{"title":"All Mugs","description":"Interne Sammlung: alle Tassen. Steuert den Set-Rabatt.","products":[{"product_id":"harder-kulm-panorama-swiss-alps-1918","title":"Harder Kulm Panorama: Swiss Alps, 1918 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHarder Kulm Panorama\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSwiss Alps\u003c\/em\u003e, 1918\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHarder Kulm rises to 1,322 metres directly above Interlaken, and since the funicular opened in 1908 its terrace has offered the most efficient view in the Bernese Oberland: Eiger, Mönch and Jungfrau aligned across the valley, Lake Thun and Lake Brienz to either side. This card translates that view into the visual language of its period — a hand-coloured bird's-eye drawing rather than a photograph, with every summit, hamlet, glacier and railway station lettered onto the image itself.\u003c\/p\u003e\u003cp\u003eThe type belongs to a Swiss speciality: the panorama card, half landscape and half map, made for a tourism that expected its visitors to know what they were looking at. Altitudes stand beside each peak in the values then current — Jungfrau 4166, Mönch 4105, Eiger 3975 — and the valley is drawn with the Lauterbrunnen and Grindelwald branches clearly separated, so that a traveller could plan the next day's excursion from the card alone. Wengen, Mürren, Kleine Scheidegg and the Schynige Platte all appear by name. It is a document of how the Oberland wished to be seen, and it has aged into a portrait of the Alpine tourism that built it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePanorama card no. 3637, \u003cem\u003eBerner-Oberland mit Harderkulm (1325 m)\u003c\/em\u003e, 1918. Artist and publisher unrecorded. Scanned from an original card in the publisher's own collection. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211495243,"sku":"bcb66801-92d1-4a7b-9546-f7065e6df787","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/HarderKulm_Mug_front.jpg?v=1787052037"},{"product_id":"henri-matisse-la-gerbe","title":"Henri Matisse: La Gerbe, 1953 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e, 1953\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e (The Sheaf) was completed by Henri Matisse in 1953, the year before his death, when he was eighty-three years old and had been working almost exclusively in cut-outs for a decade. Unable to stand at an easel, Matisse directed his assistants from a wheelchair or his bed, working at a scale and with a freedom that belied his physical circumstances. The cut-out method — scissors moving through sheets of paper painted in pure gouache — had become, in his own words, \"cutting directly into colour,\" an act closer to sculpting than to painting.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e is among the largest and most exuberant of the late cut-outs: leaf and frond forms in vivid greens, blacks, and whites fan outward like a burst of botanical energy. It was first published in the final issue of the journal \u003cem\u003eVerve\u003c\/em\u003e dedicated to Matisse's last works (1950–54) and subsequently reproduced as a lithograph. The composition distils Matisse's lifelong preoccupation with the decorative — not as ornament but as a primary expressive mode, as serious and as demanding as any other.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eLa Gerbe\u003c\/em\u003e (The Sheaf), 1953, published in \u003cem\u003eVerve: Last Works of Matisse 1950–1954\u003c\/em\u003e. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211593547,"sku":"2aacb779-b3be-4f20-a2c8-410718b83254","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/72b1004b-2693-4492-b1ab-96e5ad8821ed.jpg?v=1787638566"},{"product_id":"henri-matisse-icarus","title":"Henri Matisse: Icarus, 1947 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIcarus\u003c\/em\u003e, 1947\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBetween 1943 and 1947, while recovering from major surgery and largely confined to his rooms in Vence, Henri Matisse worked almost entirely with scissors. Sheets of paper were painted in flat gouache to his instruction; he then cut into them directly, drawing with the blade rather than the pencil — \"cutting directly into colour,\" as he put it. \u003cem\u003eJazz\u003c\/em\u003e, published by Tériade in Paris in 1947, was the first public appearance of the method: twenty plates printed in pochoir, each colour brushed through a stencil in the same gouache tones Matisse had cut, interleaved with pages reproducing his own large handwriting.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eIcarus\u003c\/em\u003e is plate VIII. A dark figure falls against a field of deep blue, the heart a single red disc, yellow stars scattered around it — one of them cut so freely that it runs off the blue and onto the bare paper. The myth of the boy who flew too near the sun becomes, in Matisse's hands, not a warning but an image of flight itself. Facing the plate in the book, on page 54, Matisse asks in his own hand: \u003cem\u003e« Ne devrait-on pas faire accomplir un grand voyage en avion aux jeunes gens ayant terminé leurs études ? »\u003c\/em\u003e — \"Should not young people who have finished their studies be sent on a great journey by aeroplane?\" The mug carries the plate alone; the fourth product image shows the opening it comes from, handwriting and all.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eIcare\u003c\/em\u003e, plate VIII from \u003cem\u003eJazz\u003c\/em\u003e, Paris, Tériade, 1947; pochoir. Bibliothèque nationale de France, département Réserve des livres rares, RES G-Z-165. Source gallica.bnf.fr \/ Bibliothèque nationale de France. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211560779,"sku":"955b2c1a-14b4-47be-8687-09ca91b4cf2a","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/e2bbda85-da13-485c-8ccb-7a86da4f8a26.jpg?v=1787674995"},{"product_id":"henri-matisse-self-portrait","title":"Henri Matisse: Self-Portrait, 1930 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSelf-Portrait\u003c\/em\u003e, 1930\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBy 1930, Henri Matisse had earned the right to look back at himself with something approaching equanimity. The decade that followed the First World War had seen him move from the sensuous chaos of his Nice interiors — sunlit rooms, reclining figures, pattern layered on pattern — toward a leaner, more architecturally considered approach to form. His 1930 self-portrait belongs to this moment of consolidation. Reduced to essentials, it shows a man who has put aside decorative abundance in favour of something more penetrating: the direct confrontation of the artist with his own face, rendered in a few confident lines.\u003c\/p\u003e\u003cp\u003eThe self-portrait with Matisse's signature carries the authority of an artist at the height of his international reputation — the same year he travelled to Tahiti and began the commission that would lead to his murals for the Barnes Foundation in Merion, Pennsylvania. The minimalism is not simplicity but compression: everything that could be said with more has been said with less, which was the achievement of a lifetime.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, self-portrait with signature, 1930. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211659083,"sku":"b1132537-d4f2-4be4-a4e6-a791c3ce6122","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/MatisseSelfPortrait_Mug_front_v2.jpg?v=1787176501"},{"product_id":"caspar-david-friedrich-moonlit-scene","title":"Caspar David Friedrich: Two Men Contemplating the Moon, 1825 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eCaspar David Friedrich\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTwo Men Contemplating the Moon\u003c\/em\u003e, 1825\u003cbr\u003eoil on canvas, 34.9 × 43.8 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, Wrightsman Fund, 2000, acc, inv. 2000.51\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eTwo figures, seen from behind, stand on a high path and look out at a vast, indeterminate space. The figures are small; the landscape is enormous. A moonlit path and a gnarled, half-uprooted oak frame the field into which they stare, and they carry with them the irreducible privacy of their own contemplation. Friedrich's figures never look back at us; they are absorbed in what lies before them, and we are left to imagine what they see.\u003c\/p\u003e\u003cp\u003eCaspar David Friedrich (1774–1840) is the central figure of German Romantic painting, and \u003cem\u003eTwo Men Contemplating the Moon\u003c\/em\u003e — a composition he returned to in several versions from about 1819 onward — is among the most recognisable images in the history of European landscape art. The two men are usually identified as the painter himself and his pupil August Heinrich, in the years when Friedrich stood closest to the philosophical and literary circles of German Romanticism — the world of Novalis, Schiller and Tieck. Their pose suggests the passing on of a sensibility from one generation to the next, nature approached as a form of spiritual attention. The oak at the right, leafless and ancient, is a recurring Friedrich symbol: endurance, the persistence of the living through adversity, the German forest as both physical fact and national imagination. The version on this mug hangs in the Metropolitan Museum of Art in New York.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eCaspar David Friedrich, \u003cem\u003eTwo Men Contemplating the Moon\u003c\/em\u003e, ca. 1825–30, oil on canvas, 34.9 × 43.8 cm. The Metropolitan Museum of Art, New York, Wrightsman Fund, 2000, acc. no. 2000.51. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211364171,"sku":"cc76d76d-ce0b-4bc3-9ebe-160b34488fa4","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Friedrich_Mug_front.jpg?v=1787054191"},{"product_id":"paul-klee-portrait","title":"Paul Klee in His Studio, 1921 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003ePaul Klee in His Studio\u003c\/em\u003e, 1921\u003cbr\u003ePhotographic portrait (detail) of Paul Klee in the studio\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA photographic portrait of Paul Klee in his studio at Possenhofen, Germany, in 1921 — the year he joined the Bauhaus faculty. It catches him at the moment his theoretical and painterly powers were converging: composed, watchful, surrounded by the quiet intensity of the working studio. It is a portrait not of fame but of concentration.\u003c\/p\u003e\u003cp\u003eKlee (1879–1940) occupied a singular position in twentieth-century art — equally at home among the Expressionists, the Surrealists and the Bauhaus masters, yet finally reducible to none of them. Swiss-German by formation, he taught at the Bauhaus in Weimar and Dessau from 1921 to 1931, developing a body of theory — collected in the \u003cem\u003ePedagogical Sketchbook\u003c\/em\u003e and the Bauhaus courses — that remains among the most searching attempts to articulate how line, tone and colour generate meaning. His work runs to more than nine thousand pieces: small, luminous, and governed by an inner logic he described as „taking a line for a walk.“\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotographic portrait (detail) of Paul Klee in the studio, Possenhofen, Germany, 1921. Reproduced under licence. The artist's name is used to identify the historical figure depicted, not to suggest endorsement or official affiliation. All trademark rights are acknowledged and respected.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211855691,"sku":"c3fbe336-8333-40fc-9f70-83b93fcf6077","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Klee_Mug_front.jpg?v=1786992806"},{"product_id":"henri-matisse-the-snail","title":"Henri Matisse: The Snail, 1953 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Snail\u003c\/em\u003e, 1953\u003cbr\u003elithograph\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBy 1948, Matisse could no longer stand at an easel. Confined to his bed following surgery, he turned to scissors and painted paper — and produced some of the most joyful work of his life. \u003cem\u003eL'Escargot\u003c\/em\u003e (The Snail), made in 1953 at the Hôtel Régina in Nice, is among the last and most luminous of these cut-outs: a spiral of pure colour that radiates outward with quiet authority.\u003c\/p\u003e\u003cp\u003eThe lithograph edition was published in 1958 by Mourlot Frères of Paris for \u003cem\u003eVerve\u003c\/em\u003e magazine (Vol. IX, No. 35\/36), under the title \u003cem\u003eThe Last Works of Henri Matisse\u003c\/em\u003e, edited by Tériade. The original is held in the Tate Modern, London. This mug reproduces the 1958 Mourlot lithograph.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eL'Escargot\u003c\/em\u003e, 1953; colour lithograph, Mourlot Frères for \u003cem\u003eVerve\u003c\/em\u003e vol. IX, no. 35\/36, 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States. Matisse's name identifies the historical artwork; it does not suggest endorsement or affiliation.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211691851,"sku":"230955c3-a882-41c4-9593-af8717a59117","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8a5dc929-f8a0-4714-9852-898ed1e92dde.jpg?v=1786709341"},{"product_id":"henri-matisse-blue-nude-ii-mug","title":"Henri Matisse: Blue Nude II, 1952 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBlue Nude II\u003c\/em\u003e, 1952\u003cbr\u003elithograph published in Verve\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe four \u003cem\u003eBlue Nudes\u003c\/em\u003e (1952) are among the most commanding achievements of Matisse's final period, made when he was eighty-two years old and had been working almost exclusively in the cut-out technique for a decade. The figures are composed entirely from shapes cut from paper painted in a single shade of cerulean blue — the cutting and arranging serving simultaneously as drawing and painting, the process by which Matisse arrived at forms that could not have been achieved by any other means. The \u003cem\u003eBlue Nudes\u003c\/em\u003e were not made as a series but as independent explorations of the same problem: how to render the human figure through cut colour alone, stripping away everything that conventional representation would regard as necessary.