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Susan Williams-Ellis, a trend-setting British ceramics artist who created a aureate yet adventuresome band of high-end ceramics that bankrupt tradition, has died. She was 89.

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Williams-Ellis died of bronchial pneumonia Nov. 27 at her home in Portmeirion, a absurd apple that her artist ancestor congenital over bisected a aeon in Wales, said Josephine Dillon, a backer for Portmeirion Potteries, the aggregation Williams-Ellis founded in 1962.

Williams-Ellis defied accepted thinking, creating pieces that were fabricated to mix and match, a once-novel abstraction that continues to sustain her ceramics business added than three decades afterwards it was founded.

Noted British ceramics artist David Queensberry told The Times on Friday: “She was aloof absolutely original. She did her own affair and created all these, in a sense, analytical and amazing designs. . . . She did things bodies had never done.”

The company’s history is about as all-embracing as her best acclaimed design, the Botanic Garden band that featured added than 30 floral patterns back it debuted in 1972 and bound became a best-seller.

It may be the best acknowledged ceramics architecture in British ceramics in the postwar period, Queensberry said, and charcoal amid the best accepted ceramics awash in the U.S.

While active the Portmeirion apple gift boutique with bedmate Euan Cooper-Willis in 1953, Williams-Ellis was black with the poor affection of the tchotchkes. Trained as a painter and sculptor, she started bearing designs that were activated to ceramics fabricated by others.

By the aboriginal 1960s the brace had their own branch in Stoke-on-Trent, a centermost of pottery-making in England, and Williams-Ellis began designing the appearance of the ceramics in accession to the apparent decoration.

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The afflatus for her aboriginal abundant success came from annular molds that the antecedent branch owners had acclimated to accomplish apothecary jars and added medical-related vessels.

She acclimated the molds in 1963 to actualize a band alleged Totem that was busy with bold, abstruse patterns of arresting spirals and stars.

Overly tall, angular teapots towered over drum-shaped coffee cups and amoroso bowls anesthetized in abysmal blue, amber and aphotic green.

The agilely counterculture architecture was so accepted with 1960s consumers that Portmeirion Potteries struggled to accumulate up with demand, and the bazaar became abounding with knockoffs.

Known for her generally affected designs, Williams-Ellis was analytic for a new abstraction in the aboriginal 1970s that could disclose her then-struggling firm. In an aged shop, she begin it in a book of botanical illustrations from 1817.

Unable to adjudge on one annual in the book to use for her new line, she absitively that plates and added pieces would affection a array of designs that could be unified by blush and a blade border. The dishes were called Botanic Garden to reflect the collywobbles added for interest.

The abstraction met with attrition from retailers, who told her, “That’s not one pattern, that’s six,” Anwyl Cooper-Willis, her daughter, who is a artist for Portmeirion Potteries, told Salt Lake City’s Deseret Morning News in 2001.

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“You accept to bethink we were still in the ’50s mentality area aggregate had to bout — purse, shoes, dress, hat. And the accomplished abstraction of accidental dining — at atomic chic accidental dining — didn’t exist,” she said.

Botanic Garden has awash added than 40 actor pieces worldwide, according to Portmeirion Potteries.

“It’s been fantastically successful,” Williams-Ellis said of the band in a June account with the BBC, and acclaimed that the soup-tureen bail was the best difficult allotment to get right.

Her aboriginal assignment and the Botanic Garden pieces accept become accepted collectibles.

“She absolutely did actualize something, but in a faculty it was taken from history. No one should belittle that,” Queensberry said. “If you were asked to go to the Metropolitan Museum of Art and accept a design, what are the affairs of it actuality in assembly 30 years later?”

The earlier of three children, Susan Caroline Williams-Ellis was built-in June 6, 1918, in Guildford, England, to Clough Williams-Ellis and biographer Amabel Strachey. Her parents were associates of the Bloomsbury accumulation arcane set. Author Rudyard Kipling was her godfather, and Noel Coward wrote the comedy “Blithe Spirit” at Portmeirion.

Her ancestor started creating the Italianate apple of Portmeirion in 1925, rescuing European barrio from abolition and architecture new ones, finishing in 1972.

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She advised ceramics at Dartington Hall School abreast Totnes, England, and painting and carve at what is now accepted as Chelsea Academy of Art and Architecture in London. In accession to ceramics, she went on to architecture textiles, appliance and jewelry.

In 1945, she affiliated Cooper-Willis, an economist who was the academy acquaintance of her brother, Christopher, who was dead during World War II. The brace confused to a acreage abreast Portmeirion in 1948, kept pigs and ducks and “lived on eggs and potatoes,” she told the BBC.

She did freelance book illustrations while her bedmate formed allotment time as an economist. In 1953, they began demography over administration of the apple from her father, again in his 70s.

“Susan was marvelously agreeable and eccentric,” Queensberry said, with a career that was a “perfect archetype of the Sinatra song [‘My Way’]. And it worked.”

In accession to her bedmate and daughter, Williams-Ellis is survived by a son, Robin Llywelyn, a biographer and managing administrator of Portmeirion village; and two added daughters, Menna, a artist for the ceramics company, and Sian, a accord campaigner; a sister, Charlotte Wallace; and 11 grandchildren.

valerie.nelson@latimes.com

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