445https://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCreamer, Pattern #18ca.1799[Minton]Bone china with overglaze enamelsMinton creamer, old oval shape, painted swags design in black, green, yellow and red with blue dots and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2131/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee Cup and Saucer, Pattern #56ca.1799-1800[Minton]Bone china with underglaze blue, gildingMinton coffee can and saucer, the can is cylindrical shape and the saucer is London shape. They have three underglaze cobalt panels, with oval reserves with polychrome florals.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2132/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullMug painted with topographical viewca.1800[Minton]Bone china, overglaze enamelsMinton mug, cylindrical shape with scrolled handle with kick and thumbrest. It is painted with a topographical view of a farm house with sheep in polychrome enamels.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2133/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeacup and Saucer, Pattern #66ca.1800[Minton]Bone china with overglaze enamels, gildingMinton Trio (coffee cup, teacup and saucer), painted with "dragons in compartments" design, polychrome enamel, and gilt scrollwork.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2134/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullShell-shaped Dessert Dish, Pattern #79ca.1800-1802[Minton]Bone china with overglaze enamel, gildingMinton dessert dish, shell shaped, and painted in iron red with two shades of purple with a continuous floral band and central motif. It has gold flowers and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2135/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSauce tureen, barley twist patternca.1800[Minton]Bone china with goldMinton sauce tureen and cover, oval shape on fixed stand with shell handles. It has a lobed cover with "pistol" handle finial, painted "Barley Ear" design in gold with line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2136/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee Cup, Pattern #119ca.1800-1802[Minton]Bone china with overglaze enamelMinton coffee can, cylindrical shape with "S" shaped handle which has a thumb rest and kick. It is painted with continuous landscape in black enamel, with scratched out details and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2137/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSide Dish, Pattern #127ca.1800-1802[Minton]Bone china with overglaze enamel, gildingMinton large side dish, painted in underglaze blue with a landscape, and a gold chain and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2138/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee can with "Hieroglyphs" patternca.1805[Minton]Bone china, brown enamel and goldMinton coffee can, cylindrical with ring handles. It has monochrome painted in dark brown enamel with incised details. It has four panels decorated with mythological animals, and line bands with details in gold.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2139/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSauce tureen cover with Imari style patternca.1805[Minton]Bone china, overglaze enamels and goldMinton sauce tureen cover, oval shape with "pistol" handle finial. It is polychrome orange, purple, iron red and green with underglaze blue in Imari style, with gold details and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2140/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee Cup and Saucer, Pattern #200ca.1800-1802[Minton]Bone china with overglaze enamel, gildingMinton coffee can and saucer, cylindrical, and painted in black enamel. It has mythological figures, Egyptian style motifs and "hieroglyphs", and a line band in gold.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2141/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee can with chinoiserie patternca.1805[Minton]Bone china, overglaze enamels and goldMinton coffee can, cylindrical shape with ring handle. It is printed in black with a Chinoiserie design and in polychrome. It has 'famille rose' palette enamels, with gilt details and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2142/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee can with rose patternca.1805[Minton]Bone china, overglaze enamels and goldMinton coffee can, cylindrical shape with ring handle. It is painted with large roses in shaded pink enamel with green and yellow foliage. It has a gilt seeded ground and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2173/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeacup and Saucer, Pattern #499ca.1805-1810[Minton]Bone china with underglaze blue, overglaze enamels, gildingMinton teacup and saucer, bute shape with ring handle. It is painted in underglaze blue with a broad band and three oval reserves with floral sprays in polychrome enamels. It has a broad 'brick' band in gold with wheat sheaf.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2174/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSaucer in the Japanese Imari Style- Inspirationca.1805-6[Minton]Bone china with underglaze blue, overglaze enamels, gildingMinton saucer, bone porcelain, painted with underglaze blue chinoiserie design, paneled border with floral motifs in orange, iron red and green enamel, gilt details and line bandsEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/2175/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSlop Bowl, Pattern #604ca.1810-1812[Minton]Bone china with overglaze enamels, gildingMinton slop bowl with recessed foot. It is painted in puce camaieu and incised details with a continuous landscape on an egg yolk yellow ground. The interior has a gold scroll border and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2176/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCoffee Cup and Saucer, Pattern #678ca.1812-1814[Minton]Bone china with underglaze blue, overglaze enamels, gildingMinton Trio (coffee cup, teacup and saucer), London shape (teacup and saucer) and new coffee cup shape. They are painted with an underglaze blue ground, and leaf shaped reserves with polychrome floral motifs.