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eBlue Nude II\u003c\/em\u003e shows a seated female figure in a pose that reconfigures bodily weight and volume into something simultaneously anatomical and abstract — the body understood as a set of planar relationships rather than as a described surface. The version reproduced here is the colour lithograph published in \u003cem\u003eVerve\u003c\/em\u003e, Volume IX, Numbers 35–36 (\u003cem\u003eDernières Oeuvres de Matisse 1950–54\u003c\/em\u003e), 1958, which disseminated the cut-outs to an international audience after Matisse's death. The lithograph measures 36.5 × 27 cm.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eBlue Nude II\u003c\/em\u003e, 1952; colour lithograph published in \u003cem\u003eVerve\u003c\/em\u003e, vol. IX, nos. 35–36, 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723585331531,"sku":"af75be17-b584-44e6-8a30-2b4ea41c15b5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/a3582038-d81a-49b1-b491-f2e2200a5bba.jpg?v=1786718343"},{"product_id":"claude-monet-woman-with-a-parasol-mug","title":"Claude Monet: Woman with a Parasol, 1875 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eClaude Monet (1840-1926)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWoman with a Parasol - Madame Monet and Her Son\u003c\/em\u003e, 1875\u003cbr\u003eOil on canvas, 100 x 81 cm (framed 119.4 x 99.7 cm)\u003cbr\u003eNational Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, inv. 1983.1.29\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; the Gallery states that this object's media is free and in the public domain (NGA Open Access)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eClaude Monet painted \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e in 1875, at a moment when Impressionism was still a contested proposition and the movement's founding figures were engaged in their most urgent experiment with light, colour, and the representation of outdoor experience. The painting shows Monet's wife Camille on a hillside, her son Jean slightly behind and below her; the viewpoint is low, so that the figures are seen against the sky rather than the landscape, the parasol casting its warm shadow across Camille's face and dress. The composition is built on the sensation of wind — the grass moves, the dress billows, the clouds shift — and on the way midday summer light bleaches and divides colour into its constituent sensations.\u003c\/p\u003e\u003cp\u003eThe work is now in the collection of the National Gallery of Art in Washington, DC, a gift of Mr and Mrs Paul Mellon. It was painted at Argenteuil, where Monet lived from 1871 to 1878, in the most productive period of his early career. Camille appears in many of his major works from this period; she died in 1879, aged thirty-two, and the paintings of her retain a particular quality of attention — she is always exactly herself, never a generalised figure, which is what separates Monet's best work from the merely Impressionist and places it in the category of portraiture, even when portraiture was not its stated purpose.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/monet-stacks-of-wheat-1891\"\u003eStacks of Wheat, 1890–91\u003c\/a\u003e · \u003ca href=\"\/products\/claude-monet-bed-of-chrysanthemums-1897-porcelain-art-mug\"\u003eBed of Chrysanthemums, 1897\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eClaude Monet, \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e, 1875; oil on canvas, 100 × 81 cm. National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1983.1.29. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723605221707,"sku":"24a00b96-b1ed-409f-a353-a60e1b4031e6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Monet_Mug_front_v3.jpg?v=1787126762"},{"product_id":"alfred-stieglitz-winter-fifth-avenue-mug","title":"Alfred Stieglitz: Winter, Fifth Avenue, 1893 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAlfred Stieglitz\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWinter, Fifth Avenue\u003c\/em\u003e, 1893\u003cbr\u003ephotogravure from the original negative\u003cbr\u003eThe Metropolitan Museum of Art, New York, 58\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAlfred Stieglitz made \u003cem\u003eWinter, Fifth Avenue\u003c\/em\u003e in 1893 during a blizzard that effectively emptied the streets of New York — standing in the snow for three hours waiting for the right moment, a patience that was rewarded with one of the defining images of nineteenth-century photography. The photograph shows a horse-drawn carriage emerging from a veil of falling snow on a deserted Fifth Avenue, the city behind it dissolved into grey. It was the image that established Stieglitz's reputation and helped make the argument — then far from settled — that photography could be a fine art.\u003c\/p\u003e\u003cp\u003eStieglitz (1864–1946) would go on to become the most significant figure in American art photography of the early twentieth century, founding the Photo-Secession movement, editing the journal \u003cem\u003eCamera Notes\u003c\/em\u003e and later \u003cem\u003eCamera Work\u003c\/em\u003e, and running the gallery 291, where he showed Cézanne, Matisse, Picasso, and Rodin to American audiences for the first time. \u003cem\u003eWinter, Fifth Avenue\u003c\/em\u003e precedes all of this, but contains its essential argument: that a photograph, made with sufficient attention and intention, can be a work of art.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAlfred Stieglitz, \u003cem\u003eWinter—Fifth Avenue\u003c\/em\u003e, 1893; photogravure from the original negative, published in \u003cem\u003eCamera Work\u003c\/em\u003e No. 12, October 1905. The Metropolitan Museum of Art, New York, 58.577.20. Open-access image released by the museum under CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454857035,"sku":"459b6d29-6f3b-4eec-b029-0b3ff569cc9c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Stieglitz_CameraWork_Mug_front.jpg?v=1788040023"},{"product_id":"giotto-madonna-child-art-mug","title":"Giotto di Bondone: Madonna and Child, c. 1310 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eGiotto di Bondone\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eMadonna and Child\u003c\/em\u003e, c. 1310\u003cbr\u003etempera on poplar panel, 85.4 × 61.8 cm\u003cbr\u003eKress Collection, National Gallery of Art, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePainted in the same years as the Scrovegni Chapel frescoes, this is the moment when Western painting broke with Byzantine convention: figures began to occupy space, faces began to hold emotion. The work passed through the collection of New York banker Henry Goldman before entering the Samuel H. Kress Collection — a trajectory that traces how Renaissance devotional painting migrated from Florentine altars to American museums.\u003c\/p\u003e\u003cp\u003eThe rose in Mary's hand is not decoration. It is a theological argument: she is identified with the Church as the bride of Christ. The Christ Child's gesture simultaneously signals divine mission and human attachment. This is not the most famous Giotto — it is the one that rewards looking.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eGiotto di Bondone, \u003cem\u003eMadonna and Child\u003c\/em\u003e, c. 1310–1315, tempera on poplar panel, 85.4 × 61.8 cm. Samuel H. Kress Collection, National Gallery of Art, Washington, D.C. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":50957461586251,"sku":"0fb589cb-a69b-4a03-af88-f9e99ef2a63e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Giotto_Mug_front_v3.jpg?v=1787129205"},{"product_id":"robert-zund-oak-forest","title":"Robert Zünd: Oak Forest, 1881 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRobert Zünd\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOak Forest\u003c\/em\u003e, 1881\u003cbr\u003eoil on canvas, 119 × 159 cm\u003cbr\u003eKunsthaus Zürich, inv. 437\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe interior of an oak forest at midday, the sun cutting through the canopy in shafts that light the undergrowth without dissolving the shadow around it. Each oak is rendered individually — bark texture, the exact distribution of leaves, the way each tree occupies its particular space — and the whole conveys that stillness which settles over dense forest in summer heat.\u003c\/p\u003e\u003cp\u003eRobert Zünd (1827–1909) is the central figure in nineteenth-century Swiss landscape painting, and \u003cem\u003eEichenwald\u003c\/em\u003e is among his most celebrated works. He studied in Geneva and Paris before returning to his native Lucerne, where he spent the greater part of a long career painting the forests, meadows and lakeshores of central Switzerland with a precision rooted in the Barbizon tradition. He made dozens of preparatory studies for his major forest paintings, working directly from the motif before composing in the studio; the result is a combination of documentary accuracy and formal organisation that places him in a distinct position within the European landscape tradition, related to but not identical with either the German Romantic school or the French Naturalists.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eRobert Zünd, \u003cem\u003eEichenwald\u003c\/em\u003e (Oak Forest), 1881–82, oil on canvas, 119 × 159 cm. Kunsthaus Zürich, inv. 437. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211888459,"sku":"d97cd123-f5e6-4d19-9732-a311fe9c5467","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Zuend_Mug_front.jpg?v=1786980079"},{"product_id":"frank-dicksee-la-belle-dame-sans-merci-mug","title":"Frank Bernard Dicksee: La Belle Dame sans Merci, 1902 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrank Bernard Dicksee\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Belle Dame sans Merci\u003c\/em\u003e, 1902\u003cbr\u003eoil on canvas\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eJohn Keats's ballad \"La Belle Dame sans Merci\" (1819) is one of the defining texts of English Romanticism: a knight, pale and feverish, tells how he met a beautiful woman in the meadows — a fairy's child — who enthralled him, brought him to her elfin grot, and left him on the cold hillside when her spell had spent itself, where he remains, alone and desolate, dreaming of the other kings and warriors she has destroyed before him. The poem is concerned with enchantment, with the particular madness of erotic obsession, and with the condition of the artist or visionary who is consumed by his vision rather than sustained by it. Keats himself was twenty-four when he wrote it; he was dead within two years.\u003c\/p\u003e\u003cp\u003eFrank Bernard Dicksee (1853–1928) was among the most accomplished painters of the late Victorian academic tradition, and his 1902 painting of Keats's subject translates the poem into the visual language of the Pre-Raphaelite movement — rich colour, meticulous detail, a combination of medieval imagery and frank sensuality that the Victorians found at once compelling and disturbing. The woman on horseback, in her flowing pink gown and elaborate red-and-gold tack, regards the knight with an expression that is simultaneously inviting and remote; he, horseless, looks up at her with the helpless absorption of a man already lost. The painting captures the poem's central paradox: that beauty and destruction are here inseparable.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrank Bernard Dicksee, \u003cem\u003eLa Belle Dame sans Merci\u003c\/em\u003e, 1902, oil on canvas. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723407925579,"sku":"45bcccb0-a18d-44c3-983d-16d018cad4df","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Dicksee_Mug_front_v3.jpg?v=1787127303"},{"product_id":"swiss-alps-calling-mug","title":"Hans Aeschbach: Swiss Alps Calling, 1951 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHans Aeschbach\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSwiss Alps Calling\u003c\/em\u003e, 1951\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA strong silhouette, a handful of colours handled at maximum contrast, a direct address that reads instantly at the scale of a railway concourse or a travel agency window. Hans Aeschbach's \u003cem\u003eSwiss Alps Calling\u003c\/em\u003e of 1951 belongs to the postwar moment when travel was resuming, when the Alps were being reconceived as a destination for an expanding tourist market, and when graphic design was the medium through which that invitation was issued.\u003c\/p\u003e\u003cp\u003eSwiss tourism poster design reached its classic period in the decades after the Second World War, when a generation of trained graphic artists were commissioned by the Swiss Federal Railways, cantonal tourism offices and the Swiss Tourist Board to draw visitors to a country that had emerged from the war years largely intact. Aeschbach worked in that tradition, in the bold, flat-colour idiom that Swiss graphic design had made internationally influential. The poster is now a historical document as well as a visual pleasure: a record of how Switzerland presented itself to the world at a specific moment in the twentieth century.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eHans Aeschbach (1911–1999), \u003cem\u003eSwiss Alps Calling\u003c\/em\u003e, 1951, tourism poster. Reproduced by permission of the Aeschbach family. Foto: Plakatsammlung, Museum für Gestaltung Zürich, ZHdK.