{"title":"Black \u0026 White","description":"\u003cp\u003ePhotographs, engravings and drawings in black, white and grey. Quiet, graphic art mugs that go with everything.\u003c\/p\u003e","products":[{"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":"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":"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":"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":"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":"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":"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":"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":"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":"wright-brothers-first-flight-1903-porcelain-art-mug","title":"The Wright Brothers at Kitty Hawk, 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\u003cem\u003eThe Wright Brothers at Kitty Hawk\u003c\/em\u003e, 1903\u003cbr\u003ePhotograph by John T, 18 × 12.5 cm\u003cbr\u003eLibrary of Congress, Prints \u0026amp; Photographs Division, 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 machine of spruce, ash and muslin is a foot or two above the sand, and the man at the right is Wilbur, standing where his run ended. Orville is lying prone at the controls, on his stomach, hips in the cradle that warped the wings. Behind them the launch rail runs back across the beach — a single wooden track laid on the flat. It is 10:35 in the morning of 17 December 1903, at Kill Devil Hills near Kitty Hawk, North Carolina, and the wind is coming in cold off the Atlantic.\u003c\/p\u003e\n\u003cp\u003eThe photograph exists because Orville set it up before he flew. He put the camera on a tripod, aimed it at the spot where he expected the machine to leave the rail, and showed John T. Daniels of the Kill Devil Hill lifesaving station how and when to snap the shutter. Daniels had never seen a camera before. He squeezed the bulb at exactly the right moment and afterwards was not certain he had squeezed it at all.\u003c\/p\u003e\n\u003cp\u003eThe flight lasted twelve seconds and covered 120 feet — shorter than the wingspan of an airliner. Three more followed that morning, each longer than the last; the fourth stayed up 59 seconds. Then a gust caught the machine on the ground and rolled it over, and it never flew again.\u003c\/p\u003e\n\u003cp\u003eThe negative is a glass dry plate, 18 by 12.5 centimetres. It stayed with the brothers and is held today in their own papers at the Library of Congress.\u003c\/p\u003e\n\u003cp\u003eThe plate is damaged: a corner is broken away at the lower left and the emulsion is lost in two places along the bottom edge. Rather than paint them out, the mug carries a cropped frame that leaves them off the sheet. The picture gives up the far end of the launch rail and gains nothing that was not on the plate.\u003c\/p\u003e\n\u003cp\u003eThe fourth product image shows four details at close range: Orville at the controls, Wilbur beside the wing, the launch rail on the sand, and the tools left standing where the run began.\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\n\u003cp\u003eFirst flight, 120 feet in 12 seconds, 10:35 a.m.; Kitty Hawk, North Carolina, 17 December 1903; dry-plate glass negative, 18 × 12.5 cm. Photograph by John T. Daniels, camera set by Orville Wright. Glass negatives from the Papers of Wilbur and Orville Wright, Library of Congress, Prints \u0026amp; Photographs Division, Washington, D.C., LC-DIG-ppprs-00626 (LCCN 00652085). Public domain.\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":58236306325835,"sku":"f03461c1-4d70-4e1e-b48a-6fbe771bcd86","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Wright_Mug_1_front_3000_014b09d5-437d-485c-b166-4c0672f29fab.jpg?v=1787548145"},{"product_id":"wilson-bentley-snowflake-1905-porcelain-art-mug","title":"Wilson Bentley: Snowflake, c. 1905 – 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\u003eWilson A. Bentley (1865-1931)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSnowflake\u003c\/em\u003e, c. 1905\u003cbr\u003eGelatin silver printing-out-paper print, 10.1 x 7.6 cm\u003cbr\u003eThe Museum of Modern Art, New York, inv. 393.2006\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\u003eWilson Bentley was a farmer in Jericho, Vermont, in the snowbelt — about three metres of snow a year. His mother taught him at home. For his fifteenth birthday, in 1880, he was given a microscope. He spent the next years trying to draw what he saw in it, and failing.\u003c\/p\u003e\u003cp\u003eThen he connected a bellows camera to the microscope. In 1885, aged nineteen, he made the first photograph of a snow crystal that anyone had ever made.\u003c\/p\u003e\u003cp\u003eThe apparatus stood outdoors, because indoors the specimens melted. He waited in the cold, caught the falling flakes on a board, moved them under the lens with a feather, and exposed for a minute and a half. He did this for forty-six winters and photographed more than five thousand crystals. From that collection came the sentence everyone now repeats without knowing whose it was: no two are alike.