96https://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/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/13975/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/13975/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/13975/fullDish with Dogwood Flower1891[Mary Ella Dignam]Porcelain with enamelsNorth Americanhttps://emuseum.gardinermuseum.com/objects/4118/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/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/13975/fullLamp Base in the Art Nouveau Style1912[A.M. Kearney, Willets Manufacturing Company]Hard-paste porcelain with overglaze enamelsNorth Americanhttps://emuseum.gardinermuseum.com/objects/4183/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/13975/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/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullButter pat dish with View of St. Regis Village (from the British America Series)1842-1859[Podmore, Walker and Co.]Earthenware with blue transfer printBlue and white transfer print butter pat dish from the British America Series, with a View of St. Regis Indigenous Village and vermiculated and foliate border. The scene was taken from William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5919/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with view of an Indigenous Scene along the St. Lawrence (from the British America Series)[Podmore, Walker and Co.]Earthenware with blue transfer printPlate with blue and white transfer print from the British America Series with a view of an Indigenous Scene along the St. Lawerence. The scene is from William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5922/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSmall dish with scene of the Green at Fredericton, NB (from the British America Series)1842-1859[Podmore, Walker and Co.]Earthenware with brown transfer printBrown and white dish from the British America Series with a transfer print of the "Green at Fredericton N.B." and a vermiculated and foliate border. Image was taken from "Canadian Scenery" by William Bartlett. Scene shows a church and town by water, with some boats near by and figures on shore line.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5925/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter with View of Gentlemen's Cabin (from Boston Mails Series)1841-1851[J. and T. Edwards]Earthenware with black and white transfer printPlatter with a scene from the "Boston Mails" Series, with a black and white view of a gentlemen's cabin on a pre-titanic ocean liner. Scene reflects the transatlantic mail service between England and North America. Boston Mails Series The Boston Mails series depicts views of steamships from the British and North American Royal Mail Steam-Packet Company. In 1840 Canadian Samuel Cunard (1787-1865) of Halifax, Nova Scotia was the first to cross the Atlantic with a fleet of wooden paddle-wheelers – steam replaced sails – carrying the royal mails, and following regular schedules. Sir William Edward Parry awarded Cunard the £60 contract in 1830 because he promised to deliver the mail with a schedule and punctuality similar to the railway trains. Three different potters celebrated Cunard's achievements who formed a partnership with a Scotsman and built four ships: Britannia, Acadia, Caledonia and Columbia. Though reflecting contact with Boston, this pattern was popular in Canada, appearing in Toronto in the 1840s. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5812/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullEwer with a Gentleman’s Cabin on a Steamship1841-1851[J. and T. Edwards]Earthenware with black transfer print from the “Boston Mails” seriesEwer with a scene from the "Boston Mails" Series, with a black and white view of a gentlemen's cabin on a pre-titanic ocean liner. Scene reflects the transatlantic mail service between England and North America. Boston Mails Series The Boston Mails series depicts views of steamships from the British and North American Royal Mail Steam-Packet Company. In 1840 Canadian Samuel Cunard (1787-1865) of Halifax, Nova Scotia was the first to cross the Atlantic with a fleet of wooden paddle-wheelers – steam replaced sails – carrying the royal mails, and following regular schedules. Sir William Edward Parry awarded Cunard the £60 contract in 1830 because he promised to deliver the mail with a schedule and punctuality similar to the railway trains. Three different potters celebrated Cunard's achievements who formed a partnership with a Scotsman and built four ships: Britannia, Acadia, Caledonia and Columbia. Though reflecting contact with Boston, this pattern was popular in Canada, appearing in Toronto in the 1840s. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5813/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullTeacup and saucer with View of Gentlemen's Cabin with ship in the interior (from the Boston Mails Series)1840-1851[J. and T. Edwards]Earthenware with pink transfer printTeacup and saucer from the "Boston Mails" series. The cup depicts a scene of a gentleman's cabin on an ocean liner. On the inside rim a transfer print portraying the ship. The saucer shows another variation of the gentlmens cabin with 3 figures sitting at a table. The rim of the sauce also portrays the image of a ship. Boston Mails Series The Boston Mails series depicts views of steamships from the British and North American Royal Mail Steam-Packet Company. In 1840 Canadian Samuel Cunard (1787-1865) of Halifax, Nova Scotia was the first to cross the Atlantic with a fleet of wooden paddle-wheelers – steam replaced sails – carrying the royal mails, and following regular schedules. Sir William Edward Parry awarded Cunard the £60 contract in 1830 because he promised to deliver the mail with a schedule and punctuality similar to the railway trains. Three different potters celebrated Cunard's achievements who formed a partnership with a Scotsman and built four ships: Britannia, Acadia, Caledonia and Columbia. Though reflecting contact with Boston, this pattern was popular in Canada, appearing in Toronto in the 1840s. