The Gardiner is now open from Thursday - Sunday, including free weekend admission! There's plenty of space to reconnect and amazing art to discover in all corners of the Museum. Clay Restaurant is still open Tuesday - Sunday. Reservations fill up fast, so book your table early. Please read our new health and safety policies before you visit.
From sticky to crusty, pliable to powdery, and shaped to shapeless, clay’s ability to transform in real time is prompting a new generation of artists to explore the possibilities of this ancient material. RAW features new work by four artists who are pushing boundaries with unfired clay: Cassils, Magdolene Dykstra, Azza El Siddique, and Linda Swanson. See it now!
We're firing up the kilns again! Join us on Saturdays and Sundays from 1 - 3 pm for drop in clay classes in our pottery studios. We've reduced our class sizes to allow for safe physical distancing, and instituted new health and safety protocols. Registration opens online at 10 am on the morning of the class. We can't wait to see you back in the studios!
Every object in our permanent collection can be accessed through our eMuseum portal. Learn about individual collecting areas, like Italian Maiolica or Modern and Contemporary Ceramics, or search the full collection by keyword. You'll be amazed by what you discover!
As we begin to welcome visitors back to the Gardiner, we need your support to continue offering innovative and engaging exhibitions, programs, and community projects on site and online. Make a donation and help us build community with clay.
Lobby Display
With brilliant colours and bold modelling, majolica enlivened the Victorian home. A low-fired earthenware decorated with bright lead-based glazes, it was first introduced by Herbert Minton (1793-1858) at London’s Great Exhibition of 1851. It was an immediate success and a number of manufacturers soon joined in its production.
Victorian majolica was initially inspired by Renaissance ceramics, both in form and colour. Even the name ‘majolica’ alludes to a type of Renaissance pottery known as ‘maiolica.’ Soon producers embraced other popular styles, but nature remained a constant source of inspiration, reflecting the Victorian interest in botany and gardening. The new ware also brought fantasy and humour to ceramics, with objects ranging from whimsical tableware to garden furniture and sculpture.
Shell Flower Holders, England, Minton, 1870, Majolica (lead-glazed earthenware), On loan from the Rosalie Wise Sharp Collection