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2177/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase, Pattern #767ca.1812-1814[Minton]Bone china with overglaze enamels, gildingMinton vase, flattened bottle shape with oval section. The neck and foot relief is moulded with "pearl" band, and painted in polychrome enamels with large floral bouquets on each side. It has gilded bands at the neck and foot.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2178/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase, Pattern #780ca.1812-1814[Minton]Bone china with underglaze blue, overglaze enamels, gildingMinton vase, krater shaped with two handles and lion mask terminals. It is painted with an underglaze blue ground, and shell shaped reserves decorated with floral bouquets in polychrome enamels, with gilt leaf sprays and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2179/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSlop bowl with botanical patternca.1812-1815[Minton]Bone china, overglaze enamels and goldMinton slop bowl, glared rim and recessed foot. It is painted with botanical design of rose and carnation, and with foliage. It has gold line bands on exterior and the interior has an ornate band.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2180/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullBread and butter dish painted with seashell patternca.1810-1815[Minton]Bone china, overglaze enamelsMinton large saucer (bread and butter dish), shell and seaweed pattern in yellow, iron red, green and blue enamel.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2181/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSlop bowl with prunus on a blue groundca.1812-1815[Minton]Bone china, underglaze blue and goldMinton slop bowl, shallow, and painted in underglaze blue with prunus flower and floral bud shaped reserves, gold leaves, with details and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2182/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase, Pattern #871ca.1814-1815[Minton]Bone china with overglaze enamels, gildingMinton vase tapering cylindrical form with trumpet shaped rim on a stepped pedestal base. It is painted in polychrome enamel with mixed English flowers, with gold leaves and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2183/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeabowl, printed with "Broseley" pattern in underglaze blueca.1810[Minton]Bone china, underglaze blue and goldMinton teabowl, 'Royal Flute' shape, printed in underglaze blue with "Broseley" pattern, with a willow variation.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2184/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase-shaped inkwell with floral patternca.1800-1815[Minton]Bone china, overglaze enamels and goldMinton inkwell, vase shaped, and of tapering cylindrical form. The top has a stepped moulded ink receptacle of inverted conical form and three holes in shoulders for pens. It is painted in polychrome enamels with a band of floral bouquet, with gold seeded ground and line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2185/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSauce tureen (no cover) painted with birdsca.1800-1815[Minton]Bone china, overglaze enamels and goldMinton sauce tureen on stand of french shape, loed with a fixed stand and moulded drop ring handles. It is painted in polychrome enamels with exotic birds and insects with gold line bands.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2186/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullDinner plate printed with "Bewick Stag" pattern in underglaze blue1815[Minton]Earthenware, underglaze blueMinton dinner plate, lobed silver shape, transfer printed in underglaze blue with the 'Bewick Stag' pattern.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2187/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullMushroom Seller19th century[Nymphenburg Porcelain Manufactory]hard-paste porcelainNymphenburg figure of a mushroom seller.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2745/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullDessert Plate from the Milton Service, “Our Night Camp on Eagle River – Expecting the Crees”ca.1867[Minton]Bone china with overglaze enamels, gildingPierced dessert plate painted from "The North-west passage by Land" print of "Our night camp on Eagle River-Expecting the Crees". This plate is part of a service commissioned by William Wentworth-Fitzwilliam, Viscount Milton, following his epic journey across Canada in 1862-63 with Dr. Walter Cheadle.European Ceramicshttps://emuseum.gardinermuseum.com/objects/301/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPair of Minton Sèvres-type "Harewood" bottle vasesca.1840-1850[Minton]Bone china with overglaze enamels, gildingPair of Minton Sèvres-type "Harewood" bottle vases. They have a small dome cover with gilded knop above a waisted neck tied with gilt-dotted white ribbons forming the handles. The lobes have vertical gilt and pink ribbon stripes featuring pink rose and ribbon wreaths with a central design of a bird in flight, on a similarily decorated waisted socle and circular plinth base.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2168/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCup and Saucer in the Sèvres Styleca.1850-1855[Thomas Kirby, Minton]Bone china with overglaze enamels, gildingMinton Sèvres-type cup and saucer with cupids, decorated with embossed gilt floral wreath framed panels featuring pink putti in various poses and pairs of opposing birds. The cup is of bute-form with a loop handle and is thinly potted. Both pieces have a gilt dentil rim design.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2169/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullMinton Sèvres-type Cup and saucerca.1850-1860[Minton]Bone china, overglaze enamel and goldMinton Sèvres-type cup and saucer with gilt dentil interior rim. It has a bleu celeste ground with diamond gilt crossbanding and small flowers in gilt and white enamel, all between continuous pink rose and green leaf borders.