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30 Objects 30 Insights
Thirty Objects, Thirty Insights reflects upon the celebrated collection at the internationally renowned Gardiner Museum, Toronto, which has grown to become one of the world’s great speciality museums in its devotion to the ceramic arts. Featuring more than 100 images, the book focuses upon 30 objects that reflect the temporal and geographical breadth of the museum’s collection, as well as the universality of the medium it celebrates.
An international body of scholars and curators share their insight and expertise within the book’s collated essays to tell the story of ceramic production throughout history within a vast array of methodological approaches to the medium.
Featuring works and pieces by such illustrious names as Marc Chagall, Betty Woodman, Marilyn Levine, Wedgwood and Delft, this book is a fascinating insight into one of the greatest collections in the ceramic world.
An international body of scholars and curators share their insight and expertise within the book’s collated essays to tell the story of ceramic production throughout history within a vast array of methodological approaches to the medium.
Featuring works and pieces by such illustrious names as Marc Chagall, Betty Woodman, Marilyn Levine, Wedgwood and Delft, this book is a fascinating insight into one of the greatest collections in the ceramic world.
208 pages, Paperback
First published April 29, 2014
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January 22, 2026
I enjoy viewing all ceramics. This is a wonderful book of several beautiful ceramics at the Gardiner Museum in Toronto. Offers interesting stories about each work, written by different specialists for them all.
My favourites:
an exceptional chinoiseire charger from Lyon France c. 1750 in glazed earthenware with the five colours that work on highly fired clay (fired at temperatures of at least 900 degrees C) (34-36);
the Imari Ware flask from Japan (1650s) made of hard-paste porcelain with overglaze enamels (40-43);
the Pot-Pourri Pompadour Vase (from Vincennes Porcelain Manufactory, France c 1752) made of soft-past porcelain, enamel and gold - one of my favourite beautiful objects with large openings near the top to emit the perfume it holds and is topped by a three-dimensional carnation on the knop of the cover (92-97);
the Worcester tea pot with staghunt pattern (soft-paste porcelain with overglaze enamels from 1752)designed for collection rather than use (100-103); the Minton Moon Flask vase from 1860s of bone china, overglaze enamel and gold with flattened globular form for an ideal decorative surface and cloisonne decoration like the Chinese without the metal cells (134-139).
My favourites:
an exceptional chinoiseire charger from Lyon France c. 1750 in glazed earthenware with the five colours that work on highly fired clay (fired at temperatures of at least 900 degrees C) (34-36);
the Imari Ware flask from Japan (1650s) made of hard-paste porcelain with overglaze enamels (40-43);
the Pot-Pourri Pompadour Vase (from Vincennes Porcelain Manufactory, France c 1752) made of soft-past porcelain, enamel and gold - one of my favourite beautiful objects with large openings near the top to emit the perfume it holds and is topped by a three-dimensional carnation on the knop of the cover (92-97);
the Worcester tea pot with staghunt pattern (soft-paste porcelain with overglaze enamels from 1752)designed for collection rather than use (100-103); the Minton Moon Flask vase from 1860s of bone china, overglaze enamel and gold with flattened globular form for an ideal decorative surface and cloisonne decoration like the Chinese without the metal cells (134-139).
Displaying 1 of 1 review