. Regoyos chose his favorite theme, a light effect, in which a mist surrounds the buildings and trees on the banks of the Seine, focusing his vision on the great bridge possibly taken from a boat, achieving a very harmonious scene between the sky and its clouds, the silhouette of the buildings and autumn trees and the light on the bridge. The signature that Regoyos used in those years stands out in this work, in which the use of triangular-shaped letters can be appreciated both in the "D", the "d", the "R" as well as in the "e" the "g" in which its lower part goes back. We thank Don Juan San Nicolás for his help in cataloging this lot. Measurements: 60.5 x 73 cm
Oil on cardboard. Signed in the lower left corner. Attached is a certificate issued by Don Juan San Nicolás on January 4, 2021, in which the work is located in the Basque Country, probably in San Sebastián, in the summer of 1888.
Pencil on paper Titled and signed at the bottom. Regoyos pencil text on the back. Label of the Biosca Gallery of Madrid Exhibitions: - Biosca Gallery, Madrid, 1980. Exhibition organized for the fortieth anniversary of the Gallery's existence, in whose catalog it is reproduced. Origin: - Property of the painter's daughters - Collection by D. Santiago Castro - Private collection, Madrid Regoyos, upon returning to Spain from Brussels, where he participated in the most avant-garde Belgian circles, lived in Irún in 1882 and 1883, in the Casa del Cura. From there he decided to make an artistic excursion to Zaragoza in December 1883, which was collected in the correspondence with Octave Maus, who was the organizer of the recently created Círculo de Los XX of which Regoyos was a founding member. Regoyos made this drawing in a tavern, as well as an oil painting that is still missing today unknown “A coffee in Zaragoza”. Fundamentally, he was interested in collecting scenes of common life and the customs of simple people, as is the case in this drawing. On the back, Regoyos wrote in prose a comment-complaint regarding the lack of hygiene that was found, as well as the excess of spices in the food, the stone paths and the animal sounds. This story is at the origin of what he would later call La España Negra. We thank Don Juan San Nicolás for his help in cataloging this lot Measurements: Original paper:
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Pau landscape. c. 1889 Charcoal and chalk drawing on cream paper Signed and titled Measures 250 x 335mm We thank D. Juan San Nicolás for his help in cataloging this work. In November 1889, the painter Darío de Regoyos made his third artistic journey with the Belgian poet Emile Verhaeren, this time through France and Italy. They left San Sebastián together and visited Pau at the beginning of November (where he made this drawing). Then they went to Toulouse, Albi, Carcassonne, Montpellier, Avignon, Marseille, Arles, reaching Florence and Assisi, where they separated, each returning to their country. Due to its invoice, this work is a landscape theme in which it includes an environmental theme, the calligraphy of its signature and title "Pau" is original to this painter and is a testimony of his time in this city. John Saint Nicholas.
Oil on board. Signed and located in the lower left corner. On the back label of Manuel Barbié Art Gallery, Barcelona. Bibliography: Catalog raisonné of the artist No. 139. This work is the sketch of work No. 140. It represents a view of Calle Mayor de Fuenterrabía, perfectly keeping the proportions of the street, which in the final version he decided to modify, increasing its width to collect in more detail the procession and the people who participated in it.
Oil on canvas mounted on board. Signed in the lower right side. Attached certificate of authenticity issued by Juan San Nicolás. According to San Nicolás, the work must have been executed between 1882 and 1884, a period in which Darío de Regoyos lived in Brussels. Probably located near Ostend, a place close to the Belgian border. The work represents a rural landscape in which the mill presides over the composition in a spring field with touches of color. The lines stand out to represent the cloudy texture of the sky over the Dutch plain.