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2171/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullMinton Sèvres-type bleu celeste monogrammed plateca.1875[Minton]Bone china, overglaze enamel and goldMinton Sèvres-type plate with the centre of the plate decorated with oak leaf wreath and celeste bleu lobed border with embossed gilt oak vine swag decoration.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2170/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate in the Sèvres Style with Monograms AA and EA for Alexandra of Denmark (1844–1824) and Edward, Prince of Wales (1841–1910)1862[Minton]Bone china with overglaze enamels, gildingMinton Sèvres-style plate with a celeste bleu overglaze border featuring three floral reserves framed in a heavy gilt feathered border and oak leaf swags. The central design is of two putti holding two shields with the intitials for Edward VII and Alexandra, surmounted by the crown of St. Edward.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2172/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullDraining Tray, Pattern #106ca.1800-1802[Minton]Bone china with overglaze enamelsDraining tray with "Kylin" pattern with lion in centre. Oval shape, hole in centre and smaller holes punched in set pattern across whole surface.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2143/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullLarge Platterca.1800-1805[Minton]Bone china, overglaze enamelsLarge platter heavily potted, with thick white glaze. It is hand painted in polychrome enamels with flowers, leaves and insects, all accented by gilding and four sprays of flowers on underside of rim.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2144/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeapot, Pattern #150ca.1800-1802[Minton]Bone china with overglaze enamels, gildingOld oval shape painted landscape in oval reserve on each side of pot and lid. Over-all pattern of gilt-framed squares containing a gilt star and spout and handle fully gilded.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2145/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeacup and Saucer, Pattern #185ca.1800-1802[Minton]Bone china with overglaze enamelsBute shaped cup, smaller ring handle and deep saucer. Decorated with ancient Chinese tree design in blue with green pine needles and three unrelated blossoms in orange, green and purple. It has a burnt orange border between black lines around the rim, with a black foot ring.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2146/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullChocolate Cup and Trembleuse Saucer, Pattern #202ca.1800-1802[Minton]Bone china with underglaze blue, overglaze enamels, gildingTrembleuse cup and saucer with underglaze blue and an over glaze that is orange and gilt pattern. It has an urn on the base surrounded by sprays of orange and gilt flowers/leaves.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2147/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCake Dish, Pattern #236ca.1802-1805[Minton]Bone china with overglaze enamels, gildingSquare cake dish, painted in iron red "pluck and dust" with green, yellow and black enamels and complementary gilding and a gilt rim.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2148/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullInkstand, Pattern #258ca.1802-1805[Minton]Bone china with overglaze enamel, gildingTop decorated in gilt vermicelli design. The front has continuous landscape with woods, mountains, ruins and two pairs of small figures.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2149/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase, Pattern #294ca.1802-1805[Minton]Bone china, overglaze enamel and gildingSpill vase with slightly flaring sides and all-round painted building and landscape in puce, with gilt rim and base.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2150/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCreamerca.1805-1810[Minton]Bone china, overglaze enamel and gildingNew oval shape in ricj polychrome and gilt Chinese decoration in blue, green, red and gilt.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2151/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCustard Cup, cover and stand1800[Minton]Bone china, overglaze enamelsDouble handled custard cup, domed lid with ball finial and deep well saucer with chinese pattern.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2152/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeapot Stand, Pattern #947ca.1815-1816[Minton]Bone china with overglaze enamels, gildingSeven compartments around the rim containing dragons in two shades of olive green and outlined in gilt. The centre has a dragon in same green and gilt leaf sprigs between the dragon compartments. There is a gilt rim and the dragon outlines are printed.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2153/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlateca.1796-1816[Minton]Bone china, overglaze enamel and gildingPlate with moulded basket weave rim, with flowers and insects in iron red (Meissen style) and gilt rim.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2154/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeacup1805[Minton]Bone china, enamels and gildingModified London shape, flattened loop handle with lower kick and continuous landscape in enamel colours, with gilt rim, handle and foot ring.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2155/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCreamer1825[Minton]EarthenwareHigh wishbone handle with blue printed pattern called "Chinese Marine" and moulded border around body and base.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2156/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullDessert service dish1815[Minton]Earthenware/PearlwareDessert service dish.