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5811/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with a view of the Ladies' Cabin, border with vignettes of steamships Acadia and Columbia (from the Boston Mails Series)1841-1851[J. and T. Edwards]Earthenware with blue transfer printPlate with a scene from the "Boston Mails" Series with a view from the Ladie's Cabin, border with vignettes of steamships, Acadia and Columbia Boston Mails Series The Boston Mails series depicts views of steamships from the British and North American Royal Mail Steam-Packet Company. In 1840 Canadian Samuel Cunard (1787-1865) of Halifax, Nova Scotia was the first to cross the Atlantic with a fleet of wooden paddle-wheelers – steam replaced sails – carrying the royal mails, and following regular schedules. Sir William Edward Parry awarded Cunard the £60 contract in 1830 because he promised to deliver the mail with a schedule and punctuality similar to the railway trains. Three different potters celebrated Cunard's achievements who formed a partnership with a Scotsman and built four ships: Britannia, Acadia, Caledonia and Columbia. Though reflecting contact with Boston, this pattern was popular in Canada, appearing in Toronto in the 1840s. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5909/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter with the Death of General James Wolfe (1727–1759)ca. 1826-28[Jones and Sons]Earthenware with blue transfer print from the “British History” seriesBlue and white platter from the British History Series. This scene commemorating the Death of General Wolfe, Sept 13, 1759 was popular for a half-century and represents an early view of Canada on pottery. It was portrayed by several artists and potteries but the most famous image was by historical painter, Benjamin West. Josiah Wedgwood was the first to adapt the West image on tableware and he used the print by William Woollet available in 1776. The portrayal depicts a Pieta composition and portrays Native Americans and horses to heighten the narrative. This platter is more stilted than Wedgwood’s interpretation. The engraver added a horse and rider, and depicted the Native American standing rather than kneeling.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5799/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter with the Outlet to Lake Memphramagog1845-1858[Francis Morley and Co.]Earthenware with underglaze blue transfer print from the Lake series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume II, 1842Blue & White platter from the Lake series with a transfer-print of a scene depicting a lake with a bridge crossing in the background. The foreground contains a group of figures standing near a tree at the edge of the lake.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5795/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter with view of Hallowell (Picton) - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printBlue and white platter portraying Hallowell, the early name for Picton. The scene is of figures standing on a shoreline with a city in the background.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5798/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMug with and Indigenous Scene on the St. Lawrence - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printMug with blue and white transfer print from the Lake series portraying "Indigenous scene along St. Lawrence" after a scene from William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5818/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullCreamer with view of Indigenous Scene on the St. Lawrence - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printCreamer with blue and white transfer-print of an Indigenous Scene along the St. Lawrence, after a scene from William Bartlett's Canadian Scenery (1838). European Ceramicshttps://emuseum.gardinermuseum.com/objects/5820/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSugar Bowl with the Village of Cedars, St. Lawrence River1845-1848[Francis Morley and Co.]Earthenware with blue transfer print from the “Lake” series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume I, 1840Blue and white covered sugar bowl from the Lake series with a portrayal of "Village of the Cedars" from William Bartlett's Canadian Scenery (1838) and a rose swag and foliate scroll 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/5821/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullTeapot with view of Georgeville, Ontario - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printTeapot with blue and white transfer printed view of Georgeville, Ontario, after a scene from William Bartlett's Canadian Scenery (1838), with rose swag and foliate scroll borderEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/5822/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullCup and Saucer with a view of Navy Island1845-1859[Francis Morley and Co.]Earthenware with gray transfer print from the “Lake” series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume I, 1840Cup and saucer with gray transfer-printed view of Navy Island from the Lake series, after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5808/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullTureen with view of Village of Cedars - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printTureen with blue transfer printed view of Village of the Cedars from the Lake series, after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5806/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullCovered soap dish with Indigenous Scene on the St. Lawrence - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with gray transfer-printCovered soap dish with gray transfer-printed Indigenous Scene on the St. Lawrence. The scene shows a canoe on the water with tents on the shoreline, surrounded by a rose swag and foliate scroll border. