Nineteen Twenty Two
The Vyses
In the 1920s, gas kilns were not generally available, a studio potter was not able to achieve the temperature required to vitrify hard-paste porcelain. Charles Vyse had begun experimenting with his existing gas kiln, from about 1922. He was endeavouring to raise the temperature of his kiln to that required to fire stoneware vessels. By using devices of his own contrivance, he was able to achieve temperatures up to 1280 °C, in which bone china fires successfully. Vyse continued to modify and improved his gas kiln until he succeeded in raising the temperature to 1600°C, over the required firing period. He had expertly worked out the correct proportions of gas to air required for directing combustion gases over and …show more content…
47), and sometimes known Roses of Piccadilly. As far as can be ascertained, Vyse produced some fifty editions of this design. His rose seller is a big bosomed woman with her sleeves rolled up, revealing her strong muscular forearms, the ring on her left hand proclaiming her marital status. Beneath a battered old felt hat, her blue eyes steadfastly hold the viewer gaze. It is debatable, why Vyse considered this figure a commercial proposition to add to his repertoire. Modelling the tiny roses was an onerous task for his assistant. Moreover, the hand painting added to its production costs, was the likely reason so few editions of Piccadilly Rose Woman were made. Extant models reveal that the Vyses employed just a few distinct colour ways. Her cloak, thrown over the subject’s left shoulder is sometimes a self-coloured purple or violet, depending on the depth of pigment used, or orange, or a blue plaid pattern. The colour of the shirt-blouse ranges from pink, blue or yellow and blue stripes, and sometimes decorated with a design of pink or pale green trefoils. The skirt’s colour can vary, again depending on the artist’s ability when applying the underglaze pigments. A dark blue skirt and a white apron are most usual. The greatest variation occurs in the modelling and the amount of roses in the large flower basket by the subject’s
The Vyses
In the 1920s, gas kilns were not generally available, a studio potter was not able to achieve the temperature required to vitrify hard-paste porcelain. Charles Vyse had begun experimenting with his existing gas kiln, from about 1922. He was endeavouring to raise the temperature of his kiln to that required to fire stoneware vessels. By using devices of his own contrivance, he was able to achieve temperatures up to 1280 °C, in which bone china fires successfully. Vyse continued to modify and improved his gas kiln until he succeeded in raising the temperature to 1600°C, over the required firing period. He had expertly worked out the correct proportions of gas to air required for directing combustion gases over and …show more content…
47), and sometimes known Roses of Piccadilly. As far as can be ascertained, Vyse produced some fifty editions of this design. His rose seller is a big bosomed woman with her sleeves rolled up, revealing her strong muscular forearms, the ring on her left hand proclaiming her marital status. Beneath a battered old felt hat, her blue eyes steadfastly hold the viewer gaze. It is debatable, why Vyse considered this figure a commercial proposition to add to his repertoire. Modelling the tiny roses was an onerous task for his assistant. Moreover, the hand painting added to its production costs, was the likely reason so few editions of Piccadilly Rose Woman were made. Extant models reveal that the Vyses employed just a few distinct colour ways. Her cloak, thrown over the subject’s left shoulder is sometimes a self-coloured purple or violet, depending on the depth of pigment used, or orange, or a blue plaid pattern. The colour of the shirt-blouse ranges from pink, blue or yellow and blue stripes, and sometimes decorated with a design of pink or pale green trefoils. The skirt’s colour can vary, again depending on the artist’s ability when applying the underglaze pigments. A dark blue skirt and a white apron are most usual. The greatest variation occurs in the modelling and the amount of roses in the large flower basket by the subject’s