{"title":"Ochre \u0026 Gold","description":"\u003cp\u003eOchre, gold, terracotta and sepia: old masters, medieval gold grounds and warm evening light on porcelain.\u003c\/p\u003e","products":[{"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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":"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"},{"product_id":"van-gogh-sunflowers-1887-porcelain-art-mug","title":"Vincent van Gogh: Sunflowers, 1887 – 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\u003eVincent van Gogh (1853-1890)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSunflowers\u003c\/em\u003e, Paris, 1887\u003cbr\u003eOil on canvas, 43.2 x 61 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, Rogers Fund, 1949, inv. 49.41\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\u003eTwo sunflower heads lie on a blue ground, cut and already past their best. One still shows its disc, the seeds packed in a spiral under a haze of pale paint. The other has turned right over, so that what faces out is the back of the flower, petals splayed and bleached. Nothing holds them — no vase, no table, no horizon. Van Gogh laid them down and brushed the blue around them thickly enough that you can still see where the brush turned.\u003c\/p\u003e\u003cp\u003eParis, late summer 1887. He painted four canvases of cut sunflowers that season: a small study, this one, a second pair now in Bern, and a larger sheet of four heads now in Otterlo. They are the sunflowers before the sunflowers — a year older than the vases he painted in Arles, which is what most people mean by the word.\u003c\/p\u003e\u003cp\u003eGauguin took two of them, in an exchange made that winter. The two small canvases hung above his bed in his Paris apartment until the mid-1890s, when he sold his best things to the dealer Ambroise Vollard to pay for the South Seas. This is one of the two. Later, when Gauguin asked for one of the Arles sunflowers as well, Van Gogh refused — Gauguin had two already.\u003c\/p\u003e\u003cp\u003eThe blue is what makes the yellow work. Van Gogh had spent his Paris months on complementary colour, testing it canvas by canvas, and here the whole ground is given over to the argument. He signed in the paint at the lower left, in yellow on the blue: Vincent 87.\u003c\/p\u003e\u003cp\u003eThe mug carries the painting edge to edge, cropped just inside the worn edge of the canvas, at the proportions of the original — 43.2 by 61 centimetres.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at close range: the open disc, the turned bloom, the signature, and a stem laid across the blue.\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\/van-gogh-the-bedroom-1889\"\u003eThe Bedroom, 1889\u003c\/a\u003e · \u003ca href=\"\/products\/vincent-van-gogh-irises-detail-1889-porcelain-art-mug\"\u003eIrises (Detail), 1889\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eVincent van Gogh, Sunflowers, Paris, 1887. Oil on canvas, 43.2 × 61 cm. The Metropolitan Museum of Art, New York, Rogers Fund, 1949 (49.41). 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":58235235565899,"sku":"a5a02ca2-bd35-4e8f-a8ee-93d16225d119","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/VanGogh_Mug_1_front_3000_0ce4a664-dda4-4437-bc81-69a44a9c6314.jpg?v=1787517241"},{"product_id":"vermeer-the-milkmaid-porcelain-art-mug","title":"Johannes Vermeer: The Milkmaid, c. 1660 – 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\u003eJohannes Vermeer (1632-1675)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Milkmaid\u003c\/em\u003e, c. 1660\u003cbr\u003eOil on canvas, 45.5 x 41 cm\u003cbr\u003eRijksmuseum, Amsterdam; purchased with the support of the Vereniging Rembrandt, inv. SK-A-2344\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; Rijksmuseum open data\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMilk falls in a thin stream from the jug into an earthenware bowl. It is the only thing in the picture that moves. The maid holds the jug with both hands and looks down at what she is doing; on the table in front of her, broken bread, a basket, a blue cloth. On the wall behind, a nail and the hole where another one was. The room is a back kitchen and the light comes from one window with a broken pane.\u003c\/p\u003e\u003cp\u003eVermeer painted it in Delft around 1660, on a canvas of 45.5 by 41 centimetres — small, and built like a monument. She stands in the light like a statue. The surfaces are made of countless small dots of paint: the crust of the bread, the rim of the basket, the wicker, the highlights along her sleeve.