Charles Vyse occupies an important position in the history of British studio pottery (i.e., non-factory pottery) as one of the pioneers experimenting with high-fired stonewares based on medieval Chinese prototypes. The construction of railways in China in the early 20th century resulted in the excavation of many such wares, and their subsequent exhibition in England had a decisive influence on the development of the studio pottery movement. Vyse's work in this manner is technically highly accomplished, although his shapes and decoration look somewhat timid and over-refined when compared to wares by some of his contemporaries, such as Bernard Leach, William Staite Murray, Norah Braden or Katherine Pledell-Bouverie.