Majolica Mania: Transatlantic Pottery in England and the United States, 1850–1915, leaves the Bard Graduate Center Gallery on January 2, 2022.

If you aren’t able to visit in-person, check out new additions to the Majolica Mania online exhibition below! This online companion to Majolica Mania explores the major themes of the exhibition, situating majolica in the dynamic economic, social, and cultural contexts of the second half of the nineteenth century. Interactive experiences throughout offer unique views of featured objects on display.

More Majolica Mania!

Majolica Poetry Project
In conjunction with its Majolica Mania exhibition, Bard Graduate Center commissioned poems by acclaimed poets, Wayne Koestenbaum, Sally Wen Mao, S*an D. Henry Smith, and Stacy Szymaszek. In a virtual poetry reading on November 15, 2021, the poets shared the inspirations for their work.

Majolica in Drag
Created by BGC teen interns, Craft, Camp, and Color: Majolica in Drag explores the intersection of pottery and performativity in mid-nineteenth- century majolica ware.

Banner: Photo by Da Ping Luo.

Majolica Poetry Project: Teapot, shape no. 1851. Henry Hope Crealock (1831–1891), designer. Minton & Co., Stoke-upon-Trent, Staffordshire. Thomas Goode & Co., London, retailer. Designed 1873; this example 1874. Earthenware with majolica glazes. Joan Stacke Graham Collection.

Majolica in Drag: Josiah Wedgwood & Sons. Rubens Garden Seat, pattern no. M1401, this example 1873. Earthenware with majolica glazes. Impressed marks: WEDGWOOD // L // FAB // LLB; painted mark: M / 1401. The English Collection. Photo: Bruce White. George Jones & Sons. Indian Garden Seat, shape no. 3380, design registered 1874. Earthenware with majolica glazes. Joan Stacke Graham Collection. Photo: Bruce White. Minton & Co. Oyster Stand, shape no. 636, designed ca. 1855; this example 1863. Earthenware with majolica glazes. Impressed marks: MINTON // A // 636 // cipher for 1863. Joan Stacke Graham Collection. Photo: Bruce White. Pierre-Émile Jeannest (1813–1857), designer; Minton & Co., manufacturer. Jardinier[e], ca. 1855. Earthenware with majolica glazes painted in enamels. Painted on base in three places: MINTON & CO / STOKE-UPON-TRENT. The Potteries Museum & Art Gallery. Stoke-on-Trent, 1934P179. Photo: Bruce M. White.

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      <p><a href="https://exhibitions.bgc.bard.edu/majolicamania/"><em>Majolica Mania: Transatlantic Pottery in England and the United States, 1850–1915,</em></a> leaves the Bard Graduate Center Gallery on January 2, 2022.</p>
<p><a href="https://www.eventbrite.com/e/majolica-mania-exhibition-timed-entry-december-2021january-2022-tickets-156299755777"><img decoding="async" class="alignnone wp-image-6318 " src="https://eblasts.bgcdml.net/wp-content/uploads/2021/09/Purchase-Majolica-Mania-Tickets.png" alt="" width="368" height="35" srcset="https://eblasts.bgcdml.net/wp-content/uploads/2021/09/Purchase-Majolica-Mania-Tickets.png 666w, https://eblasts.bgcdml.net/wp-content/uploads/2021/09/Purchase-Majolica-Mania-Tickets-300x29.png 300w, https://eblasts.bgcdml.net/wp-content/uploads/2021/09/Purchase-Majolica-Mania-Tickets-340x33.png 340w, https://eblasts.bgcdml.net/wp-content/uploads/2021/09/Purchase-Majolica-Mania-Tickets-650x62.png 650w" sizes="(max-width: 368px) 100vw, 368px" /></a></p>
<p>If you aren’t able to visit in-person, check out new additions to the <em>Majolica Mania</em> online exhibition below! This online companion to <em>Majolica Mania</em> explores the major themes of <a href="https://www.bgc.bard.edu/gallery/exhibitions/100/majolica-mania">the exhibition</a>, situating majolica in the dynamic economic, social, and cultural contexts of the second half of the nineteenth century. Interactive experiences throughout offer unique views of featured objects on display.</p>
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      <strong>More Majolica Mania!</strong>
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      <a href="https://exhibitions.bgc.bard.edu/majolicamania/majolica-poetry-reading/#poem1" target="_blank">
      Majolica Poetry Project<br>
      </a>
      In conjunction with its Majolica Mania exhibition, Bard Graduate Center commissioned poems by acclaimed poets, Wayne Koestenbaum, Sally Wen Mao, S*an D. Henry Smith, and Stacy Szymaszek. In a virtual poetry reading on November 15, 2021, the poets shared the inspirations for their work.      <a href="https://exhibitions.bgc.bard.edu/majolicamania/majolica-poetry-reading/#poem1" target="_blank">
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      Majolica in Drag<br>
      </a>
      <a style="text-decoration:none;color:#000000;font-weight:normal;">Created by BGC teen interns, Craft, Camp, and Color: Majolica in Drag explores the intersection of pottery and performativity in mid-nineteenth- century majolica ware. </a>
      <a href="https://exhibitions.bgc.bard.edu/majolicamania/craft-camp-and-color-majolica-in-drag/" target="_blank">
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            <p>Banner: Photo by Da Ping Luo.</p>
<p>Majolica Poetry Project: Teapot, shape no. 1851. Henry Hope Crealock (1831–1891), designer. Minton & Co., Stoke-upon-Trent, Staffordshire. Thomas Goode & Co., London, retailer. Designed 1873; this example 1874. Earthenware with majolica glazes. Joan Stacke Graham Collection.</p>
<p>Majolica in Drag: Josiah Wedgwood & Sons. Rubens Garden Seat, pattern no. M1401, this example 1873. Earthenware with majolica glazes. Impressed marks: WEDGWOOD // L // FAB // LLB; painted mark: M / 1401. The English Collection. Photo: Bruce White. George Jones & Sons. Indian Garden Seat, shape no. 3380, design registered 1874. Earthenware with majolica glazes. Joan Stacke Graham Collection. Photo: Bruce White. Minton & Co. Oyster Stand, shape no. 636, designed ca. 1855; this example 1863. Earthenware with majolica glazes. Impressed marks: MINTON // A // 636 // cipher for 1863. Joan Stacke Graham Collection. Photo: Bruce White. Pierre-Émile Jeannest (1813–1857), designer; Minton & Co., manufacturer. Jardinier[e], ca. 1855. Earthenware with majolica glazes painted in enamels. Painted on base in three places: MINTON &  CO / STOKE-UPON-TRENT. The Potteries Museum & Art Gallery. Stoke-on-Trent, 1934P179. Photo: Bruce M. White.</p>
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