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2157/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCup and Saucerca.1824-1830[Minton]Bone chinaGadroon rims, decorated with floral bat prints in grey-olive.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2158/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullBlanc Mange mouldLate 19th century[Minton]EarthenwareBlanc Mange mould.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2159/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullBlanc Mange mouldca.1860-1869[Minton]EarthenwareOpen flower shape on pedestal base.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2160/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCake plate1825[Minton]Bone china, overglaze enamel and gildingMoulded gadroon border highlighted in gilt. It has a gilt border design around central floral composition, wide red border ground and in the centre a basket with grass and flowers.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2161/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCreamer and cover1825[Minton]Bone china, enamel, and gildingGadroon with scroll handles with a matte green base and reserved moulded white and scratched white motif. The lid has a plain matte green border, large gilt floral knob and complementary gilding in pot.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2162/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeacup and Saucerca.1880-1889[Minton]Bone china with overglaze enamels, gildingPlain round saucer shape, brilliant 'bleu Celeste' knobby ground with acorns, leaves and stems painted in greens and browns on raised moulded design. The cup has feet shaped like acorns, and the handle is a branch with moulded leaves and stems. There is gilt design around rims with black dots.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2163/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCup and Saucerca.1880[Minton]Bone china with overglaze enamels, gildingVertical flutes, picked out in gold between wide bands of bleu Celeste. The cup has raised oval reserve, and handle with moulded pink bow. The cartouche has entwined initials in pink and blue flowers surmounted by crown. The saucer is deep and the cup has straight sides and square handle.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2164/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlateLate 19th century[Minton]Bone china, enamels and goldCoupe shape and plain round. It has Kakiemon branches and flying birds around central large rectangular reserve, outlined in gold with the well painted in polychrome maritime scene with sailing ships.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2165/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPair of vases1882[Minton]Bone china, overglaze enamel and gildingDeep Celeste blue with large floral sprig on each side on 3-footed base. They have gilded necks and around the base there is a Greek key border over the gilding.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2166/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase1951[Minton]Bone china, overglaze enamel and goldDecorated in royal blue ground with two large floral reserves (one signed) with rich gilding.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2167/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlacecard holder with image of birdca.1928-1933[Emily Carr]Earthenware with pigmentPlacecard holder with image of a bird.Modern and Contemporary Ceramicshttps://emuseum.gardinermuseum.com/objects/2931/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullRectangular plaque with a painting after Watteau19th centuryPorcelain, overglaze enamels, wood, fabric, paperBerlin plaque, framed with a velvet matte, depicting a group of Commedia Dell'Arte figures.European Ceramicshttps://emuseum.gardinermuseum.com/objects/215/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullThe Ale Benchca.1830-1835Glazed earthenwareStaffordshire figural group of "Ale Bench", with a female figure arguing with a male figure, knocking him off his chair.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2962/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTee Totalca.1830-1835Glazed earthenwareStaffordshire figural group of 'Tee Total', with a man and woman with a child, sitting on either side of a table set with a tea service.European Ceramicshttps://emuseum.gardinermuseum.com/objects/167/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlatter with view of Kingston, ON (from British America series)1840s[Podmore, Walker and Co.]Earthenware with glaze and blue transfer printEarthenware platter with a blue tranfer print of a view of Kingston, Lake Ontario, designed after a print by William Henry Bartlett (British, 1809-54).European Ceramicshttps://emuseum.gardinermuseum.com/objects/2987/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlatter with View of the Citadel at Kingston (from British America series)1840s[Podmore, Walker and Co.]Earthenware with glaze and transfer printEarthenware platter with blue transferprint of the view of the citadel at Kingston, ON (from British America series), designed after a print by William Henry Bartlett (British, 1809-54).European Ceramicshttps://emuseum.gardinermuseum.com/objects/2988/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSaint-Porchaire Style Ewer in the Renaissance Revival Styleca.1879[Minton, Charles Toft]Earthenware with inlays, coloured glazes and slipEarthenware ewer, designed by Charles Toft (British, 1832-1909) in the Saint-Porchaire style, with bands of decorative patterns around the body, and a masked spout and dragon handle.European Ceramicshttps://emuseum.gardinermuseum.com/objects/2188/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlatter with a View of the Crystal Palace1851Bone china, blue transfer printA large platter with blue transfer print depicting a view of the Crystal Palace in Hyde Park, made to commemorate the Great Exhibition of 1851.