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723489845579,"sku":"64c1638d-636c-4b34-9abd-36ae5ec6d680","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/SwissAlps_Mug_front_v3.jpg?v=1787131446"},{"product_id":"thomas-mann-in-kuesnacht-mug","title":"Thomas Mann in Küsnacht, 1930s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eThomas Mann in Küsnacht, 1930s\u003c\/em\u003e\u003cbr\u003ePhotograph of Thomas Mann at Schiedhaldenstrasse 33\u003cbr\u003eETH Zürich, TMA_0316\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThomas Mann left Germany in February 1933 for a lecture tour and did not return. From September 1933 he rented the house at Schiedhaldenstrasse 33 in Küsnacht, on the eastern shore of Lake Zurich, and stayed five years. He was formally expatriated in December 1936; the University of Bonn withdrew his honorary doctorate in the same month.\u003c\/p\u003e\u003cp\u003eThe photograph shows him on the terrace of that house: wicker chair, flat cap, reading glasses, a manuscript box open on the marble table in front of him. It is not a portrait of the Nobel laureate — the prize was already four years behind him when he arrived — but of an ordinary working morning in exile. Volumes of the \u003cem\u003eJoseph\u003c\/em\u003e novels were written here, while the language he wrote in was being taken over by the state he had left.\u003c\/p\u003e\u003cp\u003eKüsnacht is also where this collection is curated, three streets from that terrace. That is the reason the photograph is in it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotograph of Thomas Mann at Schiedhaldenstrasse 33, Küsnacht, 1930s. Photographer unrecorded. Thomas-Mann-Archiv der ETH Zürich, TMA_0316. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211921227,"sku":"19513552-f471-408b-8684-ea05e7ec0fa5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ThomasMann_Mug_front.jpg?v=1787042993"},{"product_id":"ski-jumping-couple-mug","title":"Francisco Tamagno: Chamonix Ski Jumpers, 1900 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrancisco Tamagno\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eChamonix Ski Jumpers\u003c\/em\u003e, 1900\u003cbr\u003echromolithographic poster for the P, 99.2 × 61.2 cm\u003cbr\u003einv. 000416-C\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA couple caught mid-jump, suspended above a snow slope in the posture of early ski jumping. The technique and the equipment of 1900 required a particular kind of courage: bindings were primitive and protective clothing nearly non-existent. Winter sport as exhilarating modernity, the mountain as playground rather than obstacle, the couple in flight as an emblem of the new century's optimism about what a body could do.\u003c\/p\u003e\u003cp\u003eThe image is the picture field of a chromolithographic poster, \u003cem\u003eChamonix — Mont-Blanc\u003c\/em\u003e, signed \u003cem\u003eTamagno\u003c\/em\u003e at the lower left and printed by Imp. Émile Pécaud \u0026amp; Cie in Paris. It was made for the \u003cstrong\u003eP.L.M.\u003c\/strong\u003e, the Paris–Lyon–Méditerranée railway — and this edition is in English. It announces \u003cem\u003eInternational Contests of Skis, Bobsleighs, Tobogans\u003c\/em\u003e, the \u003cem\u003eMt Blanc Challenge Cup\u003c\/em\u003e and \u003cem\u003eInternational Skating Competitions\u003c\/em\u003e, promises express trains with through carriages, and directs enquiries to the P.L.M. company's offices at 179–180 Piccadilly, London, or to the syndicate at Chamonix. The sheet was printed to sell the Alps to British travellers, and it says so in every line.\u003c\/p\u003e\u003cp\u003eFrancisco Nicolas Tamagno (1851–1933) was an Italian-born graphic artist who worked principally in France. His poster belongs to the golden age of French chromolithography, when the medium was being pushed to its limits of colour and graphic invention by artists including Mucha, Chéret and Toulouse-Lautrec. The mug carries the picture field alone, without the lettering; the fourth product image shows the whole sheet with the printed part marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrancisco Nicolas Tamagno, detail from \u003cem\u003eChamonix — Mont-Blanc\u003c\/em\u003e, chromolithographic poster for the P.L.M., printed by Imp. Émile Pécaud \u0026amp; Cie, Paris. Public domain. The complete sheet reproduced in the gallery is the copy in the Museu Nacional d'Art de Catalunya, Barcelona — colour lithograph, 99.2 × 61.2 cm, inv. 000416-C, gift of Joan Vidal Ventosa, 1927 — which the museum dates c. 1900–1910 and publishes as public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723540635979,"sku":"eeb41ec4-51f4-4378-a0fe-4c34222895ac","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/SkiJumping_Mug_front_v3.jpg?v=1787127734"},{"product_id":"kuesnachter-horn-arnold-heim-mug","title":"Arnold Heim: Küsnachter Horn, 1902 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eArnold Heim\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eKüsnachter Horn\u003c\/em\u003e, 1902\u003cbr\u003e7.9 × 10.9 cm\u003cbr\u003eETH-Bibliothek Zürich, Bildarchiv, Hs_0494b-0004-014-AL\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eTwo figures stand on the winter shingle at the Küsnachter Horn, the low promontory on the Küsnacht shore of Lake Zurich; behind them the screw steamer \u003cem\u003eGoldbach\u003c\/em\u003e crosses the lake under a plume of smoke. The date is 5 January 1902. The photographer was nineteen years old, and his caption in the archive is a single word: Küsnacht.\u003c\/p\u003e\u003cp\u003eArnold Heim (1882–1965) was a Swiss geologist who inherited both the discipline and the passion for Alpine fieldwork from his father, Albert Heim — one of the founders of modern Alpine geology. He studied at ETH Zurich and went on to make significant contributions to the understanding of tectonic structures in the Swiss Alps, later extending his research to geological surveys in China and to comparative studies of the Alps and the Himalayas. His family background was exceptional: his mother, Marie Heim-Vögtlin, was the first woman in Switzerland to practise medicine. The original of this picture is a collodion print, 7.9 × 10.9 cm, mounted on card — an early sheet from a photographic record he would go on keeping for six decades of fieldwork.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eArnold Heim, \u003cem\u003eAm Küsnachterhorn\u003c\/em\u003e, 5 January 1902, collodion print mounted on card, 7.9 × 10.9 cm. ETH-Bibliothek Zürich, Bildarchiv, Hs_0494b-0004-014-AL. Licensed under \u003ca href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\" rel=\"nofollow\"\u003eCC BY-SA 4.0\u003c\/a\u003e. \u003ca href=\"http:\/\/doi.org\/10.3932\/ethz-a-001200128\" rel=\"nofollow\"\u003edoi.org\/10.3932\/ethz-a-001200128\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723588444491,"sku":"5ff261c5-f870-471f-bf76-9ec222270892","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Heim_Mug_front_v4.jpg?v=1787201773"},{"product_id":"art-nouveau-christmas-mug","title":"William H. Bradley: Christmas 1895 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam H. Bradley\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eChristmas 1895\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in the United States, the European Union and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eDecorative figures and foliage in a flat, sinuous line: the \u003cem\u003eChristmas 1895\u003c\/em\u003e cover for \u003cem\u003eThe Inland Printer\u003c\/em\u003e is among William H. Bradley's most admired designs, seasonal warmth held inside the formal rigour of his best work. It was reproduced two years later in \u003cem\u003eLes affiches étrangères illustrées\u003c\/em\u003e, the French anthology of international poster art — which placed an American alongside the leading European designers of the period.\u003c\/p\u003e\u003cp\u003eBradley (1868–1962) was the foremost American practitioner of Art Nouveau poster design in the 1890s, and his work for the printing trade journal \u003cem\u003eThe Inland Printer\u003c\/em\u003e rivalled the Parisian masters — Toulouse-Lautrec, Mucha, Chéret — in sophistication and ambition. He was largely self-taught, and his absorption of the European idiom through printed sources rather than direct contact gave his work a distinct character: flatter, bolder in its black-and-white contrasts, influenced by Japanese woodblock prints and by Aubrey Beardsley. His covers appeared monthly from 1894 to 1896 and were collected, traded and exhibited by readers who recognised them as art rather than advertising.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eWilliam H. Bradley, \u003cem\u003eChristmas 1895\u003c\/em\u003e, cover for \u003cem\u003eThe Inland Printer\u003c\/em\u003e, 1895; reproduced in \u003cem\u003eLes affiches étrangères illustrées\u003c\/em\u003e, 1897. Public domain in the United States, the European Union and the United Kingdom; Bradley died in 1962, and this mug is therefore not sold into Switzerland.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211986763,"sku":"8f817d70-bb41-4da6-8fd3-a5fb2ccaf466","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Bradley_Mug_front.jpg?v=1786986201"},{"product_id":"henri-matisse-nuit-de-noel-christmas-night-mug","title":"Henri Matisse: Nuit de Noël, 1952 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eNuit de Noël\u003c\/em\u003e, 1952\u003cbr\u003elithograph 1958\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn 1952, \u003cem\u003eTime\u003c\/em\u003e magazine commissioned Henri Matisse to design a stained-glass window for its New York offices — a commission he accepted at the age of eighty-two, working from his apartment in Nice where illness had largely confined him for the previous decade. The resulting design, \u003cem\u003eNuit de Noël\u003c\/em\u003e (Christmas Night), was completed in 1952 and translated into glass the following year. Like all of Matisse's late work, it was made using the cut-out technique: shapes cut from paper painted in pure gouache, then arranged and rearranged until the composition resolved itself. The design was subsequently issued as a lithograph, in editions of 1951 and 1958, reproducing the brilliant yellows and blues of the stained glass in a form that could be widely distributed.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eNuit de Noël\u003c\/em\u003e is a composition of extraordinary simplicity and radiance: abstract leaf and star forms in saturated yellow against a ground of deep blue, the whole suggesting candlelight, cold sky, and the particular stillness of the Christmas season without depicting any of them directly. It is Matisse at his most distilled — the reduction of a complex visual idea to its irreducible essentials — and it demonstrates that the cut-out method, which had begun as a practical adaptation to physical limitation, had become the most expressive instrument of his final years.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eNuit de Noël\u003c\/em\u003e (Christmas Night), maquette 1952, lithograph 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723491189067,"sku":"b0e4cc5c-dd14-40ca-8b7a-b4eacea5133f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ef928290-421e-4b91-afd2-d4b91d117f00.jpg?v=1786719984"},{"product_id":"albrecht-duerers-young-hare-mug","title":"Albrecht Dürer: Young Hare, 1502 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAlbrecht Dürer\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eYoung Hare\u003c\/em\u003e, 1502\u003cbr\u003ewatercolour and gouache on paper\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAlbrecht Dürer's \u003cem\u003eYoung Hare\u003c\/em\u003e (1502) is among the most celebrated animal studies in the history of Western art — a watercolour and gouache on paper, now held in the Albertina in Vienna, that has lost none of its capacity to surprise. Dürer painted the hare from close observation, rendering each hair with extraordinary patience and technical control: the texture of the fur, the slightly damp appearance of the animal's nose, the precise rendering of the eye with its reflected light, and the delicate quality of the ears. The result is an image of almost uncanny presence — the hare does not feel observed so much as simply there.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eYoung Hare\u003c\/em\u003e belongs to a group of nature studies Dürer made in the first decade of the sixteenth century — works that stand apart from the commissioned religious and portrait paintings for which he was primarily employed, and which represent a private engagement with the natural world that has lost none of its force over five centuries.\u003c\/p\u003e\u003cp\u003eThe sheet is printed without its drawn border, running to the upper and lower edge of the printed area, so that the paper ground of the original becomes the ground of the mug.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/the-rhinoceros-mug-by-duerer\"\u003eThe Rhinoceros, 1515\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eAlbrecht Dürer, \u003cem\u003eFeldhase\u003c\/em\u003e (Young Hare), 1502, watercolour and gouache on paper. Albertina, Vienna. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454758731,"sku":"3fb446d7-d184-4110-9f3d-6dc56161bf21","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/YoungHare_v2_front.jpg?v=1786984567"},{"product_id":"sherlock-holmes-the-reichenbach-falls-mug","title":"Frederic Dorr Steele: Sherlock Holmes, 1903 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrederic Dorr Steele\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSherlock Holmes\u003c\/em\u003e, 1903\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eWhen Arthur Conan Doyle brought Sherlock Holmes back from the dead in \"The Adventure of the Empty House\" — published in \u003cem\u003eCollier's Weekly\u003c\/em\u003e on 26 September 1903 after a ten-year absence, following Holmes's apparent death at the Reichenbach Falls — the magazine needed an illustration equal to the occasion. Frederic Dorr Steele (1873–1944) provided it. His cover image of Holmes, shown in deerstalker cap and Inverness cape, became one of the most recognisable portraits of a fictional character in the history of illustration. Steele would go on to illustrate the Holmes stories for American publications over several decades, and his visual interpretation of the detective — lean, intense, the pipe and cape inseparable from the figure — became the dominant American image of Holmes, influencing theatrical productions, film adaptations, and popular imagination well into the twentieth century.