\u003c\/p\u003e\u003cp\u003eIn 2022 the Rijksmuseum scanned the canvas with macro-XRF and short-wave infrared and found two things Vermeer took out. A wooden rack for hanging jugs, sketched in black on the wall behind her head, never carried further. And a fire basket in the lower right — willow, for glowing coals, used to warm an infant or dry linen — painted over with the foot stove, the tiles and the floor. Beneath her left arm runs a thick black line laid in fast. He began roughly, in light and dark, and refined afterwards. The painter famous for his precision did not start with it.\u003c\/p\u003e\u003cp\u003eWhat stayed is at her feet: the foot stove, and beside it on the skirting a row of blue-and-white tiles, one of them carrying a small figure. It sits in the darkest part of the picture, and nobody in the room is looking at it.\u003c\/p\u003e\u003cp\u003eThe painting is upright, so it does not run round the mug as a band. It sits on the front like a picture on a wall — the whole canvas, edge to edge, at the proportions of the original, with the porcelain left white to either side.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at close range: the stream of milk, the bread and the basket, the nail on the empty wall, and the foot stove with its tiles.\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\/johannes-vermeer-girl-with-a-pearl-earring-c-1665-porcelain-art-mug\"\u003eGirl with a Pearl Earring, c. 1665\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJohannes Vermeer, The Milkmaid, c. 1660. Oil on canvas, 45.5 × 41 cm. Rijksmuseum, Amsterdam, SK-A-2344, purchased with the support of the Vereniging Rembrandt, 1908. 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":58235430797643,"sku":"555fff51-acbe-4155-b1ca-2a7e5d4a4a6e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Vermeer_Mug_1_front_3000_6867e7fe-0511-4189-bcb1-5a634a899e19.jpg?v=1787519083"},{"product_id":"r-rahl-auf-der-hohe","title":"R. Rahl: Auf der Höhe – Viennese Art Postcard – 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\u003eR. Rahl\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAuf der Höhe – Viennese Art Postcard\u003c\/em\u003e\u003cbr\u003eporcelain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cem\u003eAuf der Höhe\u003c\/em\u003e — \"At the summit\" — shows a woman mountaineer standing on a dome of snow, one hand on her alpenstock, a red cap and a red scarf against the wind, the ranges lying far below. She is dressed for climbing, not for looking at mountains: a belted jacket and knickerbockers, wool stockings, nailed boots.\u003c\/p\u003e\u003cp\u003eThe sheet is a Viennese art postcard, published by the Eckhart Verlag at Fuhrmanngasse 18 in the Josefstadt, Vienna's eighth district, as number 1563. It is signed \u003cem\u003eR. Rahl\u003c\/em\u003e at lower left and titled in Fraktur at lower right. Cards like it were the small change of Viennese graphic art before the First World War: watercolours reproduced in colour and sold by the sheet.\u003c\/p\u003e\u003cp\u003eWhat the picture records, besides a view, is a change in dress. On the mountain the skirt had given way to the knickerbocker suit — practical, and still contentious enough to be worth drawing.\u003c\/p\u003e\u003cp\u003eFor the mug the paper ground has been taken out. Sky and snow are the white of the porcelain; only the figure, the blue shadow of the slope and the distant ranges remain. The original card is in the collection of Dr. Walther Fuchs, Küsnacht.\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\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58245178917195,"sku":"1fd3acdf-526f-45fe-8eeb-a1918bf52620","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/22f7f4e1-239d-4354-8152-23d93e38fd8f.jpg?v=1787650756"},{"product_id":"venetian-marriage-beaker-1480","title":"Venetian Marriage Beaker, c. 1480 – 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\u003eVenetian Marriage Beaker\u003c\/em\u003e, c. 1480\u003cbr\u003e10.2 × 7.4 cm\u003cbr\u003eThe Cleveland Museum of Art, 1955\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\u003eIn Venice around 1480 the glassmakers of Murano learned to make glass look like porcelain. They stirred an opacifier — an oxide of tin — into the melt until the metal turned milk-white and opaque, and called it \u003cem\u003elattimo\u003c\/em\u003e. Chinese porcelain reached Europe then only as diplomatic gifts; it could not be bought at any price. Lattimo was the answer of a city that could make anything.\u003c\/p\u003e\u003cp\u003eFourteen lattimo vessels from that moment are recorded. This is one of them.