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Overview
For Willem, painting remained central throughout his life. From 1963 until his death in 2016, he worked in his studio off Venustraat in Antwerp, producing a sustained body of work from a single location. Over more than five decades, he completed approximately 2,500 paintings; a monumental achievement for one man.
Willem Leo Jan Dolphyn was born in Antwerp, the son of the painter Victor Dolphyn, and demonstrated an early aptitude for drawing from childhood. His formative years were shaped both by his father’s example and by extensive travel undertaken as a teenager, when he journeyed through the Mediterranean and Middle East. These experiences broadened his visual and cultural awareness before he enrolled at the Antwerp Academy, later becoming, at seventeen, one of the youngest students admitted to the National Higher Institute for Fine Arts.
These early encounters with Eastern culture developed into a sustained intellectual and visual interest, evident in both his collecting and the carefully constructed environment of his studio. Alongside his painting practice, Dolphyn taught in Mol, undertook illustration work, and briefly ran a pub, maintaining a varied professional life prior to his artistic breakthrough. This came in 1968 with a sold-out exhibition at the Gebo Gallery, which secured his reputation and enabled him to devote himself fully to painting.
From the 1980s onwards, he exhibited regularly in London with W.H. Patterson, establishing a strong international following and a long-standing relationship with British collectors. Working from his Antwerp studio for over five decades, Dolphyn produced approximately 2,500 paintings, predominantly still lifes informed by his extensive collection of historic objects, textiles, ceramics, and artefacts gathered over a lifetime.
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Works
Willem Dolphyn Belgian, 1935-2016
Onions from the Kitchen GardenOil on Panel50 x 60 cms / 19¾ x 23¾ inchesSigned 'W Dolphyn' (lower left)
Dated 2011Description
This composition marks a subtle but telling shift in subject. Rather than the more overtly continental or exotic fruits that appear elsewhere in his work, Dolphyn turns to humbler produce drawn from his own kitchen garden. The freshly lifted onions, still bound together and carrying traces of soil in their roots, introduce a note of domestic immediacy that feels distinctly personal. Dolphyn was deeply attentive to the charm of everyday objects. The onions are not idealised but observed as they are, their papery skins and vivid green shoots contrasting with the cool ceramic jug, green glass and polished metal bowl from his collection.
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