\u003c\/p\u003e\u003cp\u003eThe deerstalker and cape were not Doyle's invention: they came from Sidney Paget's earlier illustrations for \u003cem\u003eThe Strand Magazine\u003c\/em\u003e in London. But Steele refined and popularised the look for American readers, and his 1903 \u003cem\u003eCollier's\u003c\/em\u003e cover stands as the moment when Holmes's visual identity was fully consolidated on both sides of the Atlantic. The illustration combines the character's famous penetrating intelligence — evident in the posture, the slight forward lean — with the period atmosphere of the gaslit Edwardian thriller: fog, cape, the suggestion of a London street.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrederic Dorr Steele, cover illustration, \u003cem\u003eCollier's Weekly\u003c\/em\u003e, 26 September 1903. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723312210251,"sku":"2138a654-6047-468a-b004-a4f869a2d511","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Sherlock_Mug_front_v4_1262376d-2dd3-49bb-9268-7f49ff5cdd09.jpg?v=1787300584"},{"product_id":"netsuke-hare-amber-eyes-mug","title":"Netsuke: Hare with Amber Eyes, Edo Period – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eHare with Amber Eyes, Edo Period\u003c\/em\u003e\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 10.211.10\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA hare carved in ivory, small enough to close a hand around. Netsuke are Japanese toggles, used to secure a medicine box or a tobacco pouch to the sash of a kimono — functional objects that became vehicles for extraordinary artistry. The hare was a common subject: a creature associated in Japanese folklore with the moon, longevity and good fortune. This one is in the Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003eNetsuke were made from the seventeenth century onwards by specialist craftsmen, depicting animals, mythological figures, scenes from daily life and objects of all kinds, often with a wit and observation that belies their scale. The collection of 264 netsuke described in Edmund de Waal's memoir \u003cem\u003eThe Hare with Amber Eyes\u003c\/em\u003e (2010) followed the dispersal and reassembly of a family collection through five generations across Paris, Vienna and Tokyo — the netsuke surviving wars, displacement and loss as the larger world around them shifted beyond recognition. De Waal inherited the collection from his great-uncle Iggie, and the book that resulted is both a history of objects and a meditation on what it means for beautiful things to persist.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eNetsuke of a Rabbit\u003c\/em\u003e, Japan, Edo or Meiji period, 19th century. Ivory. Gift of Mrs. Russell Sage, 1910. The Metropolitan Museum of Art, New York, acc. no. 10.211.10. Open Access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211822923,"sku":"da114ddc-de5a-4cc8-8480-c9b609f0ae6f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Netsuke_Mug_front.jpg?v=1786980428"},{"product_id":"girl-with-the-umbrella-mug","title":"Jessie Willcox Smith: Girl with the Umbrella, 1922 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJessie Willcox Smith\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGirl with the Umbrella\u003c\/em\u003e, 1922\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA child absorbed in her own world under a tilted umbrella, the composition simple and frontal, the colour warm despite the implied wet of the day. The umbrella's angle suggests movement and purpose; her expression is self-possessed. Jessie Willcox Smith understood that children in illustration need not perform cuteness — that the most affecting images are those in which the subject seems unaware of being observed.\u003c\/p\u003e\u003cp\u003eThe picture first appeared on the cover of \u003cem\u003eGood Housekeeping\u003c\/em\u003e in April 1922. Smith (1863–1935) was the most celebrated American illustrator of childhood of her generation, on that magazine's covers for fifteen consecutive years and illustrating editions of \u003cem\u003eLittle Women\u003c\/em\u003e, \u003cem\u003eA Child's Garden of Verses\u003c\/em\u003e, \u003cem\u003eHeidi\u003c\/em\u003e and dozens of other canonical texts. She trained at the Pennsylvania Academy of the Fine Arts and under Howard Pyle at Drexel Institute, and her mature style — warm, richly coloured, with a gift for catching children in unself-conscious moments — was exactly attuned to the culture that bought the magazines. Her covers were collected, framed and treasured by the readers who found them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJessie Willcox Smith, cover illustration, \u003cem\u003eGood Housekeeping\u003c\/em\u003e, April 1922. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723378860363,"sku":"3c79ced4-d54c-4aac-b437-e9901f8eae3e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/JWS_Mug_front_v3.jpg?v=1787129935"},{"product_id":"rogier-van-der-weyden-adoration-magi-mug","title":"Rogier van der Weyden: Adoration of the Magi, 1455 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRogier van der Weyden\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAdoration of the Magi\u003c\/em\u003e, 1455\u003cbr\u003eoil on oak panel\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThree kings — one kneeling, his crown set down beside him, two standing — present their gifts to the Christ Child held by the Virgin. The figures are individuated, their costumes described with a jeweller's precision; the ruin in which the Nativity takes place opens onto a landscape behind, connecting the intimate foreground to a world of historical and cosmic depth. It is a composition that manages reverence and ceremony without stiffness.\u003c\/p\u003e\u003cp\u003eThis is the central panel of the \u003cem\u003eColumba Altarpiece\u003c\/em\u003e by Rogier van der Weyden (c. 1399–1464), the dominant painter of the Netherlandish school in the generation after Jan van Eyck. Named after the Church of St Columba in Cologne, for whose Marienkapelle it was commissioned between about 1455 and 1462, the triptych depicts the Annunciation, the Adoration of the Magi and the Presentation in the Temple across its three wings, each rendered with the psychological intensity and technical command that distinguish Van der Weyden from his contemporaries. The altarpiece is today one of the great treasures of the Alte Pinakothek in Munich.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eRogier van der Weyden, \u003cem\u003eColumba Altarpiece\u003c\/em\u003e (central panel: Adoration of the Magi), c. 1455–1462, oil on oak panel. Alte Pinakothek, Munich. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454627659,"sku":"5ea09cd5-5ecf-4992-ab10-683599b0c472","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Weyden_Mug_front_v3.jpg?v=1787125573"},{"product_id":"kandinsky-concentric-rings-mug","title":"Wassily Kandinsky: Concentric Rings, 1913 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWassily Kandinsky\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eConcentric Rings\u003c\/em\u003e, 1913\u003cbr\u003ewatercolour, 23.9 × 31.5 cm\u003cbr\u003eLenbachhaus und Kunstbau München, Gabriele Münter Stiftung 1957, GMS 446\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0 1\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA grid of squares, each holding a target of coloured rings in a different combination. It is not a finished painting but an investigation — a systematic test of how colours behave when placed next to one another — and it is simultaneously a scientific document and an object of remarkable visual intensity.\u003c\/p\u003e\n\u003cp\u003eWassily Kandinsky (1866–1944) made \u003cem\u003eFarbstudie – Quadrate mit konzentrischen Ringen\u003c\/em\u003e in 1913, at a moment of decisive transition. He had recently completed \u003cem\u003eÜber das Geistige in der Kunst\u003c\/em\u003e, the text in which he argued that colour and form could act directly on the viewer's emotions without the mediation of representational subject matter. By 1913 he was already producing his first fully abstract compositions — the \u003cem\u003eImprovisations\u003c\/em\u003e and \u003cem\u003eCompositions\u003c\/em\u003e — and the colour studies of this period were the systematic groundwork for that leap. Each ring carries what Kandinsky believed was an intrinsic emotional charge; the relationships between them were as carefully considered as the intervals in a musical score. The work is held at the Städtische Galerie im Lenbachhaus in Munich.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/wassily-kandinsky-la-fleche-the-arrow-1943-porcelain-art-mug\"\u003eLa flèche (The Arrow), 1943\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eWassily Kandinsky, \u003cem\u003eFarbstudie – Quadrate mit konzentrischen Ringen\u003c\/em\u003e, 1913; watercolour, gouache and crayon, 23.9 × 31.5 cm. Städtische Galerie im Lenbachhaus und Kunstbau München, Gabriele Münter Stiftung 1957, GMS 446. Open-access image released by the museum under CC0 1.0.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723314012491,"sku":"845bcf1d-5190-45bc-a96e-152ffbd6935e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Kandinsky_Mug_front_v3.jpg?v=1787128067"},{"product_id":"the-rhinoceros-mug-by-duerer","title":"Albrecht Dürer: The Rhinoceros, 1515 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAlbrecht Dürer\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Rhinoceros\u003c\/em\u003e, 1515\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn May 1515, an Indian rhinoceros arrived in Lisbon as a gift from the Sultan of Gujarat to King Manuel I of Portugal — the first living rhinoceros seen in Europe since Roman times. Word of the animal spread quickly, and within months Albrecht Dürer (1471–1528) had made his famous woodcut based on a written description and a rough sketch, never having seen the animal himself. The result is one of the most celebrated images in the history of printmaking: a rhinoceros rendered with extraordinary confidence and detail, yet anatomically quite unlike an actual rhinoceros, with an extra horn at the shoulders, heavily plated skin suggesting armour, and a general impression of mechanical improbability that somehow manages to convey the genuine strangeness of the creature.\u003c\/p\u003e\u003cp\u003eDürer's \u003cem\u003eRhinoceros\u003c\/em\u003e was reproduced and copied for the next two centuries and became the standard European image of the animal. It is a document not only of a remarkable animal but of the limits and possibilities of knowledge transmitted at a distance — how much information can survive the chain from observation to description to drawing to woodcut.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/albrecht-duerers-young-hare-mug\"\u003eYoung Hare, 1502\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eAlbrecht Dürer, \u003cem\u003eRhinocerus\u003c\/em\u003e, 1515, woodcut. Public domain. The mug reproduces the image field of the sheet together with its original framing line; the block of letterpress text printed above the animal on the original is not shown.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454594891,"sku":"0dce8bef-56dd-424e-be1f-d29e9a991be3","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Rhino_Mug_front.jpg?v=1787051215"},{"product_id":"henri-matisse-les-velours-mug","title":"Henri Matisse: Les Velours, 1947 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLes Velours\u003c\/em\u003e, 1947\u003cbr\u003egouache on paper cutout\u003cbr\u003eKunstmuseum Basel\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHenri Matisse completed \u003cem\u003eComposition (Les velours)\u003c\/em\u003e in 1947, the same year he published \u003cem\u003eJazz\u003c\/em\u003e and at the height of his engagement with the cut-out technique he had been developing since the early 1940s. The work is an extended horizontal composition — some 239 centimetres wide — made from shapes cut from paper painted in gouache, mounted on painted paper ground. The forms Matisse arrived at are simultaneously organic and abstract: they suggest algae, antlers, plant fronds, and purely invented shapes in equal measure, expanding and contracting across the long format with the rhythmic freedom that the scissors-and-paper method permitted. There is no preparatory drawing, no correction: the cutting is the drawing.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLes velours\u003c\/em\u003e entered the Kunstmuseum Basel in 1954, where it remains. Its scale makes it primarily a work for institutional experience, but the individual forms translate with surprising vitality to smaller formats — their internal logic, the relationship between figure and ground, the counterpoint of positive and negative shapes, survives the change of scale. Matisse at eighty was working at a size and with an ambition that younger artists might have envied.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eComposition (Les velours)\u003c\/em\u003e, 1947, gouache on paper cutout, mounted on painted paper. Kunstmuseum Basel. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211626315,"sku":"8bef00d6-9498-4c72-9286-ce379037546f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/LesVelours_Mug_front_v3.jpg?v=1787140187"},{"product_id":"matisse-la-danse-mug","title":"Henri Matisse: La Danse, 1909 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Danse\u003c\/em\u003e, 1909\u003cbr\u003eoil on canvas\u003cbr\u003eMuseum of Modern Art, New York\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHenri Matisse painted the first version of \u003cem\u003eLa Danse\u003c\/em\u003e in 1909 as a study for the monumental commission placed by the Russian collector Sergei Shchukin — a work that would hang at the top of the staircase in his Moscow mansion alongside a companion panel, \u003cem\u003eLa Musique\u003c\/em\u003e. The painting shows five figures in a ring, their bodies reduced to bare essentials: pink against green and blue, movement arrested at its most expressive point.