\u003c\/p\u003e\u003cp\u003eThis one is a stellar dendrite, and it is as near to perfect as his plates come. Six arms of equal length, each carrying the same paired branches at the same angle, each branch ending in a small flat plate. At the centre, a hexagon the size of a pinhead. The crystal was on the ground for a few seconds and then gone; the photograph is all that is left of it.\u003c\/p\u003e\u003cp\u003eBentley cut the crystal out of the print and mounted it on dark card. That is why the field is a black disc on a pale ground. He did this five thousand times over forty-six winters, in an unheated shed behind the farmhouse.\u003c\/p\u003e\u003cp\u003eThis print was made around 1905 and came to the Museum of Modern Art in New York a century later, acquired in memory of John Parkinson III through the generosity of his friends. It is 10.1 by 7.6 centimetres — the size of a postcard.\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\/wilson-bentley-frost-1910-porcelain-art-mug\"\u003eFrost, c. 1910\u003c\/a\u003e · \u003ca href=\"\/products\/wilson-bentley-dew-spider-web-1910-porcelain-art-mug\"\u003eDew on a Spider Web, c. 1910\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilson A. Bentley (1865–1931), Snowflake, c. 1905. Gelatin silver printing-out-paper print, 10.1 × 7.6 cm. The Museum of Modern Art, New York, 393.2006. 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":58236941402443,"sku":"e5924d2a-568e-4c02-bc63-b9c61fe2a485","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/BentleyMoMA_Mug_1_front_3000_e47a7620-cee2-425d-bc4b-aa0919e41416.jpg?v=1787593068"},{"product_id":"wilson-bentley-frost-1910-porcelain-art-mug","title":"Wilson Bentley: Frost, c. 1910 – 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\u003eWilson Bentley\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eFrost\u003c\/em\u003e, c. 1910\u003cbr\u003eGelatin silver print\u003cbr\u003eThe Metropolitan Museum of Art, New York, 2015\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThis is not a snow crystal. It is frost — ice grown straight out of the air onto a cold surface. A snowflake falls once and is gone in seconds. Frost builds over hours, fern upon fern, until the whole pane is filled.\u003c\/p\u003e\u003cp\u003eWilson Bentley was a farmer in Jericho, Vermont, in the snowbelt — about three metres of snow a year. In 1885, aged nineteen, he bolted a bellows camera to a microscope and made the first photograph of a snow crystal that anyone had ever made. He kept at it for forty-six winters and more than five thousand crystals.\u003c\/p\u003e\u003cp\u003eSnow was not all he photographed. He turned the same apparatus on dew, on raindrops and on frost — the whole of what water does when it is left alone in cold air. These are the plates nobody quotes, and they are the ones that show him as a photographer rather than a collector.\u003c\/p\u003e\u003cp\u003eThis one is frost, made around 1910. The ferns run edge to edge: no centre, no border, no right way up. The pattern simply carries on past the frame, which is why it is printed here as a band that runs round the mug rather than as a picture on the front. Wherever you set the mug down, there is more of 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 class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/wilson-bentley-snowflake-1905-porcelain-art-mug\"\u003eSnowflake, c. 1905\u003c\/a\u003e · \u003ca href=\"\/products\/wilson-bentley-dew-spider-web-1910-porcelain-art-mug\"\u003eDew on a Spider Web, c. 1910\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilson Alwyn Bentley (1865–1931), [Frost], c. 1910. Gelatin silver print. The Metropolitan Museum of Art, New York, 2015.201, Purchase, Alfred Stieglitz Society Gifts, 2015. Open Access, 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":58240301531467,"sku":"3935b168-04b2-400e-921c-1296ec3a3b47","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Frost_Mug_1_front_3000_fbd3800c-2be6-4104-b664-dd38a5952f3d.jpg?v=1787600683"},{"product_id":"wilson-bentley-dew-spider-web-1910-porcelain-art-mug","title":"Wilson Bentley: Dew on a Spider Web, c. 1910 – 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\u003eWilson Bentley\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eDew on a Spider Web\u003c\/em\u003e, c. 1910\u003cbr\u003eGelatin silver print, 7.6 × 9.2 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 2015\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA spider's web, hung with dew, photographed at first light. Every drop is a lens. Bentley set his camera in front of it and made the water do what the snow crystals did: hold still long enough to be seen.\u003c\/p\u003e\u003cp\u003eHe was a farmer in Jericho, Vermont. In 1885, aged nineteen, he bolted a bellows camera to a microscope and made the first photograph of a snow crystal that anyone had ever made. That is what he is remembered for — five thousand crystals over forty-six winters, and the sentence everyone repeats without knowing whose it was: no two are alike.