Adorn your collar, pocket, sleeve, shoe, scarf or tote any which way with this joyful little bee pin. Perfect for nature and garden lovers alike!

Pewter with Russian gold finish
Tack with butterfly clutch closure

This poster features the print Naruto Whirlpool, Awa Province (c. 1853) by Utagawa Hiroshige (1797–1858). 

Poster size: 61 x 91.4 cm (24 x 36 in.) 

This 1,000 piece puzzle is adapted from the woodblock print Naruto Whirlpool, Awa Province (c. 1853) by Utagawa Hiroshige (1797–1858). 

Finished puzzle size: 49 x 68 cm (19 ¼ x 26 ⅝ in.)

This set of 30 postcards (1 of each style) features reproductions of artworks from the collection of the National Gallery of Canada. 

Size: 16 x 12.2 cm (6.3 x 4.8 in.) 
Printed in Canada 

List of Artworks: 
The North American Iceberg (1985) by Carl Beam (1943–2005) 
The Welcome Man (1913) by Emily Carr (1871–1945)
Portrait of a Peasant (c. 1900) by Paul Cézanne (1839–1906) 
Venus (c. 1518) by Lucas Cranach the Elder (1472–1553)
At the Café-concert (1879–1884) by Edgar Degas (1834–1917) 
Youth and Sunlight (1913) by Marc-Aurèle de Foy Suzor-Coté (1869–1937) 
March Storm, Georgian Bay (1920) by A.Y. Jackson (1882–1974) 
As the Old Sing, So the Young Pipe (c. 1640–1645) by Jacob Jordaens (1593–1678) 
Shapeshifter (2000) by Brian Jungen (b. 1970) 
The Pets and the Materials (1860) by Cornelius Krieghoff (1815–1872) 
Manitoba Party (1964) by William Kurelek (1927–1977) 
Boy with Bread (1892–1899) by Ozias Leduc (1864–1955) 
The Mill, Quebec (1925) by Arthur Lismer (1885–1969) 
On the Beach (Saint Jean-de-Luz) (1929–1930) by John Lyman (1886–1967) 
Orange and Green Bi-serial (1967) by Guido Molinari (1933–2004) 
Jean-Pierre Hoschedé and Michel Monet on the Banks of the Epte (c. 1887–1890) by Claude Monet (1840–1926) 
Café el Pasaje, Havana (1915–1919) by James William Morrice (1865–1924) 
Head of a Baby (2003) by Ron Mueck (b. 1958) 
Sunrise on the Saguenay (1880) by Lucius O'Brien (1832–1899) 
Lake George with Crows (1921) by Georgia O'Keeffe (1887–1986) 
A Venetian Bather (1889) by Paul Peel (1860–1892) 
On the Beach (1945) by Alfred Pellan (1906–1988) 
Hay Harvest at Éragny (1901) by Camille Pissarro (1830–1903) 
Jupiter and Europa (c. 1636) by Guido Reni (1575–1642) 
Claude and Renée (c. 1902–1903) by Pierre-Auguste Renoir (1841–1919) 
Joseph and Marie-Louise (1929) by Sarah Robertson (1891–1948) 
Winter Theme No. 7 (1961) by Jack Shadbolt (1909–1998) 
Old Lumber Dam, Algonquin Park (c. 1913) by Tom Thomson (1877–1917) 
The Letter (1878) by James Tissot (1836–1902) 
Reason over Passion (1968) by Joyce Wieland (1931–1998)

These socks feature boats and seagulls from the painting Cape Islander by Maud Lewis (1903–1970).

One size
Fits Women’s 7 to Men’s 11
80% Cotton, 17% Nylon, 3% Spandex

From the collection of the Art Gallery of Nova Scotia

Kebaonish is an Indigenous-owned, woman-led tea company based in Tyendinaga Mohawk Territory, Ontario. 

Rooted in the spirit of sharing that connects Indigenous cultures and communities around the world, these teas are inspired by the Anishinaabe Seven Grandfather Teachings: Wisdom, Love, Respect, Bravery, Honesty, Humility, and Truth. 

Format: 30 sachets 

Ingredients: Moringa, green tea, spearmint 

Made in Canada

Grip colour markers have an ergonomic triangular shape that promotes proper technique. The raised grip dots prevent slippage and provide added comfort.

Set of 10
Water-based ink using food dyes
Easy to wash out of most fabrics

This ready to frame, oversized notecard complete with a mini artist biography on the reverse side, features the painting New Growth by Emily Carr (1871–1945).

Made in Canada
Card dimensions: 22.9 x 15.2 cm (9 x 6 in.)
Blank inside. Envelope included.

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 5.72 cm (2.25 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 2.54 cm (1 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 3.81 cm (1.5 in.)

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Four colours available - please make your colour selection using the drop-down box.

Ceramic
Holds 315 ml (11 fl. oz)
Microwave and dishwasher safe

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada
200 pages (right side lined/left side blank)
Spiral bound, lays flat when opened
23 x 16 x 1 cm (9 x 6.3 x 0.4 in.)

Designed, printed, and sewn in Canada, this tote bag features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
33 x 38 x 7.6 cm (13 x 15 x 3 in.)
65% polyester | 35% cotton

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

183 cm (42 in.) open, 43 cm (17 in.) closed
Auto Open
Rubberized Handle
100% Polyester

Designed, printed, and sewn in Canada, this unisex t-shirt features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
100% cotton

Designed, printed, and sewn in Canada, this youth t-shirt features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
100% cotton

Accessorize with this lapel pin featuring the iconic architecture of the National Gallery of Canada. A perfect keepsake for art lovers, travellers, and collectors. 

Enamel 
Approx. 3.2 x 3 cm (1.26 x 1.18 in.) 

Nicolas Baier, Bernard Lamarche, David Liss

This exhibition of recent photographic work by the Montreal artist Nicolas Baier is constructed around the ideas of the pareidolia, a psychological phenomenon that involves the appearance of familiar forms from vague visual or auditory sensations. The exhibition, along with the accompanying publication, was produced through the joint efforts of the artist and the Musée régional de Rimouski.

Hardcover | 108 pages
24 x 27.5 cm (9.5 x 10.8 in.) 
Publication Date: 2010