\u003c\/p\u003e\u003cp\u003eThe composition has roots in Matisse's own earlier work — a background group of dancing figures appears in \u003cem\u003eLe Bonheur de vivre\u003c\/em\u003e (1906) — but in \u003cem\u003eLa Danse\u003c\/em\u003e everything peripheral has been stripped away. What remains is rhythm, colour, and the suggestion of an energy that predates individual consciousness. The painting entered the collection of the Museum of Modern Art, New York, in 1963.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eLa Danse\u003c\/em\u003e (first version), 1909, oil on canvas. Museum of Modern Art, New York. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States. Matisse's name identifies the historical artwork; it does not suggest endorsement or affiliation.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723308376395,"sku":"fce0c01c-dda1-4ca4-9a41-b7de773baf60","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/eb9eca7a-0104-46f4-a87e-28e7e52f502e.jpg?v=1786720238"},{"product_id":"henri-matisse-la-danse-graveur-mug","title":"Henri Matisse: La Danse (Barnes Mural), 1933 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Danse (Barnes Mural)\u003c\/em\u003e, 1933\u003cbr\u003eBarnes Foundation mural, 1930–33\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBetween 1930 and 1933, Henri Matisse undertook his most ambitious single commission: three enormous panels for the Barnes Foundation in Merion, Pennsylvania, depicting dancing figures in a monumental architectural setting. Albert C. Barnes had commissioned the work to occupy the lunettes above the main hall of his museum — irregular arched spaces that forced Matisse to reinvent his approach entirely. The first version, now at the Musée d'Art Moderne de la Ville de Paris, was abandoned when Matisse discovered he had worked to the wrong dimensions; the final version, delivered to the Barnes Foundation in 1933 and installed in 1935, was the largest painting Matisse had ever made.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eBarnes Dance\u003c\/em\u003e — as it has come to be called informally — marks a decisive shift in Matisse's work toward a more austere, architectural style. The figures are simplified to the point of becoming near-geometric, the palette reduced to pink, blue, grey, and black. The three linked panels create a single continuous composition of extraordinary rhythm and power, designed to be experienced in relation to the architecture rather than as an easel painting encountered at close range.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eThe Dance\u003c\/em\u003e, Barnes Foundation mural, 1930–33. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States. Matisse's name identifies the historical artwork; it does not suggest endorsement or affiliation.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454529355,"sku":"d28aea51-6cfd-4c33-bfb8-9dcce302b3a2","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/0e441058-9170-46cb-bea6-c7652737d148.jpg?v=1786789455"},{"product_id":"the-swing-by-fragonard-mug","title":"Jean-Honoré Fragonard: The Swing, 1767 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJean-Honoré Fragonard\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Swing\u003c\/em\u003e, 1767\u003cbr\u003eoil on canvas\u003cbr\u003eThe Wallace Collection, London\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePink and gold light, a sculpted garden space, a flying shoe, and the momentary revelation of a petticoat as the swing rises. The commission behind it was as knowing as the picture: a member of the French court — by some accounts the Baron de Saint-Julien — asked for a scene of his mistress on a garden swing, pushed by a bishop, while he himself lay concealed in the shrubbery below to watch.\u003c\/p\u003e\u003cp\u003eJean-Honoré Fragonard (1732–1806) turned that request into one of the century's great paintings, carried off with a technique of extraordinary delicacy and assurance. The Wallace Collection in London, which has held \u003cem\u003eThe Swing\u003c\/em\u003e since the nineteenth century, describes it as among the most complete expressions of the Rococo spirit — a style devoted to pleasure, elegance and the aestheticisation of aristocratic leisure in the decades before the Revolution swept it away. Fragonard survived the Revolution, outlived his patrons and died in relative obscurity; his rehabilitation as a master came later. The painting, which treats its own frivolity with perfect seriousness, has never required rehabilitation.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJean-Honoré Fragonard, \u003cem\u003eThe Swing\u003c\/em\u003e, c. 1767–1768, oil on canvas. The Wallace Collection, London. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454365515,"sku":"665d5ccb-bdec-4624-b569-32f4380dd21c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Fragonard_Mug_front_v3.jpg?v=1787130321"},{"product_id":"cat-with-kittens-mug","title":"Henriëtte Ronner: Cat with Kittens, 1844 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenriëtte Ronner\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCat with Kittens\u003c\/em\u003e, 1844\u003cbr\u003eoil on panel\u003cbr\u003eRijksmuseum, Amsterdam\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA mother cat tends to her kittens with the concentrated absorption of an animal that has forgotten it is being watched. The small figures tumble and press close in the warm, even light of a Dutch interior. Henriëtte Ronner was twenty-three when she painted it in 1844; the panel is in the Rijksmuseum, Amsterdam.\u003c\/p\u003e\u003cp\u003eRonner (1821–1909) was born in Amsterdam to a family of painters and began exhibiting professionally while still a teenager, initially concentrating on landscapes and animal subjects in the tradition of Dutch naturalism. By the 1860s she had settled in Brussels and shifted her attention almost exclusively to cats — a subject she would make entirely her own. She built a specially designed glass-fronted studio that allowed her to observe her feline subjects at close quarters while they went about their lives. The resulting paintings combine the meticulous observation of the seventeenth-century Dutch masters with the Victorian taste for the domestic scene. \u003cem\u003eCat with Kittens\u003c\/em\u003e is an early work, already showing the attention to feline behaviour that would characterise her mature practice: a painting about watchfulness — the mother's and the painter's — executed with the patient precision that sustained a career across seven decades.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eHenriëtte Ronner, \u003cem\u003eCat with Kittens\u003c\/em\u003e, 1844, oil on panel. Rijksmuseum, Amsterdam. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723317453131,"sku":"8765a23f-2f29-435f-9619-34726d2626f0","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Ronner_Mug_front_v3.jpg?v=1787128462"},{"product_id":"anna-atkins-cyanotype-botany-mug","title":"Anna Atkins: Cyanotype Ferns, 1840s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAnna Atkins\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCyanotype Ferns, 1840s\u003c\/em\u003e\u003cbr\u003eNational Gallery of Art, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA fern laid straight onto sensitised paper and left in the sun. No camera, no lens: white fronds standing against the deep Prussian blue of the cyanotype ground, each leaflet resolved with a clarity no hand-drawn illustration could match. The sheet is from the 1840s and is now in the National Gallery of Art, Washington, D.C.\u003c\/p\u003e\u003cp\u003eAnna Atkins (1799–1871) was a British botanist who in 1843 produced what is widely recognised as the first photographically illustrated book: \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, issued in self-published fascicles over the following decade. She had learned the cyanotype process — a photosensitive technique using iron salts — directly from its inventor, Sir John Herschel, who communicated it the previous year, and she applied it not as a novelty but as a scientific instrument: specimens placed directly onto coated paper and exposed to sunlight, yielding silhouettes of extraordinary precision. Atkins understood that photography and natural history were not in competition but in alliance, and her work stands at the intersection of Victorian science, botanical illustration and the new visual art of photography in its first decade.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAnna Atkins, \u003cem\u003eFerns. Specimen of Cyanotype\u003c\/em\u003e, 1840s. National Gallery of Art, Washington, D.C. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454267211,"sku":"cde77fa9-35cd-4bc6-883f-e805b326d281","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Atkins_Mug_front_v3.jpg?v=1787130693"},{"product_id":"simon-denis-cloud-study-at-sunset-mug","title":"Simon Denis: Cloud Study at Sunset, c. 1800 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eSimon Denis\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCloud Study at Sunset\u003c\/em\u003e, c. 1800\u003cbr\u003eoil on paper, 33.8 × 39.4 cm\u003cbr\u003eJ. Paul Getty Museum, Los Angeles, 2005\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA sunset sky worked in oil on paper: the clouds massed and lit from below as the sun goes down, the colour moving through orange and rose into the cooler registers of dusk. It was not made for exhibition but for the painter's own use — a record of one specific atmospheric condition, observed at one specific moment near Rome. The brushwork is rapid and sure, and that directness is exactly what gives the sheet its authority.\u003c\/p\u003e\u003cp\u003eSimon Denis (1755–1813) was a Flemish painter who arrived in Rome in 1786 and stayed for nearly two decades, becoming one of the most accomplished practitioners of the \u003cem\u003eplein air\u003c\/em\u003e oil sketch in an era when that practice was transforming how European artists understood landscape. Working outside the studio, before the motif, he painted the skies and light of the Roman Campagna with an empirical immediacy that anticipates the cloud studies of Constable and the atmospheric experiments of the Barbizon painters by a generation. The sheet is now in the J. Paul Getty Museum, Los Angeles.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eSimon Alexandre Clément Denis, \u003cem\u003eStudy of Clouds with a Sunset near Rome\u003c\/em\u003e, 1786–1801; oil on paper, 33.8 × 39.4 cm. The J. Paul Getty Museum, Los Angeles, 2005.31. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454201675,"sku":"7d3cac4b-8e66-42ff-bdb7-efb66edb7c10","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/SimonDenis_Mug_front_v3.jpg?v=1787128823"},{"product_id":"frederic-remington-broncho-buster-mug","title":"Frederic Remington: The Broncho Buster, 1895 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrederic Remington\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Broncho Buster\u003c\/em\u003e, 1895\u003cbr\u003eBronze, 81.9 × 69.2 × 38.1 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 39.65.45\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\"\u003e\u003c\/p\u003e\n\n\u003cp\u003eFrederic Remington (1861–1909) was twenty-five years old when he first travelled to the American West, and the experience transformed him. He returned repeatedly over the following two decades, working as a painter, illustrator, and — in the final years of his career — sculptor, to record a way of life he sensed was disappearing. \u003cem\u003eThe Broncho Buster\u003c\/em\u003e, modelled in 1895, was his first bronze and remains his most celebrated work: a cowboy on a rearing horse, the rider leaning back against the animal's momentum, hat raised, the composition spiralling upward in a controlled explosion of energy. Remington solved the considerable technical challenge of balancing the bronze on two rear hooves by concentrating weight at the base and using the horse's tail as a third point of support.\u003c\/p\u003e\n\n\u003cp\u003eThe sculpture entered the permanent collections of the Metropolitan Museum of Art and has since been cast in numerous editions; copies have occupied the Oval Office of the White House under several administrations, lending it a peculiar double life as both fine art and political symbol. For Remington, the work was personal — an act of preservation as much as invention, made at the moment when the frontier he had documented was being absorbed into national mythology. The image reproduced here — bold, kinetic, resolved in silhouette — captures the bronze as it was meant to be seen: from below, against the sky.\u003c\/p\u003e\n\n\u003cp\u003eThis edition is released to mark the 250th anniversary of the United States. The Broncho Buster is one of the defining images of American identity — a nation that mythologised its own frontier almost as it lived it. At 250, that myth is still very much alive. The America 250 ribbon on this mug is a small acknowledgment of that moment.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/the-last-cast\"\u003eThe Last Cast\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\n\u003cp\u003eFrederic Remington, \u003cem\u003eThe Broncho Buster\u003c\/em\u003e, modelled 1895, revised 1909; this cast by November 1910. Bronze, 32¼ × 27¼ × 15 in. (81.9 × 69.2 × 38.1 cm). Bequest of Jacob Ruppert, 1939. The Metropolitan Museum of Art, New York, acc. no. 39.65.45. Open Access, public domain.