The WAG began collecting in the field of decorative arts in the 1950s when it accepted a collection of objects, the bequest of Melanie Bolton-Hill.

Since then, the Gallery has amassed over 4,000 objects in ceramic, glass, metal, and textile, which document and exemplify the aesthetics, techniques, and social import of the decorative arts from the 17th to the 21st centuries. Like painting and sculpture, objects of ceramic, glass, and metal are valuable social documents of their time. Beyond their obvious strong aesthetic qualities, these objects had intimate connections to the daily life of their owners, and to social custom, contemporary taste, class distinction, and fashion.

The strength of the decorative arts collection lies in its holdings of 18th and 19th English ceramics, one of the finest collections in the country. Over 1,500 objects tell the story of the development of the British potteries, the discovery of the porcelain formula, as well as the influence of Chinese patterns on European production.

Glass represents almost 1,000 objects in the decorative arts collection with a highlight being the collection of late 19th century-early 20th century glass donated by Mr. Arthur King of Montreal in 1987 and 1996

Glass represents almost 1,000 objects in the decorative arts collection with a highlight being the collection of late 19th century-early 20th century glass donated by Mr. Arthur King of Montreal in 1987 and 1996. Representative of Art Nouveau and Art Deco, and containing work from the recognized glass factories of Gallé, Tiffany, Sabino, Loetz-Witwe, Steuben, Verreries Schneider, and Lalique, this collection surveys early 20th century design movements. The WAG is fortunate to have a strong collection of both British and Canadian silver, and indeed it is one of the best in Canada, providing a solid overview of silver-making in these countries.

With over 500 works in silver, the WAG's strong collection of both British and Canadian silver, makes it one of the best in Canada

With over 500 works in silver, the WAG's strong collection of both British and Canadian silver, makes it one of the best in Canada. Though not a comprehensive survey of silver-making in those countries, it contains pieces of immense importance and is indicative of the diverse objects and styles popular over some three hundred years. It provides a solid overview of silver-making in these countries. Since the church was an early patron of silversmiths, ecclesiastic plate is a particularly important aspect of the Canadian silver collection. Domestic silver is also much in evidence in the WAG's collection.

This new direction in collecting was fostered by the present decorative arts collection, as collecting contemporary work was considered a natural decision given the already specialized collection of these media from historical periods.

This new direction in collecting was fostered by the present decorative arts collection, as collecting contemporary work was considered a natural decision given the already specialized collection of these media from historical periods.

Studio metal is as yet a very small component of the WAG’s holding. The Gallery does, however, hold wonderful works by Lois Etherington Betteridge and Anne Barros. Studio glass has greater representation with work by nationally recognized artists Daniel Crichton, Jeina Morosoff, and Sue Rankin. The greatest representation in this aspect of the collection is held by a leading Manitoba glass artist, Ione Thorkelsson. Largely self taught, Thorkelsson works in relative isolation from other glass artists in the small rural community of Roseisle. The Gallery’s holdings survey her career from early functional wares (c. 1973-78) to signature pieces (late 1970s) which treat the vessel’s glass body as a field for colourful abstract compositions, and finally to the body of work she has spent the last two decades concentrating on—sculptural, non-functional pieces incorporating cast animal parts attached to blown vessels—which have been widely exhibited and continue to be the thrust of her investigations today.

Studio ceramics is the undeniable strength of the collection, numbering some 235 objects. Concentrating on Canadian artists, it also contains work by American, Danish, Japanese, and Norwegian artists. Originally conceived as a collection of utilitarian objects to complement the functional nature of the decorative arts collection, the holdings have significantly expanded over the past decade towards more conceptual, sculptural investigations. Key Canadian artists in the collection include Robert Archambeau, Walter Dexter, Kayo O’Young, Steven Heinemann, Robin Hopper, Grace Nickel, Katherine Koop, Wayne Ngan, Léopold Foulem, and Harlan House. International artists include Akio Takamori, Toshiko Takeazu, Don Reitz, Kurt Weiser, Lucy Rie, Michael Cardew, Gwyn Hanssen Pigott, and Torbjørn Kvasbø.