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4113/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with Arms of the Drapers Companyca.1820Earthenware, blue transfer printEarthenware plate with Arms of the Drapers Company. Inscribed "Unto God only Be Honour and Glory"European Ceramicshttps://emuseum.gardinermuseum.com/objects/4114/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with view of London Bridgeca.1820Earthenware, blue transfer printDinner Plate, white earthenware w/ blue transfer-printed view of London from the Thames showing a bridge over the Thames and St. Paul's Cathedral in the distance. English, Thomas and Benjamin Godwin, working 1809-1834. Probably about 1825. On the black, blue transfer-printed "View of London" in an oblong frame.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4115/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with "Dr Syntax turned Nurse"ca.1818-1834Earthenware, blue transfer printBlue transfer printed plate depicting Dr. Syntax seated in a kitchen holding two infants. Two more infants, one at his feet and one in a cradle to his left, and woman surround him; the border pattern is composed of flowers and scrolls.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4116/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with Lion (Quadruped Series)ca.1822-1832Earthenware, blue transfer printBlue transfer print plate with central medallion depicting a lion; surrounding medallions with zebra, goats, shetland ponies and deer.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4117/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullVase1900-1914[Charles Hubert Brannam Pottery]Earthenware, glazesCylindrical Beaker Vase, earthenware with blue glaze and abstract pattern approximating peacock feathers. English, c 1900-1914: C. H. Brannam Pottery, Barnstaple Devon, founded 1879.. Between 1882 and 1914, Liberty and Company in London was the sole agent for Brannam Ware.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4119/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullJug with scroll pattern on blue groundEarthenware, glazesEwer, brown earthenware decorated with coloured slips. English, c 1885-1901: Aller Vale. Newton Abbot, Devon, operating c 1868-1901. From 1882 through to 1901, Liberty and Company sold Aller Vale Pottery, Princess Louise Queen Victoria's daughter, who was the wife of the Marquis of Lorne (Gov General of Canada, 1878-1883), was a patrron of the pottery. H 16cm Width 14cm. Depth 7cmEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/4120/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullEwer with butterfly1885Earthenware, slipHand-raised red earthenware body covered in cream slip. Painted in green and brown slip with large blades of grass with a butterfly in two tones of brown having yellow and blue details. Blue and brown bands to base and rim. A cylindrical ewer, painted in coloured slips with butterfly and grasses. English, Watcombe Pottery Company, operating 1867-1901. Incised numerical coding on the bottom suggests a date of 1885.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4121/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullHat Pin Holderca.1887-1901Earthenware, slipA hat pin holder, red clay w/ white and blue slip and incised wording "A Place for Hat Pins". English Aller Vale Pottery, c. 1887-1901. Impressed mark "Aller Vale IVO".European Ceramicshttps://emuseum.gardinermuseum.com/objects/4122/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSugar bowl1901-1920[Royal Aller Vale and Watcombe Pottery Co.]Glazed earthenware with slipLow open Sugar Bowl, red earthenware with slip decoration and "scandy" pattern. Incised around rim "Take a little sugar, Fredericton. N.B."European Ceramicshttps://emuseum.gardinermuseum.com/objects/4123/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTwo-handled cup with incised descriptions1896Earthenware, slip; wheel-thrownThin wheel-thrown brown earthenware, covered overall in pale blue slip with inscriptions boldly incised through the slip to the brown body and scroll decoration in cream and orange brown slip. The inscription reads "Victoria! Victoria!/Oblivious to such temp-/ting whiles as trespass/on the mind of rank"European Ceramicshttps://emuseum.gardinermuseum.com/objects/4124/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeapot with incised decoration1901-1920[Royal Aller Vale and Watcombe Pottery Co.]Earthenware, slipRed earthenware with cream slip to the exterior and incised decoration as well as decoration painted with coloured slips. Cover has bands of dark green and pale green slip. Inscription reads "Du'ee cum in an 'ave a cup a Tay" European Ceramicshttps://emuseum.gardinermuseum.com/objects/4125/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/full"Bizarre" ware bowl1928[Newport Pottery, Clarice Cliff]Glazed earthenware with enamelsHemi-spherical bowl, probably the “Havre” shape. Hand-painted with wide brush strokes in overglaze enamel colours of tomato red, mustard yellow, pale pea green and medium blue. The bottom of the interior is yellow with a band of blue above, both edged in pea green and red below the rim. The rim and upper band around the outside is blue with a band of squares with oval “eyes” painted in all of the colours below it. The lower 1/3 of the exterior is red. The colours are quite strong.Modern and Contemporary Ceramicshttps://emuseum.gardinermuseum.com/objects/4564/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullMinster Jug in the Gothic Revival Styleca. 1846-1860StonewareTall paneled cylindrical body with upcurved spout and rectangular tracery handle with multiple holes. Gothic Revival style with relief tracery around the body enclosing two niches, one on each side where there is a low-relief composition of the Madonna and Child with St. John the Baptist. Each of these compositions is different, and they appear to have been copied from paintings that were popular in the early Victorian period.