\u003c\/p\u003e\u003cp\u003eSnow was only the winter half of it. The rest of the year he photographed dew, raindrops, frost — the whole of what water does when it is left alone. These are the plates nobody quotes, and they are the ones that show him as a photographer rather than a collector.\u003c\/p\u003e\u003cp\u003eHere the geometry is not the water's but the spider's: the radial threads and the spiral, drawn out by an animal working in the dark, made visible by an animal working at dawn. The drops are strung along the silk at even intervals, the way beads are strung on a wire. That is surface tension, and it happens whether or not anyone is there with a camera.\u003c\/p\u003e\u003cp\u003eThe plate is printed as a band that runs right round the mug. There is no centre and no edge to this pattern; wherever you set the mug down, the web carries on.\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\/wilson-bentley-snowflake-1905-porcelain-art-mug\"\u003eSnowflake, c. 1905\u003c\/a\u003e · \u003ca href=\"\/products\/wilson-bentley-frost-1910-porcelain-art-mug\"\u003eFrost, c. 1910\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilson Alwyn Bentley (1865–1931), [Dew on a Spider Web], c. 1910. Gelatin silver print, 7.6 × 9.2 cm. The Metropolitan Museum of Art, New York, 2015.202, Purchase, Alfred Stieglitz Society Gifts, 2015. Open Access, 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":58240505774411,"sku":"e4361da6-3e84-421c-b32f-b74799e52a70","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Dew_Mug_1_front_3000_a3d9cd9c-4010-42b7-87e8-1c2ffca419ff.jpg?v=1787602375"},{"product_id":"rembrandt-van-rijn-the-three-trees-detail-1643-porcelain-art-mug","title":"Rembrandt van Rijn: The Three Trees (Detail), 1643 – 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\u003eRembrandt van Rijn\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Three Trees (Detail)\u003c\/em\u003e, 1643\u003cbr\u003eEtching with drypoint and engraving on laid paper, 21.4 × 28 cm\u003cbr\u003eNational Gallery of Art, Washington, Rosenwald Collection\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\u003eThree trees on a rise, and above them a sky that took most of the work. Rembrandt drew the clouds with the etching needle, then went back into the plate with drypoint and the burin, and the diagonal rain falling across the top left corner was ruled in with a straightedge — the only ruled lines in the sheet.\u003c\/p\u003e\u003cp\u003eIt is his largest landscape print and the only one with weather in it. The storm is moving off to the left; the light is already back on the fields, where a herd is grazing and a town stands on the horizon. Small things are hidden in the plate: an artist sketching on the hillside at the right, a fisherman and his wife at the water's edge, a cart on the skyline, a pair of lovers in the bushes below the trees.\u003c\/p\u003e\u003cp\u003eThere is no title on the plate and no story attached to it. Rembrandt made it in 1643, the year after Saskia died, and it has been read as an allegory ever since; nothing in the sheet supports that, and nothing rules it out.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: the three trees themselves, the ruled sky behind them, and the thicket below. The complete etching is shown in the last product image. A mug offers about nine centimetres of printable height — a wide landscape would shrink to a stamp on it, so what is printed here is the group that gives the plate its name.\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\u003eRembrandt van Rijn, \u003cem\u003eThe Three Trees\u003c\/em\u003e, 1643. Etching with drypoint and engraving on laid paper, plate 21.4 × 28 cm, sheet 21.8 × 28.7 cm. National Gallery of Art, Washington, Rosenwald Collection. Open access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368403374411,"sku":"046e959a-3701-406e-8de7-6d6e3efeaed7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/5db07916-fd0b-43a1-b053-da402775ed94.webp?v=1789025140"},{"product_id":"william-henry-fox-talbot-articles-of-china-detail-1844-porcelain-art-mug","title":"William Henry Fox Talbot: Articles of China (Detail), 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\u003eWilliam Henry Fox Talbot\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eArticles of China (Detail)\u003c\/em\u003e, 1844\u003cbr\u003eSalted paper print from a paper negative, 13.7 × 18.2 cm\u003cbr\u003eArt Institute of Chicago, 2015\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eCC0, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePorcelain photographed in 1843, printed on porcelain in 2026. Talbot set four shelves of china against a dark ground in the yard at Lacock Abbey, in full sun, because his paper needed it, and the sun is why the shadows fall the way they do.