Oil on panel. Signed in the lower left corner "Regoyos". On the back, brush on panel signed, located and dated by Regoyos: "Cerca de Valencia/ sequía febrero" ("Near Valencia/ drought February"). Work painted in Valencia during the trip he made in 1894 to meet the Belgian painter living in France, Eugene Boch. Provenance: Private collection, Basque Country. Bibliography: San Nicolás, Juan, "Dario de Regoyos. Catalogue raisonné". Fundación Azcona - Museo de BB.AA. de Asturias, Madrid, 2014, p. 188, nºcat. 218 (reproduced). .35 x 55 cm.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Burgos Cathedral in the background. 1903-06 Watercolor on paper Signed Measures 15 x 10 cm We appreciate the help of D. Juan San Nicolas in cataloging this work.
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 Partial view of the Toledo Bridge. Madrid. 1908 Oil on cardboard Signed and dedicated Measures 24 x 32 cm We appreciate the help of D. Juan San Nicolás in cataloging this work.
Lithograph on paper. Signature on plate and stamp (D of R) in lower right and left corners respectively. Work belonging to the Basque Country Album. Edited in 1987. Edited at Federico Álvarez's graphic arts workshop in Tolosa. Similar specimens are preserved in the permanent collections of the Reina Sofía National Art Center Museum and the Asturias Museum of Fine Arts, among others. Bibliography: - PALACIO, Alfonso and SOTO, María.: Darío de Regoyos at the Museum of Fine Arts of Art of Asturias. Museum of Fine Arts of Asturias. Oviedo, 2013. Pages. 64 and 65 cm. Rep. Col.
DARÍO DE REGOYOS Y VALDÉS, (Ribadesella, Asturias, 1857 - Barcelona, 1913). "Fuenterrabía". Oil on canvas adhered to board. Signed and titled in the lower left corner. Measurements: 46 x 32 cm; 67 x 54,5 cm (frame) Work published in color in the artist's Catalogue Raisonné (Juan San Nicolás Santamaría, Fundación Azcona, 2014), p. 140, ref. 139. Son of a prominent architect then active in Asturias, Darío de Regoyos trained in Madrid, at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip around Spain (he had already done so before with other Belgian companions), which was to be the seed of his famous "España negra" series, published in Barcelona in 1899. With this work, Regoyos was a pioneer in Spain of the so-called neoxylography or creative woodcut. While in the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Prado Museum, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.
Oil on cardboard. Signed in the lower left corner. Attached is a certificate issued by Don Juan San Nicolás on January 4, 2021, in which the work is located in the Basque Country, probably in San Sebastián, in the summer of 1888.
DARÍO DE REGOYOS (Asturias, 1857 - Barcelona, 1913). "Dernier rayon, côte basque", 1895. Oil on canvas. Work reproduced in: -JUAN SAN NICOLAS, Darío de Regoyos, Catalogue raisonné. Museum of Fine Arts of Asturias. Fundación Azcona, p. 209. Nº254. Signed in the lower right corner. Signed and titled on the back (on the stretcher). Measurements: 38 x 46 cm; 65 x 73 cm (frame). Painted in 1895, this work denotes one of the most prolific and expressive artistic periods of the painter's oeuvre, his pointillist period. Through small touches of the brush, Regoyos reveals a composition which faithfully reflects the colour and movement of the sea at a typical San Sebastian sunset. The clouds are approaching the beach, and the daylight is fading. Thus managing to transfer the real atmosphere to a canvas. The work entitled Derniér Rayón or the last ray, intensifies the artist's idea of capturing the light. Repeated on several occasions by the artist, in fact, this work has the number 16, the title of the last ray and its images of the sunset were a recurring refuge for Regoyos, a testimony to this is the work entitled with a similar name; Dernier rayon, Jaizkibel, ca. 1901, which belongs to the art collection of the Kutxa. He trained at the San Fernando Academy of Fine Arts in Madrid, where he studied landscape painting with the Belgian artist Carlos de Haes as his teacher. It was then that the Asturian artist's knowledge began to expand towards Belgian landscape trends, a taste and interest which he developed by travelling to Belgium in 1879. His stay in Brussels was enriching for Regoyos, who attended the Royal Academy of Fine Arts in Brussels as a pupil. However, the academicism of the institution caused the artist to leave, and he turned to Charles de Haes's former teacher, Joseph Quinaux, in order to acquire new techniques. Regoyos became perfectly integrated