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Nineteen Thirty One Analysis

Decent Essays

Nineteen Thirty One Echoing the economic difficulties that face the country at large, Ernest Marsh writes in Walker’s Monthly December 1931. It is by wise spending on our own products, which will help materially in these difficult and anxious times to keep our native crafts alive and active. The collectors of Vyse pottery can rest assured that their expenditure is justified.4 Marsh, further remarks on the satisfaction collectors will feel from the acquisition of a Vyse figure or a stoneware vase when visiting their exhibitions at Walkers Galleries. Furthermore, it was Marsh’s opinion that the monetary expense, mitigated the purchase of a figure of the highest quality, which was of course totally British. Vyse Clown During the 1930 Christmas …show more content…

Vyse made sketches and numerous clay models based on this theme, but did not finalise the figure group until this year. However, this figure group chimes with two previous compositions by Harry Parr, his Boy and Turkey of 1921 (Fig. 38) and his Chanticleer of 1927 (Fig. 81). It would appear from the similarity of these designs, and as previously suggested by the author, the game of one-up-man-ship, by Vyse and Parr, is i the basis for these recurring designs. Whereas Parr established a factual incident on which to base his first composition, it is unlikely that Vyse could claim a similar experience. Possibly, that in an attempt to ‘out-do’ his former friend, Vyse, condescended to model a variation on the concept originated by Parr. If this hypothesis is correct, Vyse, who abhorred such borrowing by other artists, also stooped to conquer. The Vyses exhibited The Sleeper Awakes decorated with an off-white ash-glaze (Fig. 113) promoting it as a fitting companion to the Falconer of 1927. The subject, however, lent itself admirably to a coloured treatment, and prompted by the demand of collectors, it was also issued in a decorated

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