Vase
1910 (made)
| Artist/Maker | |
| Place of origin |
Object Type
William Howson Taylor set his sights on the highest ideals of the potter's art, as he saw them, and was particularly attracted by 18th-century Chinese forms and the most technically complex and most sought-after glazes. This baluster-shaped vase and lid, and the rich 'flambé', or more accurately, 'flammée' glaze, was made for the collectors' market. It was made to take pride of place in an exquisite home, where it would be marvelled at, and lovingly stroked by its appreciative and much-envied owner.
Materials & Making
The Ruskin Pottery specialised, to a degree unmatched by its contemporaries, in a porcellaneous stoneware so finely thrown that its thinness rivals some true porcelains, and in what are known as transmutation glazes and reduction firing. Based on mineral (usually iron or copper) oxides, these glazes are fired at high temperatures (at up to 1600º C in the case of the Ruskin Pottery) and as the glaze melts, the oxygen is reduced, or replaced with carbon monoxide by, for instance the introduction of wet wood. This results in a violent reaction within the glaze, which is transmuted into an unpredictable range of reds, purples, blues, lilacs and greens.
William Howson Taylor set his sights on the highest ideals of the potter's art, as he saw them, and was particularly attracted by 18th-century Chinese forms and the most technically complex and most sought-after glazes. This baluster-shaped vase and lid, and the rich 'flambé', or more accurately, 'flammée' glaze, was made for the collectors' market. It was made to take pride of place in an exquisite home, where it would be marvelled at, and lovingly stroked by its appreciative and much-envied owner.
Materials & Making
The Ruskin Pottery specialised, to a degree unmatched by its contemporaries, in a porcellaneous stoneware so finely thrown that its thinness rivals some true porcelains, and in what are known as transmutation glazes and reduction firing. Based on mineral (usually iron or copper) oxides, these glazes are fired at high temperatures (at up to 1600º C in the case of the Ruskin Pottery) and as the glaze melts, the oxygen is reduced, or replaced with carbon monoxide by, for instance the introduction of wet wood. This results in a violent reaction within the glaze, which is transmuted into an unpredictable range of reds, purples, blues, lilacs and greens.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
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| Materials and techniques | Stoneware, with a high temperature flambé glaze |
| Brief description | Vase and cover with flambe decoration, made by William Howson Taylor at the Ruskin Pottery, Smethwick, Birmingham, England, 1910 |
| Dimensions |
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| Gallery label |
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| Credit line | Given by Mrs R. J. Ferneyhough |
| Object history | Made by William Howson Taylor (born in Lincoln,1876, died in Ashprington, Devon, 1935), of the Ruskin Pottery, West Smethwick, near Birmingham. Originally of the personal collection of William Howson Taylor, later passing to R. J. Ferneyhough, the donor's husband. |
| Summary | Object Type William Howson Taylor set his sights on the highest ideals of the potter's art, as he saw them, and was particularly attracted by 18th-century Chinese forms and the most technically complex and most sought-after glazes. This baluster-shaped vase and lid, and the rich 'flambé', or more accurately, 'flammée' glaze, was made for the collectors' market. It was made to take pride of place in an exquisite home, where it would be marvelled at, and lovingly stroked by its appreciative and much-envied owner. Materials & Making The Ruskin Pottery specialised, to a degree unmatched by its contemporaries, in a porcellaneous stoneware so finely thrown that its thinness rivals some true porcelains, and in what are known as transmutation glazes and reduction firing. Based on mineral (usually iron or copper) oxides, these glazes are fired at high temperatures (at up to 1600º C in the case of the Ruskin Pottery) and as the glaze melts, the oxygen is reduced, or replaced with carbon monoxide by, for instance the introduction of wet wood. This results in a violent reaction within the glaze, which is transmuted into an unpredictable range of reds, purples, blues, lilacs and greens. |
| Collection | |
| Accession number | C.32&A-1978 |
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| Record created | March 27, 2003 |
| Record URL |
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