in his new place of residence, and he became acquainted with a large number of artists, poets and writers, from whom he learned and who completed himself as an artist. His recognition advanced thanks to his dynamism and artistic skill, which enabled him to join the famous Circle of the XX (act. 1883-1894). It could be said that it was from then on that Regoyos's artistic career began to mature. In 1886, the Asturian artist developed a Pointillist phase, promoted by George Seurat's participation in one of the exhibitions held at the Circle of the XX. The commotion and impact caused by Seurat's treatment led to the creation of a Pointillist group, in which Darío de Regoyos took part. This innovative movement attracted French Impressionist artists such as Paul Signac, another reference point for Regoyos's artistic technique. After the dissolution of Los XX in 1893, Regoyos decided to return to Spain, where the artistic panorama was limited, as the new trends had not yet arrived from France. It could be said that this was the end of his apprenticeship period, when he became a teacher of artists who were liberalised from the "Sorollismo" rooted in the field of landscape painting, and encouraged them to spread his ideas through the media of the time. The Asturian artist's exhibition career spanned a large number of cities, such as Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastian, London, Mexico City, Bordeaux and Buenos Aires, among others. It is also represented in institutions such as the Museo del Prado, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.
DARÍO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913). "Sant Genís dels Agudells". Oil on panel. Signed in the lower right corner. Size: 22 x 30 cm; 30 x 37 cm (frame). Darío de Regoyos is considered one of the great representatives of Spanish Impressionism. Within his themes, landscape painting was the most worked and explored field, feeling attracted by the luminous treatment inherited from the impressionists. This landscape, which depicts the parish church of Sant Genís dels Agudells in Barcelona, reveals a scene of great stillness enveloped in a warm, vitalistic aura. The son of a prominent architect then active in Asturias, Darío de Regoyos trained in Madrid at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip around Spain (he had already done so before with other Belgian companions), which was to be the seed of his famous "España negra" series, published in Barcelona in 1899. With this work, Regoyos was a pioneer in Spain of the so-called neoxylography or creative woodcut. While in the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Museo del Prado, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions, as well as in leading private collections all over the world.
Dario de Regoyos (Spanish, 1857-1913). Oil on canvas park scene. Signed lower right. Loss center right. Canvas loose in frame. Loss in the bottom right and top left of the gilt frame. 13" x 18", Frame: 26" x 20"
DARIO DE REGOYOS Asturias 1857 - Barcelona 1913 View of Durango. 1906 Pencil on paper Signed and titled size 12.2 x 19 cm We thank D. Juan San Nicolás for his help in cataloging this work.
Óleo sobre cartón. Firmado en el ángulo inferior izquierdo. Se adjunta certificado expedido por Don Juan San Nicolás el 4 de enero de 2021 en el que ubica la obra en el País Vasco, probablemente en San Sebastián, en el verano de 1888.
DARIO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913). "View of Pont Royale, 1881. Oil on panel. Enclosed certificate issued by Don Juan San Nicolás. Signed, dated and dedicated in the lower left corner. Measurements: 60 x 73 cm; 86 x 98 cm (frame). In this work the artist depicts a view of the Pont Royale, the Seine, and in the background the dome of the Petit Palais in Paris. The work was executed in 1881, during which time the artist was living in Brussels, where he had moved to in 1879. However, every year Regoyos travelled to the Basque Country, stopping over in Paris, where he spent several days. An example of this is his friendship with the painter Paul Émile Sautai (1842-1901), to whom he dedicated this work. Darío de Regoyos He trained in Madrid at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip to Spain (he had already done so before with other Belgian companions), which was to be the germ of his famous "España negra" series, published in Barcelona in 1899. While during the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Prado Museum, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.
