By Louise Irvine
The sculptor, Charles Vyse, is well known at WMODA for his nostalgic figures of flower sellers and gypsies who frequented the streets of London in the 1920s. Less familiar are his mythological subjects displayed in the Art Deco Gallery. However, he often escaped into a fantasy world portraying classical maidens and children playing with fauns. It all began with Pan.
In Greek mythology, Pan is the nature god of wilderness, woods and shepherds and is often associated with fertility and springtime. He was a companion of Dionysus/Bacchus and his drunken tutor, the satyr Silenus. His Roman counterpart was known as Faunus. Pan is generally portrayed as a half-human creature with the legs, hooves and horns of a goat, although some early representations show him in human form with a horse’s tail. Pan became a significant figure in the Romantic movement of Western Europe during the 19th century, where he represented man’s darker animal side and earthly sensual longing.
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Dancing Faun of Pompeii
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Charles and Nell Vyse by W.R.S. Stott
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Youthful Bacchus by C. Vyse 1921
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Peter Pan on Goat A. Rackham 1906
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Charles and Nell Vyse by W.R.S. Stott
The Dancing Faun of Pompeii is one of the most famous sculptures from classical antiquity, and Charles Vyse was inspired by this statue during his traveling scholarship to Italy. Vyse was born in the Staffordshire Potteries and was apprenticed as a modeler to the Royal Doulton factory before winning a scholarship to study at the Royal College of Art in London. When he returned from Italy in 1910, he created a plaster model of the Dancing Faun, which he displayed in his studio for many years. He bequeathed it to his daughter and proudly related that his professor told him that his Faun “far excelled the original in liveliness and in execution.”
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Leapfrog Small by C. Vyse
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Leapfrog Large by C. Vyse
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La Folie Bergere by C.Vyse
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Morning Ride Small by C. Vyse
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Morning Ride Large by C. Vyse
Vyse had an ambition to be a Fine Art sculptor but struggled to earn a living, particularly after World War I, when war memorials were the main commissions. In 1920, he started to focus on modeling ceramic figures at his London studio. Fauns with boys and goats became favored subjects for his first submissions to the annual Royal Academy exhibitions. His first figure of a boy riding on a goat, known as The Youthful Bacchus, was perhaps inspired by Arthur Rackham’s illustration for the 1906 edition of Peter Pan in Kensington Gardens. Peter Pan embodies the spirit of Pan, the god, representing eternal youth and wildness. After the trauma of World War I, many longed for the return of a classical order and an idyllic paradise, reminiscent of Neverland. Like the classical god, Peter Pan plays the panpipes, and they can be seen on the ground in Vyse’s Leapfrog figure, in which a young boy plays with a goat-legged faun.
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Tug of War by C. Vyse
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Macaw by C. Vyse 1924
In Vyse’s Tug of War, also known as The Friendly Bout, two youthful contestants engage in arm wrestling while riding goats. Vyse observed the goats at London Zoo to achieve his realistic studies of the steeds, together with the shaggy haunches and cloven hooves of his fauns. Each of Vyse’s figures was hand-painted in small editions, and the children’s togas can be found in several different colors.
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Falconer Ash Glaze by C.Vyse
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Falconer by C.Vyse
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Sister of Pan by C. Vyse
A faun travels on a snail in The Morning Ride, which was introduced in two sizes. In the early 1900s, snails represented organic growth and the transformative power of nature. They also symbolized the unfolding of spiritual knowledge in the Theosophical movement, which was popular at the time. Faun and boy play together in La Folie Bergère, named after the famous Parisian cabaret located near the Rue Bergère, which translates to "shepherdess." Folie means “madness,” and Vyse has captured the joie de vivre of spring with a lamb being hugged by a faun. Sister of Pan, which Vyse exhibited at the Royal Academy in 1927, was first produced in an ivory ash glaze developed by his wife, Nell.
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Charles Vyse with Vintage
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Vintage by C. Vyse
Also in 1927, Vyse introduced The Falconer figure of a young hunter on a donkey in Nell’s “modern” monochrome glaze. However, Vyse’s polychrome figures were more successful with collectors, and it was reissued in 1933 with colorful decoration. The plumage of the falcon and its prey is beautifully rendered, illustrating Vyse’s knowledge of birds, which he gained from visits to the aviary at London Zoo. His Macaw figure is another splendid result of his sketching trips.
Vintage is considered Vyse’s mythological masterpiece, and it was commissioned in 1929 by his friend Francis Berry, the President of the Wine Trade Club, to mark the 21st anniversary of the club’s foundation. Vyse revisited his own Elysium, an idealized depiction of a classical grape harvest, featuring a graceful maiden supporting a tipsy young Bacchus, who holds bunches of grapes astride a bull garlanded with fruitful vines.
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Sleeper Awakes by C. Vyse
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Thumbelina by C. Vyse
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Amphitrite by C. Vyse
The Wall Street Crash in October 1929 heralded the onset of the financial depression, which put immense pressure on Vyse’s business. American collectors did not travel as much to England, and demand for his figurative sculptures decreased. He continued to introduce nostalgic studies of London street vendors, which were always well received by collectors. In 1932, his Sleeper Awakes, depicting a maiden stretching as her rooster steed announces a new dawn, marked a new approach to Vyse’s mythological subjects.
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Woman on Seahorse by C. Vyse
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Europa Ash Glaze by C. Vyse
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Boy on Bull by C. Vyse
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Charles Vyse by C. Cundall
During the 1930s, Vyse sculpted several nude studies of beautiful young women perched on unusual animals, including the fairy Thumbelina on a frog, and Amphitrite, the Greek sea goddess, astride a hippocampus. Vyse revisited this Seahorse subject many years later in a study for ash glazes depicting a realistic horse prancing over dolphins. This figure is not recorded in the reference books about Vyse and was not produced in any numbers. It appears to be a pair to Europa and the Bull, which was modeled in 1949 and exhibited at the Royal Academy in 1952. Europa was a favorite subject with European ceramic artists after both world wars, as it symbolized the traumatized Europe recovering from the devastating conflicts. In the aftermath of war, the bull was a symbol of chaos and brute force, but in 1945, Vyse portrayed it as being controlled by one of his Graeco-Roman children in a quest for lost innocence.
For more information about Charles Vyse, see the reference books by Terence Cartlidge
Charles and Nell Vyse
Charles Vyse, Harry Parr and Leslie Harradine
Read more about Charles Vyse collections at WMODA
Creative Partnerships – Chelsea Potters | Wiener Museum
A Mother’s Love | Wiener Museum
Pan in Porcelain | Wiener Museum