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5898/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullCovered dish with Indigenous Scene on the St. Lawrence1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printCovered dish with blue transfer-printed Indigenous Scene along the St. Lawrence within a rose swag foliate border, from the Lake series after William Bartlett's Canadian Scenery (1838) European Ceramicshttps://emuseum.gardinermuseum.com/objects/5902/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with view of Chaudière Bridge - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printPlate with blue and white transfer print from the Lake series of Claudière Bridge within a rose swag and foliate scroll border, after William Bartlett's Canadian Scenery (1838) European Ceramicshttps://emuseum.gardinermuseum.com/objects/5911/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSoup bowl with view of Chaudière Bridge - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printSoup bowl with blue and white transfer print from the Lake series of Chaudière Bridge within a rose swag and foliate scroll border, after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5912/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSoup Bowl with an Indigenous Scene on the St. Lawrence1845-1858[Francis Morley and Co.]Earthenware with a transfer print from the Lake series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume II, 1842Soup bowl with grey and white transfer-print from the Lake series of an Indigenous Scene on the St. Lawrence within a rose swag and foliate scroll border, after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5913/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullGravy drainer with Indigenous Scene on the St. Lawrence - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with green transfer-printGravy drainer with green and white transfer print from the Lake series depicting an Indigenous Scene along the St. Lawrence within a rose swag foliate border, after William Bartlett's Canadian Scenery (1838) European Ceramicshttps://emuseum.gardinermuseum.com/objects/5916/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullStand with the Village of Cedars, St. Lawrence River1845-1858[Francis Morley and Co.]Earthenware with blue transfer print from the “Lake” series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume I, 1840Platter with blue and white transfer-print from the Lake series with a view of Village of the Cedars within a rose swag and foliate scroll border, after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5917/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with view of the Rideau Canal, Bytown - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printPlate with blue and white transfer print from the Lake series, with a view of the Rideau Canal in Bytown (Ottawa) within a rose swag and foliate scroll border, after William Bartlett's Canadian Scenery (1838) European Ceramicshttps://emuseum.gardinermuseum.com/objects/5924/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter with a view of Village of Cedars - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printPlatter with blue and white transfer print from the Lake series with a view of Village of Cedars within a rose swag and foliate scroll border, after William Bartlett's Canadian Scenery (1838) European Ceramicshttps://emuseum.gardinermuseum.com/objects/5926/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter with a view of an Indigenous Scene on the St. Lawrence - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printPlatter with blue and white transfer-print from the Lake series depicting an Indigenous Scene on the St. Lawrence within a rose swag foliate border, after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5927/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with a view of the Church as Point-Levi - from the Lake series1845-1858[Francis Morley and Co.]Earthenware with blue transfer-printPlate with blue and white transfer-print of a Church at Point-Levi within a rose swag and foliate scroll border, from the Lake series after William Bartlett's Canadian Scenery (1838)European Ceramicshttps://emuseum.gardinermuseum.com/objects/5928/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullCake plate from the "Arctic Scenery" seriesca.1840[Unknown Artist]Earthenware with blue transfer printCake plate from the "Arctic Scenery" series with a view of a dog sled and two ships on the snow surronded by icy peaks. Rim is decorated with images of animals. Arctic Scenery The Arctic series represents “a glorious perversion of geography," as one 1844 writer describes them in reference to the tropical animal border decoration encircling wintery scenes of sledging, hunting and ice huts series. Though back stamped with a pattern name the pottery manufacturer remains unknown. The transfer prints on these pieces were adapted as composites from engravings of Edward Parry's Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific published in 1821 and Journal of a Second Voyage for the Discovery of North-West Passage from the Atlantic to the Pacific, published in 1824. There were numerous printed illustrations of Arctic expeditions because Arctic explorers became heroes on both sides of the Atlantic but why Edward Parry’s journal was selected to be printed on tableware is unclear. The incongruous African animals around the border are from William Jardine’s The Naturalist’s Library, a series of colour illustrated booklets printed between 1833 - 43. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5906/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with William Parry’s Ships Hecla and Griper at Melville Soundca.1840[Unknown Artist]Earthenware with blue transfer print from the “Arctic Scenery” series, inspired by William Parry (1790–1855), Journal of a Voyage of Discovery a Northwest Passage, 1821Plate with blue and white transfer print from Arctic Scenery series with Edward Parry's Ships, Hecla and Griper at Melville Sound, a Sledge and dog team with an exotic animal border. Arctic Scenery The Arctic series represents “a glorious perversion of geography," as one 1844 writer describes them in reference to the tropical animal border decoration encircling wintery scenes of sledging, hunting and ice huts series. Though back stamped with a pattern name the pottery manufacturer remains unknown. The transfer prints on these pieces were adapted as composites from engravings of Edward Parry's Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific published in 1821 and Journal of a Second Voyage for the Discovery of North-West Passage from the Atlantic to the Pacific, published in 1824. There were numerous printed illustrations of Arctic expeditions because Arctic explorers became heroes on both sides of the Atlantic but why Edward Parry’s journal was selected to be printed on tableware is unclear. The incongruous African animals around the border are from William Jardine’s The Naturalist’s Library, a series of colour illustrated booklets printed between 1833 - 43. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5907/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with an Arctic Landscapeca.1840[Unknown Artist]Earthenware with grey transfer print from the “Arctic Scenery” series, inspired by William Parry (1790–1855), Journal of a Second Voyage of the Discovery of a Northwest Passage, 1824Plate with grey transfer-print from the Arctic Scenery series with a view of an explorer with mother and child. Scene depicting building of an igloo, figures and dogs, with icy peaks in the background. Rim decorated with exotic animals. Arctic Scenery The Arctic series represents “a glorious perversion of geography," as one 1844 writer describes them in reference to the tropical animal border decoration encircling wintery scenes of sledging, hunting and ice huts series. Though back stamped with a pattern name the pottery manufacturer remains unknown. The transfer prints on these pieces were adapted as composites from engravings of Edward Parry's Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific published in 1821 and Journal of a Second Voyage for the Discovery of North-West Passage from the Atlantic to the Pacific, published in 1824. There were numerous printed illustrations of Arctic expeditions because Arctic explorers became heroes on both sides of the Atlantic but why Edward Parry’s journal was selected to be printed on tableware is unclear. The incongruous African animals around the border are from William Jardine’s The Naturalist’s Library, a series of colour illustrated booklets printed between 1833 - 43. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5908/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullGravy Boat with an Arctic Landscapen.d[Unknown Artist]Earthenware with grey transfer print from the “Arctic Scenery” series, inspired by William Parry (1790–1855), Journal of a Second Voyage of the Discovery of a Northwest Passage, 1824Gravy boat with a a grey transfer-print rom the "Arctic Scenery" series. Image depicts landscape with fishing, igloos and figures in a boat Arctic Scenery The Arctic series represents “a glorious perversion of geography," as one 1844 writer describes them in reference to the tropical animal border decoration encircling wintery scenes of sledging, hunting and ice huts series. Though back stamped with a pattern name the pottery manufacturer remains unknown. The transfer prints on these pieces were adapted as composites from engravings of Edward Parry's Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific published in 1821 and Journal of a Second Voyage for the Discovery of North-West Passage from the Atlantic to the Pacific, published in 1824. There were numerous printed illustrations of Arctic expeditions because Arctic explorers became heroes on both sides of the Atlantic but why Edward Parry’s journal was selected to be printed on tableware is unclear. The incongruous African animals around the border are from William Jardine’s The Naturalist’s Library, a series of colour illustrated booklets printed between 1833 - 43. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5920/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlate with Arctic Landscapeca. 1840[Unknown Artist]Earthenware with brown transfer print from the “Arctic Scenery” series, inspired by William Parry (1790–1855), Journal of a Second Voyage of the Discovery of a Northwest Passage, 1824Plate with brown and white transfer-print in the "Arctic Scenery" series with a view of constructing an igloo. Arctic Scenery The Arctic series represents “a glorious perversion of geography," as one 1844 writer describes them in reference to the tropical animal border decoration encircling wintery scenes of sledging, hunting and ice huts series. Though back stamped with a pattern name the pottery manufacturer remains unknown. The transfer prints on these pieces were adapted as composites from engravings of Edward Parry's Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific published in 1821 and Journal of a Second Voyage for the Discovery of North-West Passage from the Atlantic to the Pacific, published in 1824. There were numerous printed illustrations of Arctic expeditions because Arctic explorers became heroes on both sides of the Atlantic but why Edward Parry’s journal was selected to be printed on tableware is unclear. The incongruous African animals around the border are from William Jardine’s The Naturalist’s Library, a series of colour illustrated booklets printed between 1833 - 43. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5921/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSmall jug with sylized flowers1909[Florence Helena McGillivray]Glazed porcelain blank, hand-painted with overglaze enamels and gildingThe artist behind the stylized crocuses that decorate this jug was no stranger to depicting Canadian flora. Florence Helena McGillivray was a prolific Canadian artist renowned for her landscape paintings. Less studied, or collected, are McGillivray’s ceramic works. McGillivray created her ceramics by decorating porcelain blanks in a process known as a china painting. A popular activity among Canadian middle and upper-class women at the time, china painting was also seen as an avenue to generate income independently. Although McGillivray supplemented her own income by teaching art, she may have seen china painting as another revenue stream. It is also possible that these works remained personal: other known pieces of McGillivray’s china painting include a portrait of her mother on a porcelain tile and bracelet kept by her sister.Modern and Contemporary Ceramicshttps://emuseum.gardinermuseum.com/objects/6301/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullDog with Leash1880-1885[Daniel Orth]Moulded red earthenwareDog sitting on hind legs with body facing sideways and head facing forwards. The dog has a collar around its neck with a leash trailing down the front of the body. It is different shades of brown ranging from light chestnut to dark brown. Attributed to Daniel Orth but possilbly John KarpNorth Americanhttps://emuseum.gardinermuseum.com/objects/6268/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullAcorn Wall Planter with Prince of Wales Feathers and Beavers and Maple Leavesca. 