\u003c\/p\u003e\n\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723537686859,"sku":"0da90804-b76a-400f-aa8f-f715b9c80d74","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Remington_Mug_front_v3.jpg?v=1787138229"},{"product_id":"francois-pompon-polar-bear-mug","title":"François Pompon: Polar Bear, 1922 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrançois Pompon\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePolar Bear\u003c\/em\u003e, 1922\u003cbr\u003emarble on marble base, 27.9 × 48.3 × 17.1 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 30\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe sculpture is in the public domain — Pompon died in 1933\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eParis, autumn 1922. In a corner of the Salon d'Automne an unassuming plaster figure of a polar bear stops visitors mid-step. No anecdotal detail, no textured fur, no glass-eyed realism — just the economical sweep of a shoulder turning into a paw, and a head lifted mid-stride. François Pompon, then sixty-seven and known outside the studios chiefly as the man who had carved other sculptors' marble — Rodin's above all — had made the sculpture of his life.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eOurs blanc\u003c\/em\u003e went on to define an era. Pompon spent his last decade executing it in stone, marble and bronze for collectors and public collections across France, and in 1925 Émile-Jacques Ruhlmann placed a cast at the centre of his pavilion at the Paris Exposition Internationale des Arts Décoratifs — the exhibition that gave Art Deco its name. Through radical simplification he found something truer about the animal than surface naturalism ever could.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich version this is\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe bear on this mug is the marble, cut about 1923 — the Salon plaster carried into stone, forty-eight centimetres long on a black marble base, and bought for a New York collection in 1930. It is photographed side on in the museum’s studio against a plain grey ground, so that nothing competes with the silhouette. The marble is left as it is: a warm off-white that the porcelain takes up almost exactly.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrançois Pompon (1855–1933), \u003cem\u003ePolar Bear\u003c\/em\u003e (\u003cem\u003eOurs blanc\u003c\/em\u003e), ca. 1923; marble on marble base, 27.9 × 48.3 × 17.1 cm. The Metropolitan Museum of Art, New York, 30.123ab, Purchase, Edward C. Moore Jr. Gift, 1930. The sculpture is in the public domain — Pompon died in 1933. The photograph is the museum’s own, released under CC0 1.0 through its Open Access programme.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454070603,"sku":"a635d71b-fcfd-4cb0-8453-3773f5e21127","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/4438ff39-da24-497d-b97d-6e2c9f50e176.jpg?v=1788902166"},{"product_id":"jan-luyken-dirk-willems","title":"Jan Luyken: Dirk Willems Saves His Pursuer, 1685 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJan Luyken\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eDirk Willems Saves His Pursuer\u003c\/em\u003e, 1685\u003cbr\u003eetching\u003cbr\u003eRijksmuseum, Amsterdam, RP-P-OB-78\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the winter of 1569, a man fleeing for his faith turned back to save the very officer pursuing him. That man was Dirk Willems — an Anabaptist from Asperen whose act of mercy on a frozen Dutch river has become one of the most enduring images in the history of religious conscience.\u003c\/p\u003e\u003cp\u003eJan Luyken's etching, published in the \u003cem\u003eMartyrs Mirror\u003c\/em\u003e (1685), has carried this story across the centuries. It captures the exact moment Willems reaches back toward the man who has fallen through the ice — knowing that to save him means his own recapture. He was burned at the stake later that year.\u003c\/p\u003e\u003cp\u003eThis mug bears the complete engraving as it appears in the 1685 edition, cropped to the platemark and printed across the full porcelain surface.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/jan-luyken-workings-of-the-eye\"\u003eThe Workings of the Eye, 1682\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJan Luyken, \u003cem\u003eDirk Willemsz. redt zijn vervolger uit het ijs bij Asperen, 1569\u003c\/em\u003e, etching, in Thieleman J. van Braght, \u003cem\u003eHet Bloedig Tooneel of Martelaers Spiegel\u003c\/em\u003e, Amsterdam 1685. Rijksmuseum, Amsterdam, RP-P-OB-78.442. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211724619,"sku":"976f4bc2-5a5e-4829-9af4-496767b88d22","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Luyken_Mug_front.jpg?v=1787040222"},{"product_id":"venus-de-milo-ideal-greek-beauty-art-mug","title":"Venus de Milo, c. 130 BCE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eVenus de Milo, c. 130 BCE\u003c\/em\u003e\u003cbr\u003emarble\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe statue is in the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe \u003cem\u003eVenus de Milo\u003c\/em\u003e was discovered in 1820 by a peasant farmer on the Aegean island of Milos, buried in the ruins of an ancient theatre. Within months it had been acquired by the French ambassador to the Ottoman court and presented to Louis XVIII, who donated it to the Louvre — where it has remained ever since, drawing more visitors than almost any other object in the museum. Created sometime between 130 and 100 BCE, the statue is carved from Parian marble in two main sections joined at the hips; its subject is almost certainly Aphrodite, the Greek goddess of love and beauty, though the missing arms have made certain identification impossible. That ambiguity has proved central to the work's long afterlife.\u003c\/p\u003e\u003cp\u003eBy the nineteenth century the \u003cem\u003eVenus de Milo\u003c\/em\u003e had become the exemplar of classical Greek beauty — the standard against which all other representations of the female form were measured. Its influence on Western aesthetics was enormous, and the discovery of its missing arms has been the subject of speculation and fantasy for two centuries. What is beyond dispute is the statue's formal intelligence: the slight rotation of the torso against the lower body, the barely suggested spiral of the composition, the way the drapery pools at the hips to anchor an otherwise floating figure. It is both ideal and specific, remote and intensely present.\u003c\/p\u003e\u003cp\u003eThe mug takes her in profile, head bowed, against a dark ground — the view from her right side, which is the one the Louvre lets you have when the room is full and you cannot stand in front of her.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eVenus de Milo\u003c\/em\u003e (Aphrodite of Milos), c. 130–100 BCE, Parian marble, H. 2.02 m. Musée du Louvre, Paris, Ma 399 (LL 299). The statue is in the public domain; the photograph reproduced here was made by Marie-Lan Nguyen in 2007 and released by her into the public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856453480779,"sku":"b1fedfc2-2a8f-465d-9ede-d768640036c6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/fe49f899-bfea-417b-abcf-3acd0225cf88.webp?v=1788028778"},{"product_id":"melli-beese-aviatress-mug","title":"Melli Beese, Germany's First Aviatress, 1911 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eMelli Beese, Germany's First Aviatress\u003c\/em\u003e, 1911\u003cbr\u003ePhotographer unrecorded\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOn 13 September 1911, her twenty-fifth birthday, Amelie \"Melli\" Beese passed her pilot's examination at the Johannisthal airfield near Berlin and became the first woman to hold a German aviator's licence, number 115. The achievement had not come easily: her male colleagues at the flight school sabotaged her aircraft on the day of her first attempt, and she was forced to repeat the test. She passed anyway, flying the required figure-eights and altitude trials with the composure that would mark her whole career. Within months she had founded her own flying school at Johannisthal and was training other pilots.\u003c\/p\u003e\u003cp\u003eThe photograph on this mug is a real-photo postcard from that airfield — printed from the negative onto photographic paper, not reproduced in ink. Two captions are scratched into the negative itself: \u003cem\u003eFlugplatz Johannisthal\u003c\/em\u003e across the top, and at the foot, in quotation marks, \u003cem\u003e„Frl. Beese auf Rumpler-Taube“\u003c\/em\u003e. The „Frl.“ dates the card. Beese married Charles Boutard on 25 January 1913, so the picture was made in 1911 or 1912, in the months around the licence she had taken on a machine of exactly this type. She sits at the wheel in flying helmet and light coat, one hand on the rim, looking straight out of the frame.\u003c\/p\u003e\u003cp\u003eThe same negative also went to the illustrated press. A second sheet in this collection, shown in the gallery, has it as a printed plate: a wider frame that keeps the whole leading edge of the wing and the distant hangar, set in a ruled border, captioned in Fraktur \u003cem\u003e„Fräulein Beese, die erste deutsche Flugzeugpilotin.“\u003c\/em\u003e and credited at the right to the \u003cem\u003eInternationale Illustrations-Agentur in Berlin\u003c\/em\u003e. Two things follow. The picture was agency work — syndicated, not made for one client — which is why the same frame appears both as a postcard and on a printed page. And the two captions on the card are no part of the photograph: the press plate carries neither of them. They were scratched in for the postcard edition, and the wider frame was trimmed away at the same time.\u003c\/p\u003e\u003cp\u003eThe card had been in circulation and shows it: foxing in the sky, a soft crease along the upper edge, the small marks that a century of pockets and albums leaves behind. Those have been taken out for this edition. The tone, the photographic grain and both captions are as they are on the card.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eReal-photo postcard, \u003cem\u003e„Frl. Beese auf Rumpler-Taube“\u003c\/em\u003e, Flugplatz Johannisthal, Berlin, 1911–12. Photographer unrecorded; the negative was distributed by the Internationale Illustrations-Agentur in Berlin, whose credit stands under the press reproduction of the same frame. Both sheets from the collection of Dr. Walther Fuchs; the card scanned from the original at 600 dpi. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856453415243,"sku":"f51f572f-c70d-4f40-978b-9cf1ebaabfc5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Beese_Mug_front_v2_388af291-436b-48e8-81f9-343fb8ae6599.jpg?v=1787307761"},{"product_id":"victorian-robin-antique-botanical-mug","title":"Thomas Bewick: The Redbreast, 1797 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eThomas Bewick\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Redbreast\u003c\/em\u003e, 1797\u003cbr\u003ewood engraving\u003cbr\u003eWellcome Collection, London\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThomas Bewick cut this robin into the end grain of a block of boxwood, working the picture in white lines out of solid black — a way of engraving on wood he brought to a pitch nobody had reached before him. It was printed in 1797 in the first volume of \u003cem\u003eA History of British Birds\u003c\/em\u003e, the book Charlotte Brontë later put into Jane Eyre's hands on the opening page of the novel.\u003c\/p\u003e\u003cp\u003eThe bird stands on a snow-covered stone. Behind it: a paling fence, bare trees, a farmhouse under snow, the flat light of a winter afternoon. Bewick set his birds in the countryside he knew, the Tyne valley where he had grown up, and the robin is the one that stays through the winter — he drew it accordingly.\u003c\/p\u003e\u003cp\u003eThe block printed in black. Bewick himself washed watercolour over his own drawing for this cut, and that sheet survives in the British Museum; the colour here follows it — the flat orange of the breast, the olive of the back, the cold blue lying in the snow. To be clear about what this is: the lines are Bewick's, taken from a printed impression; the colouring was done for this edition and is ours, not his. It is not a historical hand-coloured print and is not offered as one.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eThomas Bewick, \u003cem\u003eThe Redbreast\u003c\/em\u003e, wood engraving, first published in \u003cem\u003eA History of British Birds\u003c\/em\u003e, vol. I, Newcastle 1797. The impression reproduced here is from the Newcastle edition of 1847, digitised by the Wellcome Collection, London. Public domain. Colouring added for this edition after Bewick's own watercolour drawing for the block, British Museum 1882,0311.1270.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724160311627,"sku":"6b7caefc-792b-4db6-b689-d0b1f5591dc6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/bewick_v2_front_3000.jpg?v=1787213622"},{"product_id":"george-washingtons-coffee-cup-society-of-the-cincinnati-1784","title":"George Washington's Coffee Cup, 1784 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eGeorge Washington's Coffee Cup\u003c\/em\u003e, 1784\u003cbr\u003ePorcelain, H. 2½ in. (6.4 cm)\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 39.18.3\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\" style=\"max-width: 180px; width: 100%;\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e250 Years. One Cup.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn 4 July 2026 the United States turned 250. In the American Wing of the Metropolitan Museum of Art, a small porcelain coffee cup sits quietly — one of 302 pieces that George Washington ordered from China in 1786, used throughout his presidency, and kept at Mount Vernon until his death.\u003c\/p\u003e\u003cp\u003eWashington drank coffee. His household accounts document it. He served guests — diplomats, officers, members of the new government — using this service, in New York, in Philadelphia, at Mount Vernon. The service included several coffee cups. He used them. Which one he held on any given morning, history does not record. But the cup now in the Met is one of those cups. The same service. The same glaze. The same painted figure of Fame with her trumpet, the same Cincinnati eagle beneath her.\u003c\/p\u003e\u003cp\u003eThis re-edition reproduces the cup faithfully — same form, same decoration, same weight in the hand. Made to be used, not displayed.