We're delighted to announce that the Gardiner Museum will reopen to the public with two days of free admission on Saturday July 11 and Sunday July 12. From July 13 onward, we'll resume our regular hours and admission rates. It seems we've been gone so long—we miss you and can't wait to welcome you back! Please read about our new health and safety protocols before your visit.
During our temporary closure, we're posting exhibitions and selections from our collection online. Discover Inuit ceramics, Chinese and Japanese porcelain, pottery from the Ancient Americas, and more!
We're excited to present a new live series hosted by Chief Curator Sequoia Miller in which an artist will share three of their artworks and speak about them in connection to a larger theme. On Thursday July 9 at 1 pm, Azza El Siddique, a Sudanese-Canadian interdisciplinary artist working in sculpture, installation, painting, photography, and film, will discuss three of her artworks in the context of the theme “Absence”. Registration is free!
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!
We’re closed until further notice, but we’re planning for the day when we can again welcome visitors. We encourage you to make a gift to the Gardiner. This will be vital for when we reopen, and is the optimistic message we all need.
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