1860[Brantford Pottery, Campbell Pottery]Press moulded earthenwareWall vase in the shape of an acorn with a drainage hole at the bottom, possibly by Brantford or Campbell Pottery. Brown in colour with dark yellow painted rim. Exterior decorated with a floral arrangement (possibly tulips) in the centre, with a maple leaf and beaver decoration on either side . The top rim is bordered with large feathers/leaves separated into 3 groups with decorativie ribbon and crosses stretching across the rim.North Americanhttps://emuseum.gardinermuseum.com/objects/6271/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPitcher with Grape Clusters1885-1895[Campbell Pottery]Small brown pitcher decorated with grape clusters on a vine below the rim. The bottom is decorated with large ferns/grass and the handle is also decorated with a large fern. The rim has a wavy design.North Americanhttps://emuseum.gardinermuseum.com/objects/6273/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMetallic Pitcher19th Century[Unknown Artist]StonewareMedium sized pitcher with black, silver, and bronze metallic colours that decoratively drip down the vessel.North Americanhttps://emuseum.gardinermuseum.com/objects/6274/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSpattered Baking Dish1870-1900[Unknown Artist]red earthenwareShallow serving dish with protruding rim. Orange base colour that is brown spattered then overglazed.North Americanhttps://emuseum.gardinermuseum.com/objects/6276/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBanded Bowllate 19th Century[Cap Rouge]Glazed earthenware Medium sized yellow bowl with four thin stripes decorating the exterior. The stripes in order are red, white, white, red.North Americanhttps://emuseum.gardinermuseum.com/objects/6282/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBowl with Fernslate 19th century[Cap Rouge]Yellow-ware with mocha patternMedium sized pale yellow bowl with a wide cream coloured band around the middle exterior. Green ferns decorate the cream band on either side.North Americanhttps://emuseum.gardinermuseum.com/objects/6283/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullLarge Spattered Bowllate 19th Century[Unknown Artist]EarthenwareLarge dark orange bowl spattered with brown and green. Has a protruding rim.North Americanhttps://emuseum.gardinermuseum.com/objects/6284/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBlue Teapot with White Flowers1878-1880[St. Johns Stone Chinaware Company]IronstoneMedium sized light powder blue teapot with white flower decorations on either side of the pot as well ason the lid. There are rope decorations on the top of the pot handle, as well as on the handle on the lid. The markings on the bottom read 'Stone Chinaware Co., St. John's Quebec'. There is also a stamped crest on the bottom decorated with a lion and a unicorn.North Americanhttps://emuseum.gardinermuseum.com/objects/6269/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullDavies Pot[Davies]Red earthenwareRose pink coloured medium size pot with writing on the exterior. This is a returnable crock, made by the William Davies Company, Toronto's largest pork producer and meat exporter in the late 19th century. The company also owned a chain of retial stores, the first major chain in Canada, with crocks such as this being available in the stores.North Americanhttps://emuseum.gardinermuseum.com/objects/6270/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPitcher with Beaver and Leaves1885-1895[Campbell Pottery]Press moulded Rockingham glazeBrown medium sized pitcher decorated with a beaver on a log surrounded by leaves on either side of the vessel. The rim is designed in a wave pattern and the bottom of the pitcher is designed with thick ribbed lines.North Americanhttps://emuseum.gardinermuseum.com/objects/6272/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSpattered Mixing Bowl1870-1900[Brantford Pottery]Glazed red earthenwareMedium sized mixing bowl with orange base colour that has brown spattering and transparent overglaze. There is a spout on the edge of the rim and the exterior is decorated with a ridged pattern.North Americanhttps://emuseum.gardinermuseum.com/objects/6277/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullDark Orange and Green Potlate 19th Century[Unknown Artist]EarthenwareMedium sized dark orange and green pot with protruding rim. An incised line is seen goes around the entire pot directly under the rim. Mixing bowl for piesNorth Americanhttps://emuseum.gardinermuseum.com/objects/6278/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullS. Skinner & Co. 2 Gallon Jug1855-1867[S. Skinner & Co.]Glazed EarthenwareLarge brown jug with pouring spout and handle. Markings on the front with two incised lines immediatly below the markings.North Americanhttps://emuseum.gardinermuseum.com/objects/6279/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMetallic and Yellow Juglate 19th Century[Unknown Artist]EarthenwareMedium sized jug with pouring spout and handle.Top half is a metallic brown colour and a portion of the bottom half is mustard yellow. There is a single incised line at the top of the main body.North Americanhttps://emuseum.gardinermuseum.com/objects/6280/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMedalta Dish[Medalta Potteries Ltd.]Stoneware with Rockingham glazeSmall shallow dish that is tan with brown spatter/spots. Markings imprinted on bottom.North Americanhttps://emuseum.gardinermuseum.com/objects/6281/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullJug with basket weave pattern1930s[Medalta Potteries Ltd.]Glazed stonewareNorth Americanhttps://emuseum.gardinermuseum.com/objects/6312/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPlatter1845-1858[Francis