\u003c\/p\u003e\u003cp\u003eHe had a reason beyond the display. In \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e, the book this plate belongs to, he wrote that a photograph of a collection would be evidence in court if the objects were ever stolen — «mute testimony», he called it. This is the first argument ever made in print for photography as a record rather than a picture.\u003c\/p\u003e\u003cp\u003eIt is a salted paper print from a paper negative: no glass, no plate, no sharp edge. The image sits in the fibres of the sheet, which is why the porcelain glows rather than gleams, and why the cups on the third shelf have gone soft where the light struck them hardest.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: one vertical section of the shelves, from the top row to the bottom. The complete photograph is shown in the last product image. The printable field on a mug is about nine centimetres high; the full sheet is a wide one, and it would shrink to a stamp, so the mug takes a column of it — four shelves, thirteen pieces of china, cups and saucers among 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\u003eWilliam Henry Fox Talbot, \u003cem\u003eArticles of China\u003c\/em\u003e, 1843–44. Salted paper print from a paper negative, image 13.7 × 18.2 cm, sheet 18.7 × 22.4 cm. Plate III of \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e. Art Institute of Chicago, 2015.74. CC0, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368425034059,"sku":"57310553-41d9-4235-bf87-005d164a80af","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/6178437e-59f7-47b9-b016-2447c6eb5527.webp?v=1789024240"},{"product_id":"musee-entomologique-orchid-bee-and-passionflower-chrysantheda-frontalis-1878-art-mug","title":"Musée Entomologique: Orchid Bee and Passionflower (Chrysantheda frontalis), 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\u003eOrchid Bee and Passionflower (Chrysantheda frontalis)\u003c\/em\u003e, 1878\u003cbr\u003eHand-coloured wood engraving\u003cbr\u003eSmithsonian Libraries and Archives\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ecourtesy of Smithsonian Libraries and Archives\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA green orchid bee hangs over the open passionflower, its body a hard metallic green the engraver built out of ruled lines and one wash of colour. The flower carries the picture: a crown of fine filaments, the three styles bent over the centre, and around it the leaves and coiling tendrils of the vine. At the lower left a second, smaller bee works the next blossom.\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 — \u003cem\u003eXylocopa morio\u003c\/em\u003e above, and 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 middle of the plate, the flower itself with \u003cem\u003eChrysantheda frontalis\u003c\/em\u003e; the companion mug takes the carpenter bee above it. 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 Smithsonian Libraries and Archives, photographed anew for this edition at 850 ppi. 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 carpenter bee at the top of the same plate is on its own mug: \u003ca href=\"\/products\/musee-entomologique-carpenter-bee-xylocopa-morio-1878-art-mug\"\u003eCarpenter Bee (Xylocopa morio)\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, central detail. Hand-coloured wood engraving. Digitised from the copy held by the Smithsonian Libraries and Archives; courtesy of Smithsonian Libraries and Archives. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58413236715851,"sku":"ff13629d-d6e1-4a48-abf8-08c3f90bd065","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/e9c50366-c289-438d-8db3-66d829a85469.jpg?v=1788878196"},{"product_id":"the-switzerland-lands-in-cape-town-1927-swiss-aviation-history-mug","title":"The 'Switzerland' Lands in Cape Town, 1927 – Swiss Aviation History 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\u003ePhotographer unknown\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe seaplane «Switzerland» lands in Cape Town\u003c\/em\u003e, 21 February 1927\u003cbr\u003eGelatin silver photograph\u003cbr\u003ePublished as plate 197 in Mittelholzer, Gouzy, Heim, «Afrikaflug», Orell Füssli, Zurich 1927\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 21 February 1927 the Dornier Merkur CH-171 «Switzerland», flown by Walter Mittelholzer, touched down in Cape Town after 77 days and some 20,000 km from Lake Zurich — the first crossing of Africa by seaplane. The man standing on the nose, one hand on the propeller, is Oskar Schmid, grandfather of Tazzarte’s founder. The photograph runs right around the mug, so the aircraft appears full length.\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\u003ePhotographer unknown, «The ‘Switzerland’ lands in Cape Town», 1927; gelatin silver photograph. Published as plate 197 in Walter Mittelholzer, René Gouzy and Arnold Heim, «Afrikaflug», Orell Füssli, Zurich 1927. