Nell Vyse Research Paper

“Mrs. Pontellier had brought her sketching materials, which she sometimes dabbled with in an unprofessional way. She liked the dabbling. She felt in it a satisfaction of a kind which no other employment afforded her” (40).

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Mr. Charles Vyse’s pottery and porcelain figure work is too well-known and eagerly sought after to need any introduction. These have already found their way into the collections of many discriminating and discerning buyers both at home and abroad and especially collectors in the United States of America have been keen to acquire these very interesting and beautiful specimens of modern sculptured pottery work. The subjects have been taken usually from life studies of simple, familiar and interesting types, most of the Chelsea streets and its immediate neighbourhood– the “Balloon Girl, ” the “Tulip Woman” the “Chrysanthemum Girl” and the “Madonna of the World’s End” for instance, these, and occasionally others further afield, such as the “Piccadilly Rose Woman,” have attracted the

Charles and Elizabeth’s youngest son, Arthur Rudolph Lorne, dies in their home in Okawville at 2:55 p.m. on Monday, March 9, 1903. He is only days away from his eighth birthday when this tragedy occurs. Extremely ill for several weeks, Charles and Elizabeth agonize over his suffering as they see their beloved child’s illness go from bad to worse developing into typhoid fever and then pneumonia. They watch as his symptoms evolve into a fever, headaches, joint pain, a sore throat, constipation, loss of appetite, and abdominal pain. Artie’s body temperature rises over a two or three-day period and then remains at 103˚ to 104˚. As death approaches, they watch, unable to help him, as he begins to show signs of delirium

From 1919, Vyse worked single-handedly in his Cheyne Row studio. However, it soon became apparent to Vyse that he required a capable assistant to relieve him of minor studio chores. For instance, the making of secondary plaster moulds was a time-consuming process, which Vyse felt he could not spare. Bertha White (1900- nd.) came to him with a recommendation from his former Art School in Hanley where she had studied modelling. She was aged about nineteen when she joined Vyse at Cheyne Row.16

Following WWII, and the cessation of hostilities, Charles Vyse and Harry Parr returned to their respective studios in Cheyne Row Chelsea. For Vyse, life regained a semblance of normality, albeit without the support of Nell Vyse, his ex-wife and partner. However, he set to work again making wheel thrown vessels and modelling figures, of which, he sent a number to the Royal Academy, often as not, competing with Parr for supremacy of work accepted for exhibition.

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It is possible that Nell Vyse utilised the wax resist method to set out the grid pattern design. This method of delineation of the design would also prevent the various pigments from bleeding into each other when applied. The shawl’s scheme is a complex mixture of colours suggesting a woven plaid, and as with the real thing, where the colours intersect there is a subtle change of hue. A modelled fringing, decorated with green, lilac, and yellow complete the shawl’s decoration. A figure’s head is notoriously prone to decapitation by injudicious dusting; Vyse protects the neck of the figure with folds of the shawl. Other examples of colour variations are illustrated. Unusually for Vyse, the trained sculptor, the Lavender Girl has an obvious flaw,

There was much to do, he said, before closing the door for the last time. No doubt, there was a satisfied smile on Vyse’s face as he gazed around the Wilton Gallery, in the knowledge that most of his stoneware and animal groups had a small red sold label affixed to them. This had been, in that respect, his best exhibition of all. At the end of the exhibition, all the work was sold, from a small bowl costing one guinea to the largest piece costing £25. However, it is from a small notice in the magazine Arts Review that one learns the 81 year old Charles Vyse, had exhibited some of his drawings and paintings. Reverentially the reviewer writes that Charles Vyse is a potter celebrated as sculptor and painter, too; and for this, his last exhibition (he is now in his 83rd year) he has produced a marvellous show. Though I went on private view day, all was already over bar the shouting, all but a few pieces sold, and most will have been taken away before this notice appears. It remains, therefore, only to salute a great craftsman, and to turn our attention to the concurrent show of small figurative paintings.

During 1938, Harradine produced thirty new figure designs for Doulton, and at least three of these figures have a resonance with the designs of Vyse. Although no extant evidence suggests it, one could argue that Harradine’s HN1843 Biddy Penny Farthing (Fig. 155) could be a composite of at least two of Vyse’s early designs. If one were to remove the balloons from Vyse’s The Balloon Woman and graft them to his figure The Lavender Girl, the composition would resemble Harradine’s Biddy Penny Farthing. The artistic director at Burslem decided that Harradine’s figure would be suited to production in earthenware with underglaze decoration. The subsequent re-modelling for mould making at Burslem, compounds the simplification of the figure’s base. Note the subject’s shoes, projecting awkwardly from beneath the full skirt, and not as Harradine would have originally modelled

When reviewing the Vyses 1934 exhibition in Walker’s Monthly, it was John Naimaster’s opinion there was already a profusion of pottery literature, and it is the artefact that really matters, and all the rest is flumdiddle. Furthermore, Naimaster, advises would be collectors that Vyse sketches people who are unaffected by fashion and the aesthetic values such as, charwomen, circus folk, market women, flower girls, horse-dealers and caravan dwellers, and we should thank Vyse, for recording these diverse and fast-disappearing individuals.

He no longer modelled his shapes but he seemed to “paint” them with his chisel.