William Verdult was born April 7, 1939 in Putte, Netherlands on the Belgium-Holland border. He was a Dutch-American artist and sculptor whose paintings reflected a perspective that can only be gained by living daily with life and death, good and evil, compassion and horror, victory and defeat. Verdult’s subjects range from character studies to still-life surrealism, each emphasizing the beauty of man’s existence. Known as the “Dutchmaster,” Verdult studied under old masters in Rome, Belgium, Holland, France and the US, achieving his classical style. He was considered one of the most versatile and contemporary artists in the world. His portraits reveal a rarely achieved understanding and mastery of human anatomy, the precise contour and interaction of muscle and bone structure. While Verdult is most widely acclaimed for his classical portraits, his talents encompass an extraordinary variety of subjects like Madonna and child, Native Americans, nudes, seascapes and landscapes. Born during the uncertain backdrop of World War II, Verdult spent the first two years of his life in hospitals. Throughout his early years, he suffered from smallpox and rheumatic fever. Self-taught, Verdult started painting around that time. In 1950 at age 11, he moved with his family to the United States and spent his youth in North Dakota. His years in the Dakotas helped define some of his later works. From the Dakotas, his family moved to New York, where at age 16, Verdult spent most of his time in Times Square drawing, painting, watching and studying people of all nationalities. At 21, he moved to California and Newport Beach became his home. Within a year, he was awarded ‘Artist of the Year’ by the Orange County, Costa Mesa Art League. Shortly after, Verdult caught the eye of renowned sculptor Peter Ott, whom he studied under. He taught at the Carmel School of Art and in 1967, opened his gallery in the area. From 1968–77 as a tireless painter known for his 3 am start time, Verdult’s career soared. Demonstrating a rare blend of color and keen-aged sensitivity to his far-reaching subjects, he skillfully incorporated the classical, traditional, modern and avant-garde into a compelling, distinctive and multi-faceted art style. The artist opened galleries in Palm Beach, Laguna Beach and Palm Springs and art lovers, celebrities and investors were drawn to his paintings. After nearly 20 years of work, Verdult completed his rendition of King Tut Treasures. The paintings included gold, diamonds and precious stones. Though his exhibits and showings are too lengthy to list, they include headliner exhibits and showings of the Tut Collection and other works at the Sahara, Sands, Sundance and Marina hotels in Las Vegas, as well as five-star establishments in San Francisco, Corona Del Mar and Beverly Hills, Hollywood California, Atlanta, Hawaii, Florida and Texas. Though Verdult did not follow the traditional museum route in displaying and promoting his works, his art followers and personal friends include a list of Who’s Who in Hollywood, highlighted by his close friendship with Telly Savalas. Many collectors throughout the world own paintings by Verdult. Notable past and present collectors include Clint Eastwood, John Wayne, Robert Redford, Frank Sinatra, Farrah Fawcett, Alfred Hitchcock, Tom Jones, Gene Autry, Red Skelton, Lee Majors, Jack Lord, Paul Newman, Elvis Presley and Zsa Zsa Gábor.William Verdult was born April 7, 1939 in Putte, Netherlands on the Belgium-Holland border. He was a Dutch-American artist and sculptor whose paintings reflected a perspective that can only be gained by living daily with life and death, good and evil, compassion and horror, victory and defeat. Verdult’s subjects range from character studies to still-life surrealism, each emphasizing the beauty of man’s existence. Known as the “Dutchmaster,” Verdult studied under old masters in Rome, Belgium, Holland, France and the US, achieving his classical style. He was considered one of the most versatile and contemporary artists in the world. His portraits reveal a rarely achieved understanding and mastery of human anatomy, the precise contour and interaction of muscle and bone structure. While Verdult is most widely acclaimed for his classical portraits, his talents encompass an extraordinary variety of subjects like Madonna and child, Native Americans, nudes, seascapes and landscapes. Born during the uncertain backdrop of World War II, Verdult spent the first two years of his life in hospitals. Throughout his early years, he suffered from smallpox and rheumatic fever. Self-taught, Verdult started painting around that time. In 1950 at age 11, he moved with his family to the United States and spent his youth in North Dakota. His years in the Dakotas helped define some of his later works. From the Dakotas, his family moved to New York, where at age 16, Verdult spent most of his time in Times Square drawing, painting, watching and studying people of all nationalities. At 21, he moved to California and Newport Beach became his home. Within a year, he was awarded ‘Artist of the Year’ by the Orange County, Costa Mesa Art League. Shortly after, Verdult caught the eye of renowned sculptor Peter Ott, whom he studied under. He taught at the Carmel School of Art and in 1967, opened his gallery in the area. From 1968–77 as a tireless painter known for his 3 am start time, Verdult’s career soared. Demonstrating a rare blend of color and keen-aged sensitivity to his far-reaching subjects, he skillfully incorporated the classical, traditional, modern and avant-garde into a compelling, distinctive and multi-faceted art style. The artist opened galleries in Palm Beach, Laguna Beach and Palm Springs and art lovers, celebrities and investors were drawn to his paintings. After nearly 20 years of work, Verdult completed his rendition of King Tut Treasures. The paintings included gold, diamonds and precious stones. Though his exhibits and showings are too lengthy to list, they include headliner exhibits and showings of the Tut Collection and other works at the Sahara, Sands, Sundance and Marina hotels in Las Vegas, as well as five-star establishments in San Francisco, Corona Del Mar and Beverly Hills, Hollywood California, Atlanta, Hawaii, Florida and Texas. Though Verdult did not follow the traditional museum route in displaying and promoting his works, his art followers and personal friends include a list of Who’s Who in Hollywood, highlighted by his close friendship with Telly Savalas. Many collectors throughout the world own paintings by Verdult. Notable past and present collectors include Clint Eastwood, John Wayne, Robert Redford, Frank Sinatra, Farrah Fawcett, Alfred Hitchcock, Tom Jones, Gene Autry, Red Skelton, Lee Majors, Jack Lord, Paul Newman, Elvis Presley and Zsa Zsa Gábor.