Morley and Co.]Earthenware with lavender transferprint from the “British America” series, inspired by William Bartlett (1809–1854), Canadian Scenery, Volume I, 1840European Ceramicshttps://emuseum.gardinermuseum.com/objects/6795/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullDish with a view of Dufferin Terrace and Citadelca.1880[Britannia Pottery]Earthenware with brown transfer printThis dish was most likely commissioned by FT Thomas, a china import company in Quebec, from the Brtiannia Pottery in Glasgow, Scotland. Francis Thomas commissioned ivory toned table ware and toilet services using photographs with views of Quebec.European Ceramicshttps://emuseum.gardinermuseum.com/objects/6796/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullTeapot1926[George Emery Sr., Ecanada Art Pottery]Blue stoneware with applied white reliefThe soft blue and white relief of this teapot intentionally recalls Jasper ware, a type of ceramic developed in the 1700s by Wedgwood, an important English manufactory. The designer, George Emery, had apprenticed at Wedgwood before immigrating to Canada. Once here, he founded Ecanada Art Pottery in Hamilton, Ontario to reproduce the storied ware using imported white clay from England and the United States. The foreign material takes on a decidedly “Canadian” identity by depicting a twisted pine tree, part of the national iconography following the wide promotion of paintings by the Group of Seven in Canada from the 1920s to the 1970s.North Americanhttps://emuseum.gardinermuseum.com/objects/6823/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullJug1870-1890[Kinloss Pottery]Earthenware with red tinted lead glaze, applied ornamentNorth Americanhttps://emuseum.gardinermuseum.com/objects/6822/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullFace Jugmid-19th centuryStonewareFrom the sale record: Justus Morton established Brantford's first stoneware pottery in 1849. He ran his pottery in Brantford Canada West from 1849-1856. He must have done a good business, because many of his crocks line colelctors shelves today. Most Morton and Co stoneware is decorated with a simple flower design. This remarkable face is something exceptional for Morton and very rare for Canadian stoneware generally. The face design is centred in a floral frame. The expression is wry with just a hint of a smile. The design is well rendered in rich blue glaze. This small one gallon jug is 11 1/4" tall. There is a crack through the handle and a second hairline that runs around two thirds of the neck. A rare and important piece of Canadian stoneware. One of the best we have offered.North Americanhttps://emuseum.gardinermuseum.com/objects/9517/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullSpaniel Figuremid-19th centuryMoulded earthenwareFrom the sale record: John Brown made his mark potting in Bowmanville as both a modeller and for his experimenting with clays. He famously recevied a patent in 1858, from nother than Sir John A. Macdonald (then Attorney-General for Ontario) for his use of local clays and unique glazes. Plate 35A in Collard's Nineteenth-Century Pottery and Porcelain in Canada shows an example of a large spaniel shaped bank marked on teh base. J. & W.O. Brown 1859. Joseph and William Brown, were potters in Toronto. This is an impressively large piece, standing 13 1/2 inche tall. A terrific example of the moulder's art. The details in the fur are really quite something. Some heavy flaking off the inside base edge has been professionally stabilized. A few spots on the head and body where the glaze has chipped. Overall excellent condition. An important piece of redware from one of Ontario's early and innovative potting families.North Americanhttps://emuseum.gardinermuseum.com/objects/9518/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullJuglate 19th century[Brantford Pottery]StonewareFrom the sale record: A beautiful big 5 gal crock from W.H. Lake Toronto. An amazing Brantford Potteries decoration from either Welding or Welding and Belding. Near mint condition, which his quite something given this piece's impressive size.North Americanhttps://emuseum.gardinermuseum.com/objects/9519/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullLarge Brantford Bowllate 19th century[Brantford Pottery]Earthenware with rockingham glazeNorth Americanhttps://emuseum.gardinermuseum.com/objects/9522/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullTwo gallon jugc.1839StonewareFrom the sales record: The first stoneware pottery in Canada was established by Moses Farrar in St. Johns Lower Canada in 1839. No other stoneware pottery existed for ten years, making Moses Farrar the only stoneware pottery operating before 1841, when the Act of Union created Canada West and Canada East. Pieces from this earliest Farrar pottery are exceedingly rare. This is the first we have ever offered. Marked Moses Farrar, S.t Johns LC. The form of this crock is unusual. It is either an odd shaped cream crock or possibly a pharmacy piece. I have seen about a dozen LC marked pieces over the years with the most being handled ovoid jugs. This is the only one known in this unusual form. 2 gal size. 11 1/2" tall. The left handle and two small rim flakes have been professionally restored. An important Lower Canada piece from Canada's first stoneware potter.North Americanhttps://emuseum.gardinermuseum.com/objects/9523/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullCrocklate 19th centuryStonewareFrom the sales record: The Humberstone family of potters played an important role in the history of pottery in Canada. Through successive generations, the Humberstones made pottery in Newton Brook, today a part of Greater Toronto. Despite a fair sized operation, very few marked pieces of Humberstone pottery exist in collections. It would seem the Humberstones marked very little of their ware. Rarer still are decorated pieces. This crock is marked S.T. (Simon Thomas) Humberstone-Newtonbrook. It is a 6 gal butter crock. The most remarkable thing about this crock is the decoration. The flowers appear to be done in brown slip, instead of the usual cobalt blue. It is possible the slip mixture was offor something happened in the