\u003c\/p\u003e\u003cp\u003eIt is a beaker, and it was almost certainly a betrothal or wedding gift. It carries two enamelled roundels — a young man, and the young woman shown here: in profile, her hair bound and plaited, before a landscape of blue hills. Around them lies a ground of gilded scales, each holding a single blue bead, closed above and below by rows of turquoise and red enamel on gold. Below the rim ran a broad gilded band. The enamel stands raised on the glass, as it did the day it was fired.\u003c\/p\u003e\u003cp\u003eFor this re-edition the cylinder was mathematically unrolled and the ornament rebuilt at true proportion on white porcelain. Chipped enamel and worn gold were closed from the average of all surviving copies of the same motif. The gilded band below the rim — rubbed almost away on the original, and traceable today only as a faint film — was restored to the line at which the gold demonstrably begins. Nothing was invented.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the beaker itself, in the Cleveland Museum of Art, so the source is visible for what it is.\u003c\/p\u003e\u003cp\u003eMarriage Beaker, Venice, late 1400s. Opaque glass (lattimo), enamelled. Overall 10.2 × 7.4 cm. The Cleveland Museum of Art, 1955.70. CC0 — public domain.\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\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58248857583947,"sku":"874d6695-0a6d-414c-8d29-456c0011e372","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/6d28ef11-490d-4971-a45a-22914e9c93f2.webp?v=1787667523"},{"product_id":"monet-stacks-of-wheat-1891","title":"Claude Monet: Stacks of Wheat, 1890–91 – 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\u003eStacks of Wheat (End of Day, Autumn)\u003c\/em\u003e, 1890-91\u003cbr\u003eOil on canvas, 65.3 x 100.4 cm\u003cbr\u003eThe Art Institute of Chicago, Potter Palmer Collection, inv. 1922.431\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; the museum's reproduction is released under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the autumn of 1890 Monet set up his easel in the field just outside his farmhouse at Giverny and began painting the stacks of wheat standing there — conical ricks four to six metres high, built to hold the harvest until threshing. He worked on several canvases at once, moving from one to the next as the light moved, and kept it up through the winter. Twenty-five canvases came out of it.\u003c\/p\u003e\u003cp\u003eThe subject was never the stacks. It was the half-hour: sunset in snow, the shadows gone blue and the stubble gone violet, the stack itself a dark mass with a burning edge. Monet called what he was chasing \u003cem\u003eenveloppe\u003c\/em\u003e — the air and light lying between the eye and the thing.\u003c\/p\u003e\u003cp\u003eIn May 1891 he hung fifteen of the series side by side in one small room at the Galerie Durand-Ruel in Paris. It was a critical and financial success without precedent in his career, and it changed how his work was understood. The poplars, Rouen Cathedral and the water lilies all followed from it.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/claude-monet-woman-with-a-parasol-mug\"\u003eWoman with a Parasol, 1875\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eClaude Monet, \u003cem\u003eStacks of Wheat (Sunset, Snow Effect)\u003c\/em\u003e, 1890–91. Oil on canvas, 65.3 × 100.4 cm. The Art Institute of Chicago, Potter Palmer Collection, 1922.431. Public domain; the museum’s reproduction is released under CC0.\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\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58248961622347,"sku":"4179e7bb-ee69-4545-b054-c8dc39f7a159","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ceb5fa7b-0886-4cea-a679-f3d19a7ae1df.jpg?v=1787667917"},{"product_id":"timothy-osullivan-sand-dunes-carson-desert-1867-porcelain-art-mug","title":"Timothy O'Sullivan: Sand Dunes, Carson Desert, 1867 – 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\u003eTimothy O'Sullivan\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSand Dunes, Carson Desert\u003c\/em\u003e, 1867\u003cbr\u003ealbumen print from wet collodion negative, 19.7 × 27 cm\u003cbr\u003eThe Cleveland Museum of Art, John L\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\u003eTimothy O'Sullivan had photographed Gettysburg before he ever saw a desert. In 1867 he went west with Clarence King's survey of the fortieth parallel and made this plate in the Carson Desert of Nevada: a dune, a wagon, four mules and two sets of footprints.