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/he-drank-from-this-cup\"\u003eHe Drank From This Cup\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eCoffee Cup, Chinese, ca. 1784. Porcelain, H. 2½ in. (6.4 cm). Gift of R. Thornton Wilson, 1939. The Metropolitan Museum of Art, New York, acc. no. 39.18.3. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57766951944523,"sku":"b44b651c-0f25-4f10-81d2-e9163c968702","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/3accdd5e-14ed-4617-8d7c-e6e87172013d.webp?v=1783342226"},{"product_id":"limbourg-brothers-tres-riches-heures-may-mug","title":"Limbourg Brothers: Très Riches Heures (May), 1416 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eLimbourg Brothers\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTrès Riches Heures (May)\u003c\/em\u003e, 1416\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn May 1411, the courtiers of John, Duke of Berry, ride out in splendour. Clad in robes of spring green — the colour of hope and renewal — they wind through the Bois de Vincennes to the sound of trumpets, their horses garlanded, their laughter carrying across the vellum. Rising behind them in the distance, the towers of the Palais de la Cité — the royal palace on the Île de la Cité in Paris, seat of the French crown — gleam silver-white against a sky of lapis blue.\u003c\/p\u003e\u003cp\u003eThis is \u003cem\u003eMois de Mai\u003c\/em\u003e from \u003cem\u003eLes Très Riches Heures du Duc de Berry\u003c\/em\u003e, the most celebrated illuminated manuscript of the Middle Ages. Painted around 1412–1416 by the Flemish brothers Pol, Herman and Johan Limbourg — three prodigies who died young, their masterwork left unfinished — it depicts the twelve months in scenes of the finest refinement European painting had yet reached. No other medieval book matches its colour, its observation of the natural world, or the sheer joy it takes in human festivity.\u003c\/p\u003e\u003cp\u003eThe May folio is its most exuberant page: a world at its most alive, before plague and war and the long shadow of the fifteenth century closed in.\u003c\/p\u003e\u003cp\u003eThe design wraps the cavalcade around the mug. The fourth product image shows the complete original folio — with its gilded outer border and the zodiac calendar arch above, the sun's chariot passing through Gemini — so that what the mug takes and what it leaves are both visible.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFolio for May, \u003cem\u003eLes Très Riches Heures du Duc de Berry\u003c\/em\u003e, Limbourg Brothers, c. 1412–1416. Musée Condé, Chantilly. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57767477379403,"sku":"9db76b67-49f7-4fe7-86f7-8ce7fc7a1e2f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/daf2f9b1-e301-4853-a206-f913cdc72070.webp?v=1783200209"},{"product_id":"white-10oz-porcelain-slim-mug-quilt-eagle-pattern","title":"Eagle Quilt: Twenty-Six Stars, 1837 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eTwenty-Six Stars\u003c\/em\u003e, 1837\u003cbr\u003eQuilt, 103 × 97 in.\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 1974.32\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\" style=\"max-width: 180px; width: 100%;\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Eagle at Home: A New Nation Stitches Its Symbol\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn 4 July 2026, America turned 250. In New England, sometime around 1837, an anonymous needleworker bent over cotton and thread and stitched an eagle — the eagle — at the centre of a quilt. She knew exactly what it meant.\u003c\/p\u003e\u003cp\u003eThe design follows the Great Seal of the United States, adopted by Congress in 1782: an eagle with wings spread, arrows in one talon, an olive branch in the other. Above the eagle's head: twenty-six stars. Twenty-six — because in January 1837, Michigan had just become the twenty-sixth state, and someone, somewhere, decided this quilt would mark the moment. Not with a ceremony, not with a monument. With cloth and a needle, at a kitchen table.\u003c\/p\u003e\u003cp\u003eThe eagle had moved fast through American domestic life after the Revolution. It appeared on silver, on porcelain, on furniture and uniforms. The Society of the Cincinnati — founded in 1783 by officers who had served under Washington — adopted the same eagle for their badge of honour. By 1837, the symbol was everywhere, but it hadn't yet become imperial. This quilt catches it while it was still personal: a grandmother's pride, a family's declaration. \u003cem\u003eWe are Americans. This is our bird.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe mug carries the quilt's central eagle medallion. The full cotton textile — 103 by 97 inches, almost a perfect square — now hangs in the American Wing of the Metropolitan Museum of Art in New York.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/the-quilt-that-counted-michigan\"\u003eThe Quilt That Counted Michigan\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eQuilt, Eagle pattern, American, ca. 1837–50. Cotton, 103 × 97 in. (261.6 × 246.4 cm). Gift of Mrs. Jacob Kaplan, 1974. The Metropolitan Museum of Art, New York, acc. no. 1974.32. Public domain. \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/13899\"\u003eView at the Met →\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57781406204235,"sku":"e06a45a7-39e0-4d85-ad1c-fdb48f84dac1","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/cf2eaa1f-1628-424f-9b5e-5797cc4f284b.webp?v=1783408673"},{"product_id":"bayeux-tapestry-halleys-comet-1066-mug","title":"Bayeux Tapestry: Halley's Comet, 1066 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eHalley's Comet\u003c\/em\u003e, 1066\u003cbr\u003ewool embroidery on linen\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePhotograph by Myrabella, 7 March 2013, Wikimedia Commons, released by the photographer into the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eSpring, 1066. A comet blazes across the night sky over England. Men stand rooted to the ground, arms flung upward, unable to look away. \"Isti mirant stella\" — these men marvel at the star — reads the stitched inscription above their heads. A few paces on in the embroidered narrative, King Harold sits at Westminster as a messenger leans close to deliver the news.\u003c\/p\u003e\u003cp\u003eThis is Scenes 32–33 of the Bayeux Tapestry: the most celebrated panels of the most famous medieval artwork in existence. Probably commissioned within years of the Norman Conquest by Bishop Odo of Bayeux — William the Conqueror's half-brother — the nearly seventy-metre wool-on-linen chronicle recorded the events of 1066 with dramatic economy. The comet, Halley's, had been observed by chroniclers across Europe and Asia that spring. In the tapestry, it is unambiguously an omen. At Hastings in October, the omen proved correct.\u003c\/p\u003e\u003cp\u003eOn 10 September 2026 the tapestry goes on show at the British Museum in London, in Britain for the first time in more than nine hundred years. The loan runs until 11 July 2027 and the opening months are already sold out. The panel at the centre of the publicity is the one wrapped around this mug.\u003c\/p\u003e\u003cp\u003eReproduced from a photograph of the original eleventh-century embroidery. The wool was dyed with three plants — madder for the reds, woad for the blues, weld for the yellows — and nine hundred years have taken the edge off all three. The colours here have been lifted back so that they read with full intensity on white porcelain.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the same scene as Charles Stothard engraved it. The Society of Antiquaries of London sent him to Bayeux in 1816 to copy the whole tapestry; James Basire cut the plates, and their publication in 1821–23 was the first time a complete colour reproduction had been put before the public. Stothard drew the embroidery after the damage of the Revolution and before the nineteenth-century repairs — which is why his plates are still the reference for what is original stitching and what is later mending. One thing he did not draw: a fragment left Bayeux during the campaign and surfaced in London. The South Kensington Museum sent it back on 14 August 1872. Who removed it has never been settled.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eBayeux Tapestry, scenes 32–33, wool embroidery on linen, c. 1070s, Bayeux, Normandy. Photograph by Myrabella, 7 March 2013, Wikimedia Commons, released by the photographer into the public domain. Fourth image: Charles Alfred Stothard, \u003cem\u003eThe Tapestry of Bayeux\u003c\/em\u003e, engraved by James Basire, Society of Antiquaries of London, 1821–23; Internet Archive, Public Domain Mark 1.0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57838947303755,"sku":"bd212831-ea2a-4e6a-97d0-dd3534b07b3f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/f17a3bf6-942d-4c7b-91a2-11f24b650ce3.webp?v=1783751513"},{"product_id":"jan-luyken-workings-of-the-eye","title":"Jan Luyken: The Workings of the Eye, 1682 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJan Luyken\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Workings of the Eye\u003c\/em\u003e, 1682\u003cbr\u003eetching and letterpress\u003cbr\u003eRijksmuseum, Amsterdam, RP-P-1896-A-19368\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn 1682 the Amsterdam publisher Willem Goeree issued his \u003cem\u003eNatuurlyk en schilderkonstig ontwerp der menschkunde\u003c\/em\u003e — an anatomy written for painters who wanted to understand the body they were drawing. For the chapter on the eye he turned to Jan Luyken, the finest etcher in the city.\u003c\/p\u003e\u003cp\u003eLuyken's plate shows the whole path of sight in one image: a candle at the left, its rays entering both eyes, the optic nerves winding back through the skull to the brain. It is anatomy as an artist saw it — drawn with the same hand that made Luyken's poems and his martyr scenes, two decades before Newton published his \u003cem\u003eOpticks\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eThis mug bears the central plate, marked II, from the 1682 edition — printed across the full porcelain surface with its original paper tone. The fourth product image shows the complete sheet with the printed detail marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/jan-luyken-dirk-willems\"\u003eDirk Willems Saves His Pursuer, 1685\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJan Luyken, plate marked I–III, etching and letterpress, in Willem Goeree, \u003cem\u003eNatuurlyk en schilderkonstig ontwerp der menschkunde\u003c\/em\u003e, Amsterdam 1682. Rijksmuseum, Amsterdam, RP-P-1896-A-19368. Van Eeghen 484. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58163234046283,"sku":"9a210257-1a68-4f10-8640-930fb9ed3dcb","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Optik_Mug_front.jpg?v=1787039687"},{"product_id":"egyptian-ostracon-sparrow-sketch-mug","title":"Egyptian Ostracon: Sketch of a Sparrow, c. 1470 BCE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eSketch of a Sparrow, c. 1470 BCE\u003c\/em\u003e\u003cbr\u003eLimestone and paint, 6.6 × 10.6 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, Rogers Fund, 1923, inv. 23.3.7\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (Open Access)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOstraca were the scrap paper of ancient Egypt: flakes of limestone and broken pottery, picked up where they lay and drawn on without ceremony. This one carries a sparrow, painted in red ochre with a black beak and black legs, standing on a line the artist drew for it. It was made at Thebes during the joint reign of Hatshepsut and Thutmose III, between about 1479 and 1458 BCE, on a piece of stone that fits in the palm of a hand.\u003c\/p\u003e\u003cp\u003eNothing about it was meant to last. It is a practice piece — the kind of drawing an artist makes to get a shape right before committing it to a tomb wall — and that is what makes it worth looking at. The hand is quick and unguarded. The bird is observed rather than copied: the round breast, the cocked tail, the small alert head. The same creature runs through the hieroglyphic script, where the sparrow sign stands in words having to do with smallness.\u003c\/p\u003e\u003cp\u003eThe flake is printed as it is, cut free of its photographic background, so the broken edge of the stone becomes the edge of the image. The red mark at the right is the museum's own accession number.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eArtist's Sketch of a Sparrow\u003c\/em\u003e, New Kingdom, Dynasty 18, joint reign of Hatshepsut and Thutmose III, ca. 1479–1458 BCE. Limestone and paint, 6.6 × 10.6 cm. From Thebes, Upper Egypt. The Metropolitan Museum of Art, New York, Rogers Fund, 1923, accession no. 23.3.7. Public domain (Open Access).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58186960568651,"sku":"8f387d7e-08d5-4b71-be47-3763e3905fab","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/sparrow_ostracon_front_3000.jpg?v=1787206513"},{"product_id":"attributed-to-felix-thiollier-lady-and-horse-in-the-snow-1899-art-mug","title":"Attributed to Félix Thiollier: Lady and Horse in the Snow, 1899 – Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAttributed to Félix Thiollier\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLady and Horse in the Snow\u003c\/em\u003e, 1899\u003cbr\u003ephotograph in March 2025\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eWhat is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA woman in a long dark coat walks away from us across a snow-covered paddock, a thin whip trailing from her right hand. Behind her a dark horse breaks into a gallop along the rail. Bare trees stand in the falling snow, and the light is so flat that everything except the two dark shapes dissolves into grey. It is an ordinary working moment — a horse being exercised on a winter morning — held with the compositional care of a painting.