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Grey glaze with brush stroke decoration in browns; the lower area is textured
Grey glaze with brush stroke decoration in browns; the lower area is textured
Grey glaze with brush stroke decoration in browns; the lower area is and there is brown glaze around rim
Vase has textured tenmoku glaze
Raised with chasing; overall appearance resembles a bulb and flower shoot
Yellow glazed bowl on short, stemmed foot
Dish has a cream-coloured slip with delicate brush-line painting in cobalt of a bird and leaf stems.
Branch vase has a simple and elegant form. There is no adornment other than the crackle glaze which appears as grey on the white background.
Strata vase - multi-coloured with areas of orange/red and black predominating. The strata levels circle the vase, combining with other colours, in linear patterns.
Cracked surface of bowl has gritty, encrusted, earthy texture. One bowl may lay within the other or in juxtaposition. Work incorporates several glazes
Tapered, rectangular, ceramic, two part column. A slumped glass bowl rests on four small ceramic feet at the top of the column. The column stands on a pedestal.
Famille Verte Flower Vase with Bouquet of Forget-Me-Nots
Base, vase, and bouquet are one continuous (attached) piece. The decorative elements comment on Chinese, Japanese, and European ceramic traditions. The compressed globular vase with long, wide neck stands on an exaggerated, large foot made "precious" by a gold metallic glaze. The body of the vase carries four decals of a geisha girl in a garden setting. These decals are separated from each other by panels comprised top and bottom of green decals inspired by European cartouches with a stylized peony flower in the middle. The decoration featured on the neck follows Chinese decorative traditions and features (front and back) decals of peonies and fantastical rock formations. The famille verte palette is used for the body and neck of the vase. From the top of the vase springs a compressed globular bouquet of brilliant blue and purple forget-me-nots, also decals. A single band of a repeating geometric element in blue separates the body of the vase from the neck, and the neck from the bouquet.
Large, wood-fired vessel of somewhat cylindrical (flat-bottomed) form with "skirt" at approximately one-quarter of height. Directly above the "skirt" are two massive and roughly constructed lug handles constructed from thin straps of clay. The vessel is largely terracotta in colour with diagonal ash fall creating a sense of dynamism across the vessel. This dynamism is echoed in the large, freely-gestural passages of carving.
Leda and the Swan
Large envelope vase created from slabs of clay with image of nude woman embracing a swan on the front and a seated female nude on the reverse. Largely glazed a skin tone, stylized lines of dynamic swirls are added in terracotta as well as short lines to denote feathers. Emphasis is drawn to particular areas (outline, breasts, knees) through the use of bold, black linework. The work is very sensual and offers a glimpse at a very intimate and gentle encounter.
Vessel, Ostrich Feet, Branch
The glass is clear with a greenish tinge, quite textured and the edges raw. An ovoid cast vessel lies on its side supported by three vertical supports arranged in a tripod foundation. Two of these vertical supports terminate in cast ostrich feet, two toes splayed. The third is cast from a branch and bisects the interior of the vessel emerging from the top for about three inches. A trailing tendril-offshoot is cast from this protruding piece of branch, and it winds itself in a sensuous manner partially around the contour of the vessel. The vessel's opening is located directly above the ostrich feet. The work gives the impression of the animated vessel walking forward.
The glass is clear with a greenish tinge, quite textured and the edges raw. The ovoid cast vessel lies on its side supported by two cast ostrich feet (two toes splayed), with the vessel's opening slightly angled upward above the feet. A cast spine with protruding bony vertebrae forms a "tail" behind the vessel. It bisects through the exterior top wall of the vessel, becoming visible inside the bowl. It emerges through the vessel's open mouth appearing almost like a bony visage with eye sockets.
Figurine of a brunette female wearing an elaborate pink and black gown. The pink, cap-sleeved bodice carrying vertical black stripes, with a triple overlay skirt of black, pink underskirt, and lace trim at bottom. The pink belt is complemented by silver chain belt which carries a white lace bustle at the rear. The hands are bound within oversize pink muffs and the face is obscured by a pink and white lace hat and lower face-covering which only allows the heavily kohled eyes to be seen. Although the bustle and muffs suggest a historical era, the black "leather" appearance of the skirt, silver chain belt and heavily made-up eyes indicate a contemporary period
A seven piece sculptural group encompassing three "legs" or oblong-high sided cups (no handles) which supports a circular salver with a vertical lip. Placed around the lip are three large "buds" or bird-like forms with South African porcupine quill inserts. All are low-fired with a wonderful encrusted "lichen" glaze in Kelly green.
A monumental torso vase constructed from coil-built processes. The vase is square-shouldered with a narrow, flattened, neck. The ground is a rich terracotta colour with an orange block on the front and reverse. This orange field is elaborated upon with areas of black and yellow abstract, amorphous shapes, upon which a floating red cross appears. Much the same as the glazed decoration shifts and flows, the textured surface of the vessel changes and undulates due to the different treatments the artist explored.
A massive covered jar, raised on five clawed (canine) feet. The gray-coloured cylindrical body of the jar ripples in large coils upwards to the shoulders. Two snarling dog/beast heads erupt from points on the shoulder, gnawing at bones. A small inset lid features a pile of bones cleaned of flesh.
Very delicate vase of elongated globular shape with rounded foot and top. Small "puckered" opening (pinprick) at centre of top of vase constitutes the opening of the vase; small rattle results from this opening. Irregular striations of different coloured glazes (indigo at top, browns, greens, and blues below) form striations horizontally across the body of the vessel. These irregular layers are freely painted and give the vessel both qualities of being organic and geological.
A bulbous bowl with rounded, high shoulder. Turquoise ground with earth-tone glazed decoration of figures, animals and vegetation. Aesthetic is late Art Deco/Modernist in feel with stylized figures. Strong compositional design rotates around circumference of vessel. Sgraffito decoration. Theo Harlander threw the works and Susan Harlander decorated them freehand.
High-waisted vase with no foot. Green ground with three, identical, female figures in short-sleeved, rose-coloured dresses alternating with vertical, upright floral blossom/leaves around body of vessel. Figures follow modernist aesthetic with use of continuous line to provide minimal physiogamy. Sgraffito decoration. Theo Harlander threw the works and Susan Harlander decorated them freehand.
Soap dish fashioned from figure of a seated woman reclined back to provide generous bowl formed by skirt of dress spread over knees. Bare legs pressed together terminate in brown shows that form in base with hem of skirt. Woman's face is simply defined, with cheery red cheeks, hair pulled back in bun. Dress carries stylized design of rose-coloured flowers on blue/turquoise ground. Theo Harlander threw the works and Susan Harlander decorated them freehand.