The Ruskin ceramics studio in Smethwick, West Midlands, UK was founded in 1898 by Edward Richard Taylor, the first principal of the Birmingham School of Art (and from a famous Staffordshire pottery family). He bought the studio for his son William Howson Taylor, a former student at the art school, who would become a master ceramicist, designing new techniques and creating Ruskin pottery’s unique style and colour scheme. The Taylors named the studio after the artist, writer and social thinker John Ruskin, as both agreed with his philosophies, little did they know that the name Ruskin would become such a force in the industry and so revered on a global level.

Howson Taylor developed special techniques, such as ice crystal effect and lustre glazes resulting in metallic effects, alongside misty soufflé glazes, crystalline and the most prized of all, the sang-de-boeuf and flambé glazes which created a blood red effect. The highly-skilled sang-de-boeuf glazes were formed using a reduction of copper and iron oxides at a high temperature. It was a skilled technique, originating from 13^th century China and 19^th century European art potters tried hard to recreate it in the late 19th century. The result of Howson Taylor’s skill and creativity was a broad selection of brightly coloured pots, vases, buttons, bowls, tea services and jewellery using high fired techniques in a range of colours and unique textured glaze effects.

This originality of designs and techniques however would go to the grave with Howson Taylor. On learning of his cancer diagnosis, he decided not to take any offers for the business, as he wanted the Ruskin name and practices to remain unadulterated. After 35 years of production, he directed solicitors to draw up legal papers that would ensure that the machines used to create these beautiful pieces and any written / illustrated designs of them (and any techniques used) would be destroyed, so that these unique pieces could never be replicated. This was carried out and is one of the reasons why these pieces are so rare today.

Among the highlights is Lot 594, a large Ruskin high-fired vase dating from 1924 that features a slightly ribbed body with a liver red-streaked lavender glaze which was exhibited at the Victoria and Albert Museum, London in 1975. It carries an estimate of £2,000-£3,000. Also with a lavender glaze is Lot 598, a high-fired vase featuring a liver-red part ‘snakeskin’ glaze dating from 1923 (Est. £1,200-£1,800). An attractive pottery vase that was featured in a self-portrait of Edward Richard Taylor (founder of the studio) and illustrated in the 1993 book titled Ruskin Pottery is also in the sale. The vase, Lot 590,  is in a fine mottled buff colour glaze over ivory and dates from 1912. It carries an estimate of £600-£800.

A low-fired ‘Delphinium’ blue lustre caddy and cover in streaked blue and mushroom glazes was showcased in an exhibition titled Taylor Made at Birmingham Museum and Art Gallery in 1976. Produced in 1920 it carries an estimate of £300-£400 (Lot 590). An attractive high-fired lamp base (Lot 620) has been created in a vivid streaked glaze in red, blue lavender, turquoise and mushroom. From circa 1930 it is estimated to fetch £700-£900.

Dreweatts specialist, Mark Newstead said: “This collection is special, as it forms part of a historic group of Ruskin Pottery, from the original factory collection and by descent from William Howson Taylor. Howson Taylor was the owner of the Ruskin Pottery (1898-1935) and his collection was left to the Ferneyhough family. When Howson Taylor died his secret formulae were destroyed. As a Chinese specialist, I greatly appreciate his mastery of the Chinese elusive copper-red glazes, adapted by Howson Taylor into something unique, making him one of the greatest potters of the 20^th century.”

Auction Details

Wednesday 10 January, 10.30am GMT
Donnington Priory, Newbury, Berkshire RG14 2JE

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VIEWING IN NEWBURY:

• Sunday 7 January: 10am-3pm
• Monday 8 January: 12 noon-4pm
• Tuesday 9 January: 8.30am-4pm
• Wednesday 10 January: from 8.30am