\u003c\/p\u003e\u003cp\u003eThe wagon is the reason the picture exists. It is a Civil War ambulance that O'Sullivan had converted into a darkroom on wheels. A wet collodion plate has to be coated, exposed and developed while it is still damp — about ten minutes, in sand, at noon — so everything he needed had to stand within a few paces of the camera. That is how his own equipment ends up inside his own photograph.\u003c\/p\u003e\u003cp\u003eAnd he arranged what you see. The museum's own record makes the point: he chose a viewpoint that blocks the horizon and shows a single wagon and only two lines of footprints. In the twenty-five years before he stood here, more than 165,000 people had passed close to this spot on their way to California. The emptiness is a decision, not a fact.\u003c\/p\u003e\u003cp\u003eThe mug carries the plate whole. Nothing is cropped, because the framing is the work: the sheet stands complete within the part of the cup you see face on, the warm tone of the albumen paper against the white porcelain, and the wagon a little right of centre, where O'Sullivan put 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\u003eTimothy H. O'Sullivan, \u003cem\u003eSand Dunes, Carson Desert, Nevada\u003c\/em\u003e, 1867; albumen print from wet collodion negative, 19.7 × 27 cm. The Cleveland Museum of Art, John L. Severance Fund, 2002.45. Public domain (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":58252945719627,"sku":"ed87e3d7-6592-496b-a320-571346211837","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/a23f6405-6165-49be-a3ab-aa003d987745.webp?v=1787689027"},{"product_id":"hermon-atkins-macneil-hopi-prayer-for-rain-1931-porcelain-art-mug","title":"Hermon Atkins MacNeil: Hopi — Prayer for Rain, 1931 – 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\u003eHermon Atkins MacNeil\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eHopi — Prayer for Rain\u003c\/em\u003e, 1931\u003cbr\u003eSmithsonian American Art Museum, 1972\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe medal is in the public domain in Switzerland, Germany, Austria and the United Kingdom, and in the United States: it was published in 1931 with a copyright notice, but no renewal was registered in 1958 or 1959\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003e250th Anniversary · 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=\"250th Anniversary · Jubilee Edition\" style=\"max-width: 180px; width: 100%;\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThirty-Six Years Later\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eIn the summer of 1895 a young American sculptor climbed the mesa in northern Arizona and watched the Hopi snake dance. Within two years Hermon Atkins MacNeil had made a bronze of it — a runner carrying serpents down from the mesa, cast at Fonderia Nelli in Rome. Then he let the subject rest.\u003c\/p\u003e\u003cp\u003eThirty-six years later the Society of Medalists asked him for their third issue. He went back to the same moment and cut it into a medal seventy-two millimetres across. The runners again, and this time more of them: four figures strung out along the trail, lightning breaking overhead, the mesa low on the horizon, and the words \u003cem\u003ePRAYER FOR RAIN\u003c\/em\u003e set into the foot of the disc.\u003c\/p\u003e\u003cp\u003eMacNeil explained the choice himself: \u003cem\u003eAll these Southwest Indians, living as they do in an arid region, have developed their religion along the lines of their greatest need — water.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe medal was issued in 1931: one thousand seven hundred and thirteen pieces in bronze, twenty-five in silver. MacNeil chose four patinas for it — tan, sea green, hematite red — and the piece is very slightly oval, not round, because he drew it that way.\u003c\/p\u003e\u003cp\u003eA relief is a different thing from a statue. It has no silhouette; everything in it is made of light. Held in the hand at breakfast, it does what a coin does — it asks to be turned towards the window.\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\u003eHermon Atkins MacNeil (1866–1947), \u003cem\u003eHopi — Prayer for Rain\u003c\/em\u003e, medal, 1931, reverse. Smithsonian American Art Museum, 1972.167.10, gift of the heirs of Albert Laessle. Free to use. The medal is in the public domain in Switzerland, Germany, Austria and the United Kingdom, and in the United States: it was published in 1931 with a copyright notice, but no renewal was registered in 1958 or 1959.