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58493102850379,"sku":"4e1b2020-bd44-4fc3-8396-63bbad892dd5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8488fff0-d3f7-491e-84c1-3c046490832e.webp?v=1789591608"},{"product_id":"mexica-feathered-serpent-pendant-1325-1521-porcelain-art-mug","title":"Mexica Feathered Serpent Pendant, 1325-1521 - 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\u003eMexica artist(s)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eFeathered serpent pendant, 1325–1521 CE\u003c\/em\u003e\u003cbr\u003eshell, 4.1 × 4.8 × 0.6 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 2020.386.1\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access image, released for unrestricted use\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe pendant keeps the shape of a cross-section through a conch shell, and into that shape a feathered serpent has been incised: the head at the centre seen from above, two drilled eyes on either side of the feathered snout, the body coiled around the empty middle, the rattlesnake tail curled on the reverse. Two human hands emerge from the coils. One holds a flower that Leonardo López Luján identified as the huacalxóchitl, the Nahuatl name for Philodendron affine, a plant the Mexica associated with sensuality and pleasure; the other may hold a knife.\u003c\/p\u003e\u003cp\u003eAn ornament of this type is an ehecacozcatl, a wind jewel, worn by Quetzalcoatl-Ehecatl, the creator and god of wind. The material carries meanings of its own: shell belonged to warriors, and above all to water and fertility. Layer upon layer, in something that measures barely five centimetres across.\u003c\/p\u003e\u003cp\u003eShell was worked in ateliers that stood, in all likelihood, inside the royal palaces, and Adrián Velázquez Castro has argued that the finished ornaments were reserved for the private ceremonies of the Mexica elite. An object like this one speaks of control over everything that was scarce at once: a raw material carried from far away, and access to the few hands able to turn it into this.\u003c\/p\u003e\u003cp\u003eThe mug carries the pendant at full height against a neutral ground, the carving read as it is read in the case, with the light raking across the incised feathers.\u003c\/p\u003e\u003cp\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\u003eFeathered serpent pendant, Mexica (Aztec), Mexico, 1325–1521 CE, shell, H. 4.1 × W. 4.8 × D. 0.6 cm. The Metropolitan Museum of Art, New York, Gift of the Mol Collection, 2020, accession number 2020.386.1. The museum publishes the image as Open Access for unrestricted commercial and non-commercial use.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58502407225675,"sku":"80831fd5-6f6b-424f-abf7-65b9d2b21d58","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ed79f7ff-827e-4bb9-b7b6-ffa315dcf476.webp?v=1789623999"},{"product_id":"maya-bird-ornament-600-800-ce-porcelain-art-mug","title":"Maya Bird Ornament, 600–800 CE – 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\u003eMaya artist(s)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBird ornament, 600–800 CE\u003c\/em\u003e\u003cbr\u003eshell, 6.4 × 6.4 × 1.3 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 1978.412.103\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\u003eA water bird stands with its wings spread wide, cut from a single piece of shell. The long neck and the heavy, hooked bill point to a cormorant, a bird at home on the lakes and rivers of the Maya lowlands. Where the plumage of the breast parts, the head of an aged god looks out at the viewer, small and frontal, set into the bird as though it belonged there.\u003c\/p\u003e\u003cp\u003eThe feathers are rendered as rows of fine u-shaped incisions, each one cut with stone tools. The shell itself had travelled: marine shell reached the inland courts along long-distance trade routes, and its scarcity made it a material for rulers and for offerings rather than for everyday ornament.\u003c\/p\u003e\u003cp\u003ePierced at the edges, the plaque was sewn onto a garment or worn as a pendant, catching the light against cloth or skin. The pairing of a bird with an aged deity is not a one-off. It runs through Maya imagery from the late Preclassic to the Postclassic, a combination stable enough to have carried a meaning its makers never needed to spell out.\u003c\/p\u003e\u003cp\u003eThe mug carries the museum's photograph exactly as it was taken, the carving raking the studio light against its neutral ground — the object as it is seen in the case, not a cut-out.\u003c\/p\u003e\u003cp\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\u003eMaya artist(s), Bird ornament, 600–800 CE; shell, 6.4 × 6.4 × 1.3 cm. The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Purchase, Mrs. Gertrud A. Mellon Gift, 1963, 1978.412.103. 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":"Default Title","offer_id":58504517583179,"sku":"770f0b57-be1f-46d0-8ee1-b39b5aa409b6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/73909ce2-f4da-413b-839a-45cefadf4f31.webp?v=1789633119"}],"url":"https:\/\/tazzarte.com\/collections\/colour-black-white.oembed?page=2","provider":"Tazzarte","version":"1.0","type":"link"}