Vyse Autumn Leaves Analysis
Although this second of Vyses new introductions, Autumn Leaves (Fig 83), was not referred to by Marsh in his Walker’s Monthly article, December 1928, it was however introduced that year titled, The Flower Girl. As with many of Vyse’s figures, names were often changed. The autumnal sprays in the basket, may have been the cause of the re-naming the figure Autumn Leaves. This is a quintessential Vyse figure, illustrating the reality of the social background from which the flower selling women sprang. The outdoor life in all weathers doubtlessly gave the women, their ruddy and weathered features, so unlike the pale creamy complexions of their Vyse counterparts. Moreover, Vyse is saying to us that flower sellers were not all in the first bloom of youth; some were old women having spent their life in the trade. Fig 84, illustrates three contemporary middle-aged flower women, they are seen at their regular pitch on the steps of Eros in Piccadilly Circus.
Parr …show more content…
Originally titled, Gypsy Woman with Child, it was eventually issued HN1301 Young Mother with Child (Fig. 86). In that same year Doultons also introduced a figure that was unlike anything previously modelled by Vyse. It was to be titled Gypsy Girl with Flowers, but after remodelling, issued as HN1302 The Gleaner (Fig. 87). Although it was suggested by Doultons that the unaccredited modeller had taken his inspiration form the paintings of Augustus John. It was Vyse’s opinion that both of these new figures owed their inspiration entirely to his own female Gypsy figures. The supposed correlation to his designs only caused him to fulminate with greater vigour against that firm. The figures were rescinded by 1938 and 1936 respectively. Doultons manufactured the two figures in earthenware and decorated with underglaze pigments. They were unusual in the Doulton manner being taller than the average at 14½ inches high (37