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4189/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPartial Krokus Coffee Service1896[Meissen Porcelain Manufactory]Porcelain, enamelsThe large German porcelain factories were slow to adopt the Jugendstil and the Krokus -déjeuner service marks a turning point for Meissen and other factories. The design was originally made for a competition for “a modern and inexpensive déjeuner (breakfast service) in both shape and decoration,” held by the Meissen management in 1896. Inspired by the crocus blossom - both in the vessel’s shape and in its high-temperature shades of color - Hentschel designed the déjeuner along the lines of the floral art nouveau. The design was exhibited at the Paris World Exhibition in 1900; with more than 25 sets sold, it was considered a great success. Between 1902 and 1904, Hentschel expanded the breakfast service into a larger dinner and tea service. The Krokus-Déjeuner played a pioneering role in the field of utility porcelain in the art nouveau manner. The first example of the genre, it stimulated further experiments by other artists at Meissen.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4942/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/full"Greetings from Canada" teapotDesigned in 1939; produced ca.1947[Clarice Cliff, M.B. (Betty) Sylvester, Newport Pottery]Glazed stoneware with hand-painted enamelThis 'Teepee' teapot was manufactured by the Newport Pottery Company in England and was intended to be sold as a whimsical souvenir in Canada. It is stamped “Greetings from Canada” under the base. The imagery is stereotypical of the way in which Europeans perceived Canada and its indigenous people at the time. Betty Sylvester worked as a decorator at Newport and had painted many of Clarice Cliff's famous 'Bizarre Ware' patterns, which were also produced at the pottery. Modern and Contemporary Ceramicshttps://emuseum.gardinermuseum.com/objects/5071/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeapot after an Yixing originalca.1874Bone china with overglaze enamels, gildingBamboo-inspired design. Oval cylindrical body surrounded by 8 half columns pierced with leafy bamboo trunks divided into two panels. On alternate panels, the top panel is 2/5 of the length and the lower 3/5: on the others, the top panel is 4/5 of the length and the lower, 1/5. The plain cylindrical body is visible through the pierced outer columns. All of the half columns are cut off like bamboo stalks at the top. The four on the corners of the oval extend down below to the bottom to form feet that look like half of a bamboo stalk. Tapering S-shaped spout in three sections simulating a pieces of bamboo. ?-shaped handle in four sections similarly simulating a stem of bamboo. Oval cover with no projecting catch, pierced with a vent hole and covered with an openwork dome pierced with an over-all pattern of bamboo boughs. Tapering comma-shaped loop handle rising above the top formed as a smaller length of bamboo with three sections. Painted overall with a pale pinkish-beige enamel, the naturalistic and rustic details picked out with tiny touches of iron red, black and mat gold. Mat gold borders to the cover, inner rim supporting the cover, top and bottom of the body and between the bamboo half columns.European Ceramicshttps://emuseum.gardinermuseum.com/objects/4197/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCharger1898[Rozenburg Pottery]Glazed earthenware with enamelFlower and butterfly patternEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/5216/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullGravy Boat Stand with a Man Snowshoeing1880s[Bo'Ness Pottery]Earthenware with black transfer print from the “Canadian Sports” seriesSaucer for a gravy boat with a depiction of early Canadian sports. The transfer print shows a figure snow shoeing. Canadian Sports Scenes of sports reflecting the romance of Canadian outdoors and winters inspired the Scottish tableware manufacturer John Marshall and Co., Bo’ness Pottery. The source for these pictures may have been greeting cards published in the 1880s by Bennet and Co. This line was used in summer houses and cottages. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5814/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullGravy Boat with two Men on a Sled and Lacrosse Players1880s[Bo'Ness Pottery]Earthenware with black transfer print, from the “Canadian Sports” seriesGravy boat depicting early Canadian sports. The scene on this gravy boat shows a pair of figures on a sled on one side. On the other side another pair of figures are depicted holding lacrosse sticks. Canadian Sports Scenes of sports reflecting the romance of Canadian outdoors and winters inspired the Scottish tableware manufacturer John Marshall and Co., Bo’ness Pottery. The source for these pictures may have been greeting cards published in the 1880s by Bennet and Co. This line was used in summer houses and cottages. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5815/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullJug with Tobagganing and Lacrosse1880s[Bo'Ness Pottery]Earthenware with brown transfer print from the “Canadian Sports” seriesJug with brown transfer-print of early Canadian sports scenes depict figures playing lacrosse on one side and tobagganing on the other. Canadian Sports Scenes of sports reflecting the romance of Canadian outdoors and winters inspired the Scottish tableware manufacturer John Marshall and Co., Bo’ness Pottery. The source for these pictures may have been greeting cards published in the 1880s by Bennet and Co. This line was used in summer houses and cottages. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5816/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullTeacup with "Canadian Sports" scene1880s[Bo'Ness Pottery]Earthenware with black transfer print and enamelsTeacup with black transfer print of early Canadian sports. One side the scene is of skaters and on the other side shows a single figure tobogganing. Colour has been added over the transfer print. Canadian Sports Scenes of sports reflecting the romance of Canadian outdoors and winters inspired the Scottish tableware manufacturer John Marshall and Co., Bo’ness Pottery. The source for these pictures may have been greeting cards published in the 1880s by Bennet and Co. This line was used in summer houses and cottages. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5809/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with a View of Montreal and British America river boatca.1835[Davenport and Co.]Earthenware with blue transfer printView of Montreal from St. Helen's Island showing British America river boat, after Robert A. Sproule. The rim has a floral borderEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/5910/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with a View of Quebec1830-1835[Enoch Wood & Sons]Earthenware with blue transfer printPlate with a scene of Quebec, possibly after Richard Short drawing "A General View of Quebec from Point Levy", with a stone house, trees, figures and a boat on a riverbank and a cliff in the background. A floral border surrounds the scene.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5903/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with the Montmorency Falls, Quebec1830-1840[Enoch Wood & Sons]Earthenware with blue transfer printScene of Fall in Montmorency, Quebec, with General Haldimand's summer house at upper left (built in 1792) and shell borderEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/5904/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with a view of Fall in Monmorency near Quebec1830-1840[Enoch Wood & Sons]Earthenware with blue transfer printBlue and white plate with scene of Fall in Montmorency, Quebec, with General Haldimand's summer house at upper left (built in 1792), with a shell border.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5914/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with Table Rock, Niagara Falls1830-1840[Enoch Wood & Sons]Earthenware with blue transfer printBlue plate with transfer print of Table Rock at Niagara Falls. The scene shows two figures standing in front of the waterfall at Table Rock. One of the earliest Canadian views printed on tableware, this pattern was a popular souvenir and often collected as an American scene, hense the American seal stamp. In 1867 Table Rock was eroding and destroyed for safety reasons.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5923/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlatter with a View of Quebec City1834-1859[Podmore, Walker and Co.]Earthenware with brown transfer print from the “British America” series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume I, 1840Brown and white platter from the British America series, with a transfer-print scene of Quebec harbour. This scene was inspired by William Bartlett's "Canadian Scenery". In the background of the scene is Quebec and a number of ships in the water. The foreground shows a group of figures standing along the shoreline. There is a vermiculated and foliate border. Bartlett Views of Canada According to Collard, the well-known topographical artist William Bartlett (1809-54) presented “the rawness of the new country with a softer tone that the Victorians frequently preferred to see it.” At least six potteries in Staffordshire produced in the range of 26 views of William Bartlett’s Canadian Scenery between 1840-1880 on dinner, breakfast, tea and toilet wares. Canadian Historical China, as it is sometimes called, has been found all over the world, not just in Canada and therefore was not made exclusively for the North American market. Podmore Walker and Co., called their multi-scene pattern, “British America” and produced the most scenes in the range of 20. Podmore often enhanced the views by adding birch bark canoes and soldiers and their families. Francis Morley & Co. called the pattern “Lake” to attract the American market and, amongst the Staffordshire potters, produced the views for the longest period and offered the pattern in the widest range of colours including gilding. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5796/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlatter with a View of Halifax from Dartmouth1842-1859[Podmore, Walker and Co.]Earthenware with blue transfer print from the “British America” series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume II, 1842Platter from the British America Series with a transfer print scene of a view of Halifax from Dartmouth. The image was taken from "Canadian Scenery" by William Bartlett. There is a vermiculated and foliate border. Bartlett Views of Canada According to Collard, the well-known topographical artist William Bartlett (1809-54) presented “the rawness of the new country with a softer tone that the Victorians frequently preferred to see it.” At least six potteries in Staffordshire produced in the range of 26 views of William Bartlett’s Canadian Scenery between 1840-1880 on dinner, breakfast, tea and toilet wares. Canadian Historical China, as it is sometimes called, has been found all over the world, not just in Canada and therefore was not made exclusively for the North American market. Podmore Walker and Co., called their multi-scene pattern, “British America” and produced the most scenes in the range of 20. Podmore often enhanced the views by adding birch bark canoes and soldiers and their families. Francis Morley & Co. called the pattern “Lake” to attract the American market and, amongst the Staffordshire potters, produced the views for the longest period and offered the pattern in the widest range of colours including gilding. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5797/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCup and saucer with a View of Navy Island (from British America Series)1842-1859[Podmore, Walker and Co.]Earthenware with blue transfer printBlue and white cup and saucer from the British America series, with a scene of "Navy Island". The scene is derived from William Bartlett's "Canadian Scenery". There is a vermiculated and foliate border. