Fernando Liger Hidalgo Art

Andre Cottavoz (French, 1922-2012) Untitled, Paris scene with multitude of French flags. Canvas on board, framed. Frame: 20 1/2" x 22" x 1 1/4, Board 13 3/4" x 15"

Vincenzo Colleoni (Active in Venice in the second half of the 19th century) - Interior scene with masked figures. 110 x 160 cm (without frame) - 145 x 194 cm (with frame). Oil on c...

Charming turn-of-20th Century interior painting that takes the viewer back to simpler times with grandmother, grandfather, mother sewing and a young girl playing with her greyhound a...

Frans Moormans (Dutch, 1831-1893) The Goldfish Bowl, c. 1870 Oil on panel, 8 1/2 x 6 1/4 inches FRAMED: 19 1/2 x 14 1/4 inches (approx.) Signed at lower right: “Frans. Moormans” B...

A wonderful depiction of mother and child displayed in a gold round ornate frame with intricate details.

This original painting by Sigismond Kolos-Vary, dated 1982, reflects the artist’s distinctive abstract visual language. The composition is built around a dynamic interplay of geometr...

M. Ricket (British, mid-20th century) Café Interior Oil on canvas, signed lower right Presented in a carved gilt frame This engaging mid-century scene by M. Ricket captures the war...

Oscar Rabine was a renowned Russian-French painter and one of the leading figures of nonconformist art in the Soviet Union. Born in 1928 in Moscow, he became known for his expressive...

In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty. She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion. The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings. Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era. With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play...

The Duel by Alcide Joseph LORENTZ (French 1813-1891) signed and dated 1857 oil painting on canvas, framed framed size: 30 x 25 inches canvas: 25 x 20.5 inches condition: very good an...

Egron Sellif Lundgren (Stockholm 1815–1875 Stockholm) The assassination of George, Duke of Clarence in the Tower of London; A Scene from Shakespeare’s Richard III (Act I, scene 4) ...

Roberto Bompiani (Italy, 1821-1908) "The Confirmation" Museum Quality Oil Painting circa 1871 Extraordinary oil painting by listed Italian artist. T...

Distrust, 2012 Oil on canvas (Signed on reverse) 70.86 H x 70.86 W in 180 H x 180 W cm Radu Rodideal is interested in the atmosphere of his work. Human ...

ARTHUR BOYD HOUGHTON (1836-1875) Sunday Afternoon Signed l.l.: Houghton Oil on canvas Framed 20.5 by 25.5 cm., 8 by 10 in. (frame size 30.5 by 34.5 cm., 12 by 13 ½ in.) Provenance: William Drummond; Private collection. Probably painted in 1864, the present work evokes the peaceful contentment of everyday family life, with its small scale further reinforcing the intimacy of the scene. It is one of a series of small intimate family scenes produced during this happy period of his life. A male figure, possibly the artist’s himself, slumbers in a chair, a handkerchief draped over his face whilst Susan, the artist’s young wife reads by the window. Their child, either Arthur or Georgina, plays on the floor with a discarded newspaper. The room is at 4 Adelaide Villas, St Mary’s Grove, Richmond, the house Arthur and Susan moved to shortly after their marriage in 1861. The chaise and window, with its pots of geraniums, also feature in the 1864 painting Coach and Horses (private collection) which depicts Susan, with her hair down, playing with Arthur and Georgina. A pot of daffodils placed beside the same geraniums in the present work suggest it may have been painted in the spring of that year. Such domestic bliss would shortly come to a tragic end when Susan died of pyaemia following the birth of their third child in June 1864. Houghton was born in India, the son of a captain in the East India Company’s marine service. Both is father and older brother were accomplished military draughtsmen and he probably received early training from them. His family returned to England in the early 1850s and he began studies at Leigh’s and the Langham...

Description: Fabio Fabbi: A Master of Orientalist Intrigue The painting is signed on the bottom left side. Fabio Fabbi, an esteemed Italian artist of the late 19th and early 20th centuries, emerged as a prominent figure within the Orientalist art movement. Born in Rome in 1861, Fabbi’s passion for capturing the exotic and mysterious landscapes and cultures of the East would define his artistic career and leave an indelible mark on the art world. Fabbi’s artistic journey began with formal training at the Accademia di Belle Arti in Rome, where he developed a deep appreciation for classical techniques and aesthetics. However, it was his encounters with Orientalist themes and subjects that ignited his imagination and set him on a path to becoming a renowned master of Orientalist art. One of Fabbi’s most captivating works, “Harem Girls in the Palace Courtyard,” stands as a testament to his exceptional talent for depicting scenes of intrigue and sensuality within the luxurious settings of the Ottoman Empire. This mesmerizing painting invites viewers into the opulent world of a harem, where a group of beautiful women gracefully gather in a sunlit courtyard. Fabbi’s brushwork skillfully captures the vibrant colors, exquisite textiles, and intricate architectural details that define the environment. In “Harem Girls in the Palace Courtyard,” Fabbi delves into the alluring realm of the harem, exploring the interplay between power, desire, and secrecy. With meticulous attention to detail, he captures the expressions and body language of the women, evoking a sense of mystery and sensuality. The play of light and shadow adds depth and dimension to the composition, further immersing viewers in the rich atmosphere of the scene. Fabbi’s ability to weave narratives within his artworks sets him apart. “Harem Girls in the Palace Courtyard” not only showcases his technical skill but also tells a story—a glimpse into a hidden world that fascinates and captivates. Through his artistry, Fabbi offers a nuanced portrayal of Eastern culture, emphasizing the beauty and complexity that lie beneath the surface. Throughout his career, Fabio Fabbi gained recognition and admiration for his Orientalist works. His paintings were exhibited in prominent galleries across Europe, where audiences marveled at his ability to transport them to distant lands and evoke a sense of wonder and intrigue. Fabbi’s talent for capturing the essence of Orientalist themes and his exquisite attention to detail earned him a place among the most respected artists of his time. Fabio Fabbi’s legacy lives on through his remarkable artworks. His ability to portray the mysteries and allure of the East continues to inspire and captivate art enthusiasts worldwide. “Harem Girls in the Palace Courtyard” exemplifies Fabbi’s mastery of the Orientalist genre, inviting viewers to step into a world of beauty, enchantment, and hidden desires. His paintings exhibited at prestigious venues in Turin and Milan. Knighted in the Order of the Crown of Italy in 1892. Notable works include the Sacred Heart...