\u003c\/p\u003e\u003cp\u003eThe photograph is generally published as the work of Félix Thiollier (1842–1914) and dated 1899. Thiollier was a Saint-Étienne industrialist who left business early for art and archaeology, taught himself photography, and spent more than twenty years photographing the Forez — its monuments, its ruins, its people and above all its weather — leaving some three to four thousand negatives. He composed like a painter: deliberate framing, subdued light, deep texture. His descendants gave the surviving archive to the Musée d'art moderne et contemporain de Saint-Étienne Métropole in 2024.\u003c\/p\u003e\u003cp\u003eThe attribution is traditional rather than documented, and this edition says so. Asked about this photograph in March 2025, the museum's Collections service replied that it could not confirm the attribution from its records. The title and the year travel with the picture wherever it is reproduced; neither has a museum source behind it. What is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAttributed to Félix Thiollier (1842–1914), \u003cem\u003eLady and Her Horse on a Snowy Day\u003c\/em\u003e, 1899. Private collection. Public domain. Printed from the best reproduction traced; the motif is set at the size its true resolution supports rather than enlarged beyond it.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58214931530059,"sku":"8eba5719-51b6-4513-9694-53865d55aa24","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Thiollier_Snow_front_3000.jpg?v=1787316287"},{"product_id":"musee-entomologique-carpenter-bee-xylocopa-morio-1878-art-mug","title":"Musée Entomologique: Carpenter Bee (Xylocopa morio), 1878 – Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eCarpenter Bee (Xylocopa morio)\u003c\/em\u003e, 1878\u003cbr\u003eHand-coloured wood engraving\u003cbr\u003eMadge Entomology Collection, University of Alberta Libraries, and made available through the Internet Archive and the Biodiversity Heritage Library\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA carpenter bee crosses the frame on rust-red wings, its body a blue-black so deep the engraver left the paper bare to model it. Around it a passionflower vine in fine hatching, a tendril curling into a spiral, and at the right the trunk of a dead tree — the material the bee is named for. Carpenter bees do not build, they bore: they cut galleries into standing dead wood, and the genus name says so. \u003cem\u003eXylocopa\u003c\/em\u003e is Greek for wood-cutter.\u003c\/p\u003e\u003cp\u003eThe sheet is \u003cem\u003eHyménoptères — Pl. VII\u003c\/em\u003e from the \u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, the three-volume natural history that Jules Rothschild published in Paris between 1876 and 1878; this plate belongs to volume three, \u003cem\u003eLes Insectes\u003c\/em\u003e. The full plate sets four bees on one passionflower — beside \u003cem\u003eXylocopa morio\u003c\/em\u003e three tropical American species: \u003cem\u003eChrysantheda frontalis\u003c\/em\u003e, \u003cem\u003eEuglossa romandi\u003c\/em\u003e and \u003cem\u003eCentris denudans\u003c\/em\u003e. This mug takes the upper part alone: the carpenter bee, its vine and its tree. The fourth product image shows the whole sheet with the printed part marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp\u003eThe plates are wood engravings, coloured by hand one copy at a time, so no two are quite alike. What you see is the colouring of one particular copy — the one in the Dr. Ronald B. Madge Entomology Collection at the University of Alberta. Nothing has been repainted. The yellowing of the paper has been balanced out and the tone opened so that the engraved line carries on white porcelain; the hatching, the colour and the silhouette are as the sheet has them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same sheet\u003c\/strong\u003e — The passionflower at the centre of the same plate, with the green orchid bee, is on its own mug: \u003ca href=\"\/products\/musee-entomologique-orchid-bee-and-passionflower-chrysantheda-frontalis-1878-art-mug\"\u003eOrchid Bee and Passionflower (Chrysantheda frontalis)\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, vol. 3, \u003cem\u003eLes Insectes\u003c\/em\u003e, Paris: J. Rothschild, 1878, plate \u003cem\u003eHyménoptères — Pl. VII\u003c\/em\u003e, upper detail. Hand-coloured wood engraving. Digitised from the copy in the Dr. Ronald B. Madge Entomology Collection, University of Alberta Libraries, and made available through the Internet Archive and the Biodiversity Heritage Library. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58218243031371,"sku":"8cf64015-fe59-497f-88fb-07a6b7a56a05","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Xylocopa_Mug_front_3000.jpg?v=1787327399"},{"product_id":"albert-einstein-on-a-bicycle-1933-porcelain-art-mug","title":"Albert Einstein on a Bicycle, 1933 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eAlbert Einstein on a Bicycle\u003c\/em\u003e, 1933\u003cbr\u003ePhotographer unrecorded\u003cbr\u003eLeo Baeck Institute, New York, Albert Einstein Collection AR 136, call number F 5314A\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA driveway in Santa Barbara, February 1933. A man of fifty-three rides towards the camera with both hands on the bars and his whole face laughing. Behind him a white house, a second bicycle propped against the shrubs, shutters open to the winter sun. In front of him, thrown long across the asphalt, the shadow of a bicycle and its rider.\u003c\/p\u003e\u003cp\u003eEinstein had come to California at the beginning of January for his third winter at Caltech. On 30 January, while he was here, Hitler became Chancellor. In the middle of March he decided to go back to Europe and wrote his resignation to the Prussian Academy of Sciences during the crossing; by the time the ship reached Antwerp he had resolved never to set foot on German soil again, and he never did. On 7 October 1933 he sailed for America and stayed. This photograph belongs to the weeks in between — a Berlin professor on a Californian driveway, laughing, with everything about to change.\u003c\/p\u003e\u003cp\u003eThe print is a small snapshot with a deckled edge, its emulsion gone warm over ninety years. It is held at the Leo Baeck Institute in New York, in the Albert Einstein Collection, under the call number F 5314A. The record names the place — in front of Ben Meyer's house in Santa Barbara — but not the photographer.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the print as the archive holds it, with the part printed on the mug marked. The white border and the staining along the lower edge fall outside the mark; the crease across the upper left corner runs into it and has been retouched, as has a small loss at the corner itself. The mug carries the photograph alone — straightened, cleaned of specks, with the warm tone of the paper kept.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAlbert Einstein riding a bicycle, in front of Ben Meyer's house in Santa Barbara, California, February 1933. Photographer unrecorded. Leo Baeck Institute, New York, Albert Einstein Collection AR 136, call number F 5314A. Reproduced by permission of the Institute.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58220226576715,"sku":"b3885e98-62a3-4cd7-8b0c-402651df5bb7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Einstein_Mug_1_front_3000.jpg?v=1787349412"},{"product_id":"andreas-cellarius-planisphaerium-ptolemaicum-1661-porcelain-art-mug","title":"Andreas Cellarius: Planisphaerium Ptolemaicum, 1661 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAndreas Cellarius\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePlanisphaerium Ptolemaicum\u003c\/em\u003e, 1661\u003cbr\u003eZentralbibliothek Zürich, T 12, doi\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic Domain Mark\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAt the centre, the Earth. A small globe of the northern hemisphere — Europe, Asia and Africa named on it — wrapped in a ring of cloud and set inside a band of flame: mundus sublunaris quatuor elementa complectens, the world below the moon that holds the four elements. Around it turn seven spheres, one for each planet the age could see, each with its god driving a chariot through the clouds. The outermost band is the zodiac. Everything moves around the Earth, because in this picture everything does.\u003c\/p\u003e\u003cp\u003eThe title is cut in half. It stands in two cartouches at the top, and you have to read across the sky to assemble it — left line, right line, left line, right. Even single words break across the gap. The engraver made the reader's eye travel the whole width of the heavens before the sentence closes.\u003c\/p\u003e\u003cp\u003eAndreas Cellarius published the Harmonia Macrocosmica in Amsterdam in 1660, and this is its opening plate. Copernicus had been in print for 117 years. Galileo had been tried 27 years earlier. The model was finished, and Cellarius opens with it anyway: the atlas was conceived as a history of ideas, and it sets out the systems of Ptolemy, of Copernicus and of Tycho Brahe side by side, each drawn on its own terms and with the same care. The sheet printed here comes from the issue of 1661; the Copernican plate, three leaves later in the same volume, is its counterpart.\u003c\/p\u003e\u003cp\u003eHe was not an astronomer. Born around 1596 at Neuhausen near Worms, he taught Latin in Amsterdam and The Hague, and from 1637 was rector of the Latin school at Hoorn, housed in a former convent. He died there in the first months of 1665. Where he is buried is not known.\u003c\/p\u003e\u003cp\u003eThe mug carries the plate whole — both cartouches, the winged figures at the sides, and in the lower corners the two groups of astronomers with their globes, quadrants and cross-staffs. The copy is the one kept in Zurich, coloured by hand.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at the size they are printed: the Earth held in cloud and fire, the cartouche where the title breaks off mid-word, the chariot of the sun on the via solis, and the astronomer in the lower right corner.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/andreas-cellarius-planisphaerium-copernicanum-1661-porcelain-art-mug\"\u003ePlanisphaerium Copernicanum, 1661\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eAndreas Cellarius, Planisphaerium Ptolemaicum sive machina orbium mundi ex hypothesi Ptolemaica in plano disposita. Plate 1 of the Harmonia Macrocosmica, Amsterdam: Johannes Janssonius, 1661. Zentralbibliothek Zürich, T 12, doi.org\/10.3931\/e-rara-89076. Public Domain Mark.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58233920749899,"sku":"260aa195-6acf-48e8-8a3c-c5491dfe299c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Cellarius_Ptol_1_front_3000.jpg?v=1787511605"},{"product_id":"andreas-cellarius-planisphaerium-copernicanum-1661-porcelain-art-mug","title":"Andreas Cellarius: Planisphaerium Copernicanum, 1661 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAndreas Cellarius\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePlanisphaerium Copernicanum\u003c\/em\u003e, 1661\u003cbr\u003eZentralbibliothek Zürich, T 12, doi\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic Domain Mark\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAt the centre, the sun — and it has a face. Around it the circles of Mercury and Venus, then the Earth carrying its moon in a small ring of its own, then Mars, then Jupiter with four satellites, then Saturn. The outermost band is the zodiac, twelve fields of cloud with their signs. Nothing here turns around the Earth except the moon.\u003c\/p\u003e\u003cp\u003eThe title is cut in half, exactly as on the Ptolemaic plate: two cartouches at the top, read left line then right line, and single words break across the gap. The engraver made the reader's eye travel the whole width of the heavens before the sentence closes.\u003c\/p\u003e\u003cp\u003eThis is plate four of the Harmonia Macrocosmica, Amsterdam 1661 — three leaves after the Ptolemaic system, in the same volume, drawn by the same hand with the same care. Cellarius set the competing models beside one another and let each make its case. Copernicus had been in print for 117 years; Galileo had been tried 27 years earlier; and the four small discs beside Jupiter are what Galileo saw through his glass in 1610, drawn into the sky fifty years later.\u003c\/p\u003e\u003cp\u003eAndreas Cellarius was not an astronomer. Born around 1596 at Neuhausen near Worms, he taught Latin in Amsterdam and The Hague, and from 1637 was rector of the Latin school at Hoorn, housed in a former convent. He died there in the first months of 1665. Where he is buried is not known.\u003c\/p\u003e\u003cp\u003eThe mug carries the plate whole — both cartouches, the two figures at the sides, and in the lower corners the astronomers: Ptolemy on the left with his globe, and on the right a younger man with an armillary sphere. The copy is the one kept in Zurich, coloured by hand.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at the size they are printed: the sun with its face, the cartouche where the title breaks off mid-word, Jupiter with its four moons, and the astronomer in the lower right corner.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/andreas-cellarius-planisphaerium-ptolemaicum-1661-porcelain-art-mug\"\u003ePlanisphaerium Ptolemaicum, 1661\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eAndreas Cellarius, Planisphaerium Copernicanum sive systema universi totius creati ex hypothesi Copernicana in plano exhibitum. Plate 4 of the Harmonia Macrocosmica, Amsterdam: Johannes Janssonius, 1661. Zentralbibliothek Zürich, T 12, doi.org\/10.3931\/e-rara-89076. Public Domain Mark.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58235031322955,"sku":"16affa2e-eaff-43e0-a3ca-dec3cadc90e7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Cellarius_Cop_1_front_3000.jpg?v=1787513078"}],"url":"https:\/\/tazzarte.com\/collections\/all-mugs.oembed","provider":"Tazzarte","version":"1.0","type":"link"}