Didier Gardillou Trompe L'Oeil Porcelaine "Plat des moules et serviette" c. 2008 More Information
Didier Gardillou Trompe L’Oeil Porcelaine “Plat des moules et serviette” c. 2008
DIDIER GARDILLOU France
Trompe L’Oeil Porcelain “Plat des moules et serviette” c. 2008
High fired porcelain with a matte and shiny glaze, blue border detail on the napkin and realistically painted mussels.
Marks: DG (Didier Gardillou) monogram
H: 4 1/2″ x D: 10″ x W: 11″
Price: $5,450
Didier Gardillou is a master porcelain artist who creates Trompe L’Oeil masterpieces. He revived the antique craft of the porcelain florist. This technique and style first appeared in France in the 1740’s at the Manufactory of Vincennes, which in time would move and become known as the Royal Manufactory of Sèvres Porcelain.
Neil Lane “Egyptian Motif” ring, step-cut emerald shaped Peridot (approx. 18+ carats TW, G.I.A. certificate, 18.55 x 14.85 x7.90mm) 18K gold with pave set diamonds, signed, c. 2008
Neil Lane Couture, large rectangular step-cut natural gem Peridot (18.12 carats, dimensions 18.55mm x 14.85mm x 7.90mm, GIA certificate) in an elaborate 18k gold “Egyptian” motif mounting set with 158 full, round-cut small diamonds (approx. 1.58 carats TW) and signed by Neil Lane, c. 2008
Black, randomly positioned rectangles on a cream / sandy base with a pinned overlap detail
Signed: GP 2000-68
H: 9 1/4″ x D: 6 1/2″
Price: $5,500
Gustavo Pérez makes vessels that are simple, smooth and symmetrical. Their elegance is due to the precision of the incised lines and other markings on the pots. While using the same clay body—sand colored stoneware—throughout his work, the artist achieves a wide range of form and pattern and includes slowly undulating walls beneath the subtly incised surfaces.
Gustavo Pérez works are incessantly experimental. There have been parallel lines, calligraphic traces, geometric cuts into the surface, minimalist vessels, recollections of pre-Hispanic vases and references to other ancient cultures.
The ceramics of Gustavo Pérez are distinguished by eliminating superfluous details, by synthesis of his elements. During the past two decades he has created a visual language that seems closely aligned with music. Pure in form, with a significant structure, completely abstract and without specific associations, his language of line, the bending of forms, and the definition of the vessel mark his work as a distinctive voice. The form is not just a container or a receptacle; it is architecture.
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