{"title":"Flowers \u0026 Botanicals","description":"\u003cp\u003eIrises, sunflowers, ferns and William Morris patterns: flower and plant art from museum collections on fine porcelain.\u003c\/p\u003e","products":[{"product_id":"henri-matisse-la-gerbe","title":"Henri Matisse: La Gerbe, 1953 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e, 1953\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e (The Sheaf) was completed by Henri Matisse in 1953, the year before his death, when he was eighty-three years old and had been working almost exclusively in cut-outs for a decade. Unable to stand at an easel, Matisse directed his assistants from a wheelchair or his bed, working at a scale and with a freedom that belied his physical circumstances. The cut-out method — scissors moving through sheets of paper painted in pure gouache — had become, in his own words, