For decades, a peculiar phenomenon greeted pedestrians in certain pockets of Toronto. Walking past a corner store, a garden centre, or a discount emporium, one might find themselves locked in the gaze of the King of Rock and Roll. Not a poster, nor a cardboard cutout, but a heavy, life-sized (or near-life-sized) plaster bust of Elvis Presley. Often painted in a garish gold, sometimes a stoic faux-bronze, or occasionally left in ghostly white chalkware, these statues became an accidental icon of Toronto’s streetscape—a piece of unintentional public art that bridged the gap between kitsch and local history.
The Honest Ed’s Connection
No history of Toronto’s plaster Elvis phenomenon is complete without bowing to its Mecca: Honest Ed’s. The legendary discount department store at Bloor and Bathurst, which closed its doors in 2016, was arguably the primary distributor of these busts. For years, “armies” of Elvis heads lined the shelves of the labyrinthine store, nestled among discount cookware and theatre posters.
Ed Mirvish, the store’s impresario, had a penchant for the theatrical and the absurd, and the Elvis busts fit perfectly into his retail carnival. They were affordable, heavy, and weirdly glamorous—a perfect impulse buy for the ironic hipster, the genuine fan, or the confused tourist.
When Honest Ed’s held its final sales, the remaining Elvis busts were among the most coveted artifacts, snatched up as tangible pieces of a vanishing Toronto.
The Cabbagetown Stronghold
While Honest Ed’s was the headquarters, the "King" held court in other neighborhoods, most notably Cabbagetown. For years, residents and visitors to Parliament Street would spot the busts in the windows of Fairway Market (often referred to as Fairway Garden Centre).
Unlike the chaotic shelves of Honest Ed’s, the Fairway Elvises were often displayed with a strange reverence, sometimes peering out from behind bags of potting soil or standing guard over flats of petunias. They became a local landmark in their own right, a quirk of the neighbourhood that signaled you were in a place that hadn't quite been sanitized by gentrification. Reports from locals suggest that as stocks dwindled, these specific busts became harder to find, turning into "white whales" for collectors of Toronto memorabilia.
The "Old Italian Craftsman" Theory
The question of where these busts came from is the subject of local urban legend. They were not mass-produced in a Chinese factory in the modern sense; their weight and material (plaster or chalkware) point to an older, more manual method of production.
The prevailing theory, supported by long-time shopkeepers and Reddit sleuths, is that they were the work of local Italian-Canadian artisans. Toronto has a rich history of Italian plaster casting and statuary workshops—businesses like Statue Canada or Ital Decor—that traditionally produced religious icons, Roman columns, and garden gnomes for the city's European immigrants.
It is believed that one such "old Italian craftsman" or a specific family workshop held the mold for the Elvis bust. As the story goes, these workshops would churn out the Elvis heads alongside Virgin Mary statues and ornamental lions, selling them wholesale to independent grocers and variety stores. This explains why they appeared in such specific, non-chain locations: they were part of a local supply chain of "garden ornaments" that just happened to include the King of Rock and Roll.
A Fading Legacy
Today, the plaster Elvis is an endangered species. The closure of Honest Ed’s severed the main artery of their distribution. The gentrification of downtown neighbourhoods has pushed out many of the independent variety stores and garden centres that once stocked them.
However, they haven't disappeared entirely. You can still spot them occasionally in older convenience stores, dusty antique shops, or flea markets, often commanding prices far higher than their original discount stickers. They remain a heavy, dusty, gold-painted reminder of a grittier, weirder Toronto—a city where you could buy a turkey, a theatre ticket, and a plaster head of Elvis all on the same block.
Backgrounder Notes
As an expert researcher and library scientist, I have identified several key terms, locations, and cultural concepts from the article that provide essential context for understanding this unique piece of Toronto’s urban history.
Historical Context & Landmarks
Honest Ed’s Established in 1948 by Ed Mirvish at Bloor and Bathurst, this iconic discount department store was famous for its massive neon signage, hand-painted bargain slogans, and maze-like interior. It served as a cultural landmark and a community hub for immigrants and working-class Torontonians until its closure in 2016.
Ed Mirvish (1914–2007) A prominent Canadian businessman, philanthropist, and theatrical impresario, Mirvish is credited with revitalizing Toronto’s theatre district and creating a retail empire built on spectacle. His "theatrical" approach to business made items like the plaster Elvis bust a staple of his store’s kitschy charm.
Cabbagetown Located in Toronto’s East End, Cabbagetown is known for having the largest continuous area of preserved Victorian housing in North America. Historically a working-class enclave, it has undergone significant gentrification but remains a neighborhood defined by its distinct local character and independent storefronts.
Materials & Art History
Chalkware Chalkware is an inexpensive molded plaster of Paris that was historically used to create figurines, often sold as carnival prizes or decorative household ornaments. These pieces are typically hollow, hand-painted, and more fragile than traditional ceramic or porcelain.
Kitsch This term refers to art, objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but which are often appreciated in an ironic or nostalgic way. The plaster Elvis busts are a quintessential example of "Toronto Kitsch," bridging the gap between low-brow decor and local folk art.
Cultural & Economic Concepts
Italian-Canadian Statuary Workshops During the mid-20th century, Toronto saw a rise in artisanal plaster workshops founded by Italian immigrants, such as Statue Canada or Ital Decor. These businesses specialized in religious icons, Roman-style garden ornaments, and architectural moldings, utilizing traditional casting techniques passed down through generations.
Gentrification In an urban context, gentrification is the process by which a poor or working-class urban area is changed by wealthier people moving in, improving housing, and attracting new businesses. This process often results in the displacement of long-standing local shops and the loss of the "quirky" cultural markers mentioned in the article.
White Whale (Metaphor) Derived from Herman Melville's Moby-Dick, this term refers to an object that is obsessively pursued but remains difficult or impossible to find. In the context of the article, it describes the rarity and high demand for these specific Elvis busts among local collectors.
Local Geography
Bloor and Bathurst A major intersection in Toronto that marks the boundary between the Annex and Koreatown neighborhoods. For decades, it was defined by the presence of Honest Ed’s and served as a focal point for the city’s diverse retail and immigrant history.
