The Gardiner Museum is open seven days a week. Explore our permanent collection, discover special exhibitions, get hands-on with clay in our studios, dine, shop, and more.
Enter an immersive world created by Montreal-based artist Karine Giboulo, brought to life by over 500 miniature polymer clay figures that tell stories about our most urgent social issues, from the pandemic to the climate crisis. It will delight visitors of all ages!
Registration for our popular March Break camps opens to Gardiner Friends on January 23 and to the general public on January 25. From March 13 - 17, kids and teens can explore the Museum and get creative with clay in our pottery studios!
Experience the Gardiner's world-renowned collection, in person and online. From Chinese porcelain to contemporary Canadian ceramics, discover the people and histories behind the objects.
Everyone can love clay! Become a Gardiner Friend and enjoy the benefits, including unlimited admission, advanced clay class registration, invitations to exhibition previews and special events, discounts on lectures and classes, and more.
Tin-glazed earthenware was introduced to England in the late sixteenth century by Flemish potters who settled in the region of Norfolk to escape religious persecution, however, potteries specializing in tin-glazed earthenware (known as delftware) flourished in the London area from about 1610. They served a wide segment of seventeenth-century society, with the highest demand coming from the gentry, rich tradesmen, and members of flourishing guilds. Increased market demand stimulated the emergence of potteries in Brislington near Bristol, and throughout the British Isles.
The collection illustrates a broad range of functional and decorative objects, embellished with popular heraldic and royal motifs, and showing the new fashion for chinoiseries and the impact of Chinese blue-and-white porcelain.
Until England started producing porcelain domestically from 1745 onwards, delftware potteries supplied better-quality ceramic tableware to a middle-class clientele who could not afford Chinese porcelain, nor the continental imports from France and Germany. The production of delftware started to decline in the 1770s when creamware, a new and technically superior earthenware body was introduced to the market.
The Gardiner Museum’s collection of English delftware was largely donated by George and Helen Gardiner and was expanded with a significant gift from Joan Clark from the collection of Thomas Henry Clark.
1. Pair of Shoes (detail), England, possibly London, 1705-1715, Gift of George and Helen Gardiner, G83.1.549.1-2. Photographer: Toni Hafkenscheid
2. Pair of Shoes (detail), England, possibly London, 1705-1715, Gift of George and Helen Gardiner, G83.1.549.1-2. Photographer: Toni Hafkenscheid
3. Hound’s Head Stirrup Cup (detail), England, c. 1770s. Gift of Jean and Kenneth Laundy, G08.2.45
4. Charger (detail), France, Rouen, attributed to the Poterat manufactory, late 17th century, The Pierre Karch and Mariel O'Neill-Karch Collection, G15.8.1
5. Dish with Scenes of the Abduction of Europa (detail), Italy, Faenza, Attributed to the Master of the Bergantini Bowl, c.1537, Gift of George and Helen Gardiner, G83.1.351
6. Bird Dish (detail), England, possibly Staffordshire, possibly by Thomas Toft (d.1689), c.1690-1710, Gift of George and Helen Gardiner, G87.1.3
7. Sculpture of a Stove (detail), Switzerland, Winterthur, c.1650, The Hans Syz Collection, G96.5.418
111 Queen's Park
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