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58298345455947,"sku":"5ec197fc-3864-447d-8950-061cbb038d1a","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/d14b58e8-fe56-44d8-8e40-b87e434b0ecc.webp?v=1788015086"},{"product_id":"john-james-audubon-american-flamingo-detail-1838-porcelain-art-mug","title":"John James Audubon: American Flamingo (Detail), 1838 – 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\u003eJohn James Audubon\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAmerican Flamingo (Detail)\u003c\/em\u003e, 1838\u003cbr\u003eHand-coloured engraving with etching and aquatint by Robert Havell Jr, 97 × 65 cm\u003cbr\u003eUniversity of Pittsburgh Library System, Audubon Collection\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 bird bends double because the page would not hold it. Audubon printed \u003cem\u003eThe Birds of America\u003c\/em\u003e life-size, on double elephant folio sheets about a metre high, and a standing flamingo is taller than that — so he drew it feeding, head down at the waterline, and the neck became the great curve that runs through the plate.\u003c\/p\u003e\u003cp\u003eHe worked from birds he had shot himself in the Florida Keys in 1832, and he never got the flock he wanted; the small flamingos on the far shore were added from other studies. The nine little drawings across the top of the sheet are anatomical: bill sections, tongue, foot, the parts a naturalist would want and a painter would not.\u003c\/p\u003e\u003cp\u003eThe plate was engraved, etched and aquatinted in London by Robert Havell Jr., then coloured by hand, one sheet at a time. It is number 431, one of the last of the 435 plates, issued in 1838 as the work was closing.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: the neck, the head and the black-tipped bill at the water, with the distant birds behind. The complete plate is shown in the last product image. The printable field on a mug is about nine centimetres high; a sheet of almost a metre would shrink to a stamp, so the mug takes the curve the whole composition was built to accommodate.\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\u003eJohn James Audubon, \u003cem\u003eAmerican Flamingo\u003c\/em\u003e, Plate 431 from \u003cem\u003eThe Birds of America\u003c\/em\u003e, 1838. Hand-coloured engraving with etching and aquatint by Robert Havell Jr., sheet approx. 97 × 65 cm. University of Pittsburgh Library System, Audubon Collection. 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":58368464421195,"sku":"f5bc8f64-f84e-4aed-939f-f877e85f5bd6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/d3928def-5f0a-447a-9210-f9b3a57132d9.webp?v=1789023097"},{"product_id":"toshusai-sharaku-kabuki-actor-ichikawa-omezo-i-detail-1794-porcelain-art-mug","title":"Tōshūsai Sharaku: Kabuki Actor Ichikawa Omezō I (Detail), 1794 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:12px 0;margin:0 0 16px;line-height:1.55\"\u003e\n\u003cdiv style=\"letter-spacing:.14em;text-transform:uppercase;font-size:.78em;margin-bottom:8px\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eTōshūsai Sharaku\u003c\/strong\u003e (active 1794–95)\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eThe Kabuki Actor Ichikawa Omezō I as the Footman Ippei\u003c\/em\u003e, 1794\u003c\/div\u003e\n\u003cdiv lang=\"ja\"\u003e東洲斎写楽　初代市川男女蔵の奴一平、1794年\u003c\/div\u003e\n\u003cdiv\u003eColour woodblock print with mica ground, 37.8 × 25.1 cm — detail\u003c\/div\u003e\n\u003cdiv\u003eThe Metropolitan Museum of Art, New York, Rogers Fund, 1914, JP196\u003c\/div\u003e\n\u003cdiv style=\"font-size:.85em;margin-top:8px\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA kabuki actor at the moment of the scowl: brows drawn hard, eyes cut to one side, mouth pulled down. Sharaku was active for less than a year, in 1794 and 1795, and his half-length portraits of actors on dark mica grounds are counted among the high points of the Japanese woodblock print.\u003c\/p\u003e\u003cp\u003eThe mug carries a band across the middle of the sheet — the face, the swept-back hair, and on the left Sharaku's signature and the seals below it — taken from the Metropolitan Museum's impression, where the violet-grey ground and the skin tones have kept their colour.\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\u003eTōshūsai Sharaku, \u003cem\u003eThe Kabuki Actor Ichikawa Omezō I as the Footman Ippei\u003c\/em\u003e, 1794; colour woodblock print with mica ground, 37.8 × 25.1 cm. The Metropolitan Museum of Art, New York, Rogers Fund, 1914, JP196. Detail. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58532356096331,"sku":"f7b5d11d-7fc8-4a57-b46a-857f8496e9b2","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8129a1ee-fb8e-4609-8908-ef563d0fbb8b.webp?v=1789849668"}],"url":"https:\/\/tazzarte.com\/collections\/colour-warm-tones.oembed?page=2","provider":"Tazzarte","version":"1.0","type":"link"}