firing to change the colour, but there is not a hint of blue in the design. Note in this same sale we have a piece of brown slip covered Humberstone pottery, so the ydid use a brown glaze. We rarely list a piece of stoneware as mint, but this crock is perfect. There is a bit of calcium (hard water) staining, but no damage. Rings like a bell! Decorated Humberstone pieces are extremely rare. This one with the brown flowers is unique.North Americanhttps://emuseum.gardinermuseum.com/objects/9525/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBean potlate 19th centuryStonewareFrom the sales record: A scarce 1 gal size bean pot from Rosborough and Thomas, Importers, China and Glassware, 174 Granville Street, Halifax. Near mint condition with a couple of very minor flakes off the inside rim. The lid is a dead match for the glaze and is almost certainly original. This is a form that you seldomd see marked by the merchant.North Americanhttps://emuseum.gardinermuseum.com/objects/9526/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullJuglate 19th centuryGlazed red earthenwareFrom the sales record: While Ahrens produced a lot of ware, very few marked pieces have survived. This early redware jug is marked J.H. Ahrens, Paris CW. The glaze is an applesauce colour over a dark red body. A large 1 gal size, 12" tall. Excellent condition with no cracks or chips. A bit of light flaking to the glaze.North Americanhttps://emuseum.gardinermuseum.com/objects/9529/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullPeter Denis Juglate 19th centuryStonewareFrom the sales record: Many of the most beautiful crocks from Quebec were made and decorated by Orrin Ballard when he worked as a potter in St. Johns QC. Sunflowers are one of his best known and mot popular designs. Donald Webster chose to picture on on the cover of his book, Early Canadian Pottery. Crocks decorated with the Ballard sunflower are rare and highly sought-after. We are pleased to offer what is undoubtably the best and most monumental example of this rare Ballard design. The flower on this 3 gal jug is huge, covering most of the face of the crock. The manner in whic hboth the flower and the leaves are executed is quite unique. Marked Peter Denis, Cul de Sace Market, Lower Town, Quebec (City). While not marked CE, this is definitely a Canada East era piece. The condition of this piece is near mint. There are a couple of shallow flakes off the mouth. A few poststones to the body, from manufacturing. Perfect beautiful handle. Very clean glaze. The best Quebec merchant crock we have ever oofered!North Americanhttps://emuseum.gardinermuseum.com/objects/9530/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMolasses juglate 19th centuryStonewareFrom the sales record: A fat-bodied 1 gal molasses jug incised in five lines: J.G. Huffman, Wholesale $ Retail, Chemists and Druggists, Front Street, Napanee". While not makred, this is certainly a Canada West era piece, made by the Picton Potteries. Beautiful chocolate coloured glaze with a slighly metallic finish. I have always appreciated the form and exaggerated mouth on these Picton molasses jugs. Excellent condition with a nearly invisible 3" hairline at the rear that runs into the base of the handle. This is mentioned for complete accuracy, but it is very minor damage.North Americanhttps://emuseum.gardinermuseum.com/objects/9532/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullJugEarthenware (redware)From the sales record: A gorgeous 1 gal redware jug with heavily mottled-glaze. This form, lip finish and glaze is typically attributed to the Burns Pottery in Holmesville, Ont. If not Burns, then certainly another SW Ont pottery. 9 3/4 " tall. Dead mint condition. Check out that glaze!North Americanhttps://emuseum.gardinermuseum.com/objects/9533/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullOvoid jugc.1839-1841StonewareFrom the sales record: For the past few years, we have had the pleasure of selling a number of pieces from the Maurice Richer Collection. Maurice is the authority on early Quebec pottery, having published two books on the subject. This incredible 3 gal ovoid jug from Moses Farrar St. Johns Lower Canada was among his very best. Moses Farrar Lower Canada marked pieces are extremely rare and most are found damaged. There are no decorated pieces known with this mark, only plain forms. This ovoid jug has a beautiful exaggerated ovoid shape. The base is just 5 1/4" in diameter. 15 1/4" tall. This jug was made to serve a cooler and is the only such cooler we have ever seen. Truly a unique form. Near mint with just some minor glaze crazing on the neck and around where the handle meets the mouth. As clean as the day it was made. This jug was made between 1839-1841. Incredible that it survived in such perfect condition! A museum grade piece.North Americanhttps://emuseum.gardinermuseum.com/objects/9534/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBird jugc.1850-1875StonewareFrom the sales record: Orrin Ballard established the first stoneware pottery in Cornwall Canada West in 1864. He ran the pottery for just three years before selling it. Bird crocks from the Cornwall Pottery are rare and beautiful. See Newland's Early Ontario Potters plate 4.2 for an example. This large 5 gal jug has the same rare design. The deocration appears brown, rather than the usual blue. This is one of only a handful of Canadian stoneware crocks I have seen with a brown decoration. I suspect this was intended to be a cobalt blue, but something bout the composition of the glaze or the firing resulted in it turning brown. The decoration is well rendered and loos great on this large size jug. The condition is chanllenging to describe. This is a big jug (over 19" tall) and it would certainly have been one of the biggest pieces in the kiln. I suspect the firing was overheated. The saltglaze is not evenly distributed on the piece. ARound the shoulder, the glaze appears to have fried leaving a pebbly texture. Lower on the body the saltglaze is normal. Up from the base edge are four short (2-3 inch) pressure cracks, that probably resulted from the sheer weight of the crock as it was fired. Thes are clearly in-manufacturying. There is a