"Meadow" Original Watercolor on Paper Landscape by William Verdult, Framed
By William Verdult
Located in Encino, CA
"Meadow," an original watercolor on paper by William Verdult, is a piece for the true collector. The artist's genius reflects a fiery artistic approach that inspires unexplored feeli...
Watercolor
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$4,800Sale Price|52% Off
[Venetian Reflections] Oil on Canvas by William Verdult, Signed
By William Verdult
Located in Miami, FL
WILLIAM VERDULT – Untitled [VENETIAN REFLECTIONS] Oil on Canvas ⚜ Signed Lower Right ⚜ Custom Conservation Frame A DREAMLIKE IMAGINING OF VENICE AT SUNSET [Venetian Reflections] sho...
Canvas, Oil
Large Floralscape Original Oil Painting on Canvas by William Verdult, Framed
By William Verdult
Located in Encino, CA
Untitled Floralscape, an original oil painting on canvas by William Verdult, is a piece for the true collector. The artist's genius reflects a fiery artistic approach that inspires u...
Oil
"The Gift" Original Watercolor on Paper Floralscape by William Verdult, Framed
By William Verdult
Located in Encino, CA
"The Gift," an original watercolor on paper by William Verdult, is a piece for the true collector. The artist's genius reflects a fiery artistic approach that inspires unexplored fee...
Watercolor
$297
H 24.5 in W 33.5 in D 0.01 in
Art Nouveau Decorative Panel Design, Italian Green Leaf Tile, circa 1935
Located in Sitges, Barcelona
An original Art Nouveau decorative panel design in gouache, a design for a square tile or framed panel, executed circa 1935 by Marina Astolfoni, a student of the Istituto Magistrale ...
Paper, Watercolor, Gouache
$893
H 15.75 in W 18.9 in D 0.79 in
Untitled - Blue Landscape With Trees, XX Century Figurative Oil Painting
Located in Hallein, AT
Alina Dobrowolska - artist from Gdańsk; graduated from the Academy of Fine Arts in Gdańsk at the Faculty of Painting. She took part in collective and individual exhibitions in Poland...
Canvas, Oil
Provincetown Rooftops
By Abraham Walkowitz
Located in New York, NY
Watercolor on paper. Provenance: Zabriskie Gallery, New York. Exhibited: "Provincetown Painters 1890s-1970s," Everson Museum of Art, Syracuse, New York, April 1-June 26, 1977.
Watercolor
#392
By Tiffany Calvert
Located in New Orleans, LA
Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...
Canvas, Oil, Inkjet
$1,585
H 7.09 in W 7.88 in D 0.79 in
Feminine & Masculine XV - Modern Figurative Oil Painting, Beach View, Realism
By Julita Malinowska
Located in Hallein, AT
Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...
Canvas, Oil
#414
By Tiffany Calvert
Located in New Orleans, LA
Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...
Canvas, Oil, Inkjet
Floral I
By Michael Tole
Located in New Orleans, LA
Michael Tole is a figurative painter currently living in Tempe, AZ with his wife and daughters. A Texas native, most of his 20 year long career was spent in Dallas. After relocating to Tempe, his work experienced a significant shift from photo-based paintings of retail interiors to fantastical figurative inventions based on pop culture imagery he has encountered via his two daughters’ taste in music videos, and his proximity to Southern California and it’s particular brand of Disney-esque hedonism. Mr. Tole’s career includes shows in New York, Los Angeles, San Francisco, Dallas, and Miami. His work has been reviewed in Art Forum International...
Oil, Wood Panel
#449
By Tiffany Calvert
Located in New Orleans, LA
Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight...
Canvas, Oil, Inkjet
#412
By Tiffany Calvert
Located in New Orleans, LA
Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...
Canvas, Oil, Inkjet
$3,871
H 25.6 in W 21.26 in D 0.79 in
“Cypress Alley” French Riviera in the Light of the South, Mixed Media Painting
By Andrée de Frémont
Located in Clermont-Ferrand, Auvergne-Rhône-Alpes
To evoke the French Riviera and the light of the South, a sketch made by Andrée de Frémont on the French Riviera has become canvas. It is camping a h...
Canvas, Mixed Media, Oil
#328
By Tiffany Calvert
Located in New Orleans, LA
This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus...
Canvas, Oil, Inkjet
#327
By Tiffany Calvert
Located in New Orleans, LA
This painting is based on Rachel Ruysch’s, Vase of Flowers, 1700. The painting contains an example of the Dutch tulip most prized during Tulipomania: Semper Augustus...
Canvas, Oil, Inkjet