Nineteenth and Early Twentieth Century Ceramics

In the closing years of the eighteenth century, Josiah
Spode developed the first bone china. This hybrid porcelain contains
almost 50 per cent calcined bone ash as well as kaolin and feldspar. It
amalgamated two earlier developments in English porcelain: bone ash,
used first by the Bow manufactory; and kaolin, discovered by William
Cookworthy. Bone china was soon adopted by many producers in England
because wares could be made with thin, strong bodies that were more
stable in the kiln and less expensive to produce.
By 1799 Joseph Poulson, the partner of Thomas Minton, began making
bone china next door to Minton’s earthenware manufactory in
Stoke-on-Trent. It was marketed by Minton and financed by William
Pownall.  Production continued until about 1816. During this period at
least 948 different patterns were introduced. In 1824, a purpose-built
manufactory was built by Minton who introduced an improved formula for
bone china.  Minton was one of the foremost and most innovative
producers of ceramics in England throughout the nineteenth century.
The Gardiner Museum collection of Minton was established by N. Robert
Cumming. It ranges from a deep assemblage of early patterns and shapes,
through to wares of the early twentieth century.

William Wentworth-Fitzwilliam, Viscount Milton (1839–1877) and Dr. Walter Butler Cheadle (1836–1910) travelled from Quebec to Victoria between 1862 and 1863, later publishing an account of their adventures, The North-West Passage by Land (London, 1865). To commemorate their journey, Lord Milton commissioned two dessert services decorated with scenes from the publication from Minton. He presented one to his travelling companion, Dr. Cheadle.

This Minton Moon Flask vase was modelled as a Ming Period pilgrim flask of flattened globular form.

It is decorated in cloisonne style, with polychrome enameling and affronted stylized phoenix birds, and interlaced foliage on a turquoise or bleu celeste ground, with gilt details.

The Gardiner’s collection of ceramics for the Canadian
market includes pottery made in Canada in the nineteenth and early
twentieth centuries, with a focus on Ontario and Quebec, and tableware
made in England for export to various parts of the British Empire.
The group of tableware made for export to the Canadian market
consists of transfer-printed earthenware with Canadian imagery made in
the second half of the nineteenth century in the potteries of
Staffordshire, England. Presenting arctic scenery, topographical views,
and representations of Canadian sports among other themes, these
products contributed to the development of a romantic image of Canada,
and the dissemination of themes of nationhood and identity.
This collection was greatly enhanced by a gift from Barbara and James Moscovich.

The exploits of Sir William Parry (1790–1855) on his two expeditions to the Arctic were popular on both sides of the Atlantic after the publication of his Journal of a Voyage of Discovery of a North-West Passage in 1821 and 1824. Here we see the ships Hecla and Griper in the ice at Melville Sound. A border of tropical animals encircles the scene, perhaps because Parry was seeking a viable northern route to China and India.

Platter with the Death of General James Wolfe (1727-1759)

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.

This jug with brown transfer-print of early Canadian sports scenes depicts figures playing lacrosse on one side and tobagganing on the other.

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.