heavy chp off the front of the lip and several smaller chips in teh round. There are a number of potstones and other firing imperfections. There is a long scratch down the right side of the decoration. The body of the crock appears dark at least in part because of stain leeching through the clay. This crock still has a lovely sweet smell of molasses. This description makes the condition sound poor, the but pieces looks great. Let the pics be your guide. I have never seen a Ballard bird crock in better condition than this one. Shipping is not available on this item.North Americanhttps://emuseum.gardinermuseum.com/objects/9535/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullDouble-bird crocklate 19th centuryStonewareFrom the sales record: When George Lazier took ownership of the Picton Pottery in 1864, it was already a successful business, established fifteen years early by the Hart family. George Lazier was related, having married Samuel Hart’s daughter. George Lazier ran the pottery from 1864 to 1879. Crocks from this period decorated with birds are scarce and the birds are generally of one type. This is no ordinary Lazier bird crock. Yes, there are two crossed birds, which is extremely rare, but the style of the birds is also unusual for Lazier. Note the dots on the birds’ bodies. This is something more commonly seen on birds from the period when Skinner owned the pottery. Of course, potters and decorators stayed-on through the changes in ownership. The added element of a watch-spring or bowtie design below the birds also makes this one special. This is a large 5 gal butter crock. 11 1/2″ tall. A crack down the left side has been professionally stabilized and restored. The restoration is high quality though a line remains visible. The crock is solid and has a good ring to it. Otherwise the overall condition is excellent. The rim and handles are intact and clean. None of the staining you commonly see with butter crocks. Displays beautifully! If you own one Lazier Picton Canada West crock, it should be this one.North Americanhttps://emuseum.gardinermuseum.com/objects/9537/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBeaver teapotlate 19th century[Brantford Pottery]EarthenwareFrom the sales record: A small size Beaver teapot from the Brantford Potteries. 7 1/2" to the top of the beaver finial. In Donald Webster's publication "The Brantford Pottery" he notes that "[t]this teapot, unmarked, confroms completely to excavated shards" found at the site of the pottery. In my experience, these teapots are notorious for poor condition. The spout is almost always busted and the lid often damaged or missing entirely. This example has a professional repair to the end of the spout but is otherwise excellent. The lid has a tiny flake off the base edge. The beaver finial is perfect. You will wait a long time to find one better.North Americanhttps://emuseum.gardinermuseum.com/objects/9538/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullButter churnlate 19th centuryStonewareFrom the sales record: William Gray and Spence Betts assumed ownership of the Tilsonburg Pottery in the fall of 1883 and ran it for less than three years. During this period, the pottery decorated its wares with a beautiful and distinctive floral design. This 9 gal butter churn is a monumental piece from this short-lived operation. It stands an impressive 21" tall and is 43" in diameter at the broadest point! Churns are seldom found in sizes larger than 5 or 6 gallons. This 9 gal example is one of the largest I have seen from any Canadian pottery and must have been challenging to throw. The decoration is big, bold and beautiful! Excellent condition. Super clean with no stain. 1 1/2" chip off the underside of the left handle. Two rim chips off the right side, one about 1" and the other a sm 1/4" flake. There is a 4" hairline crack mid-body to the left of the design. 1/4" potstone front near the base. 1" potstone blowout rear. Minor stuff. This is a truly impressive piece of pottery that would be a standout in any advanced collection! No shipping on this item, pick-up or arranged delivery only.North Americanhttps://emuseum.gardinermuseum.com/objects/9539/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullBird juglate 19th centuryStonewareFrom the sales record: A 2 gal jug from Flack and Van Arsdale Cornwall Ontario. This is a beautiful example. I rarely call any crock mint, but this one is flawless. Even the handle and mouth edge are perfect. Orang-peel texture to the heavy salt-glaze. The bird design is well executed. The line you see mid body is from the turning.North Americanhttps://emuseum.gardinermuseum.com/objects/9540/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMcRea and Co. Jugc.1867StonewareFrom the sales record: I am only aware of two pieces of Canadian pottery marked 1867, with this being one. A 2 gal jug from W.R. McRae, wine merchant, Kingston Canada West. Orrin Ballard moved from St Johns Quebec to open his own pottery in Cornwall Canada West in 1864. This was a bold move as he put himself in direct competition with the Hart Potteries both in New York and Picton Canada West. The majority of stoneware used by Kingston merchants was bought from the Picton Pottery. This McRea jug is a clearly a Ballard piece both in form and decoration. I've sometimes referred to this design as the lobster, but it is clearly a monstrous flower. This flower contains a very special date, 1867, the date Canada became a country. No question this jug was decorated to mark the occasion. 13 1/2" tall. Near mint condition. A one-of-a-kind Canada West piece!North Americanhttps://emuseum.gardinermuseum.com/objects/9541/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/13975/fullMcKay's tomato jarStonewareFrom the sales record: A fabulous tiny 1/4 gal jar from McKay's noted cheap cash store Milton, Ontario. A whopping seven lines of incised writing. I love that the brothers felt the need to fully list both their names. Just under 7" tall. Near mint with the tiniest flake off the rim. This is the second time I've had the privilege of selling this exact jar. One of the best 1/4 gals you will ever see!North Americanhttps://emuseum.gardinermuseum.com/objects/9542/rdf