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5807/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullCream jug with a view of Chaudière Bridge (from British America series)1842-1859[Podmore, Walker and Co.]Pearl stoneware with blue transfer printBlue and white cream jug from the British America series. The jug has a scene of Chaudière Bridge taken from William Bartlett's "Canadian Scenery" (1838). There is a vermiculated and foliage border. Bartlett Views of Canada According to Collard, the well-known topographical artist William Bartlett (1809-54) presented “the rawness of the new country with a softer tone that the Victorians frequently preferred to see it.” At least six potteries in Staffordshire produced in the range of 26 views of William Bartlett’s Canadian Scenery between 1840-1880 on dinner, breakfast, tea and toilet wares. Canadian Historical China, as it is sometimes called, has been found all over the world, not just in Canada and therefore was not made exclusively for the North American market. Podmore Walker and Co., called their multi-scene pattern, “British America” and produced the most scenes in the range of 20. Podmore often enhanced the views by adding birch bark canoes and soldiers and their families. Francis Morley & Co. called the pattern “Lake” to attract the American market and, amongst the Staffordshire potters, produced the views for the longest period and offered the pattern in the widest range of colours including gilding. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5805/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullBasin with a View of Quebec (from British America series)1842-1859[Podmore, Walker and Co.]Earthenware with blue transfer printBlue and white basin from the British America Series with a transfer print scene of Quebec. The image was taken from "Canadian Scenery" by William Bartlett. The scene shows a soldier and figures on the shoreline, with ships, a city and mountains in the background and a vermiculated and foliate border. Bartlett Views of Canada According to Collard, the well-known topographical artist William Bartlett (1809-54) presented “the rawness of the new country with a softer tone that the Victorians frequently preferred to see it.” At least six potteries in Staffordshire produced in the range of 26 views of William Bartlett’s Canadian Scenery between 1840-1880 on dinner, breakfast, tea and toilet wares. Canadian Historical China, as it is sometimes called, has been found all over the world, not just in Canada and therefore was not made exclusively for the North American market. Podmore Walker and Co., called their multi-scene pattern, “British America” and produced the most scenes in the range of 20. Podmore often enhanced the views by adding birch bark canoes and soldiers and their families. Francis Morley & Co. called the pattern “Lake” to attract the American market and, amongst the Staffordshire potters, produced the views for the longest period and offered the pattern in the widest range of colours including gilding. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5905/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullPlate with a View of Navy Island (from British America series)1842-1859[Podmore, Walker and Co.]Earthenware with bleu transfer printBlue and white plate from the British America series, with a transfer print of "Navy Island" derived from William Bartlett's "Canadian Scenery" (1838). The Image depicts figures by shore line with a dock on the water and a vermiculated and foliate border. Bartlett Views of Canada According to Collard, the well-known topographical artist William Bartlett (1809-54) presented “the rawness of the new country with a softer tone that the Victorians frequently preferred to see it.” At least six potteries in Staffordshire produced in the range of 26 views of William Bartlett’s Canadian Scenery between 1840-1880 on dinner, breakfast, tea and toilet wares. Canadian Historical China, as it is sometimes called, has been found all over the world, not just in Canada and therefore was not made exclusively for the North American market. Podmore Walker and Co., called their multi-scene pattern, “British America” and produced the most scenes in the range of 20. Podmore often enhanced the views by adding birch bark canoes and soldiers and their families. Francis Morley & Co. called the pattern “Lake” to attract the American market and, amongst the Staffordshire potters, produced the views for the longest period and offered the pattern in the widest range of colours including gilding. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5915/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/15312/fullSoap dish with Indigenous scene on the St. Lawrence (from British America series)1845-1858[Podmore, Walker and Co.]Pearl stoneware with blue transfer printBlue and white dish from the British America series, with transfer print scene of the "Indigenous Scene along the St. Lawerence" derived from William Bartlett's "Canadian Scenery" (1838) Bartlett Views of Canada According to Collard, the well-known topographical artist William Bartlett (1809-54) presented “the rawness of the new country with a softer tone that the Victorians frequently preferred to see it.” At least six potteries in Staffordshire produced in the range of 26 views of William Bartlett’s Canadian Scenery between 1840-1880 on dinner, breakfast, tea and toilet wares. Canadian Historical China, as it is sometimes called, has been found all over the world, not just in Canada and therefore was not made exclusively for the North American market. Podmore Walker and Co., called their multi-scene pattern, “British America” and produced the most scenes in the range of 20. Podmore often enhanced the views by adding birch bark canoes and soldiers and their families. Francis Morley & Co. called the pattern “Lake” to attract the American market and, amongst the Staffordshire potters, produced the views for the longest period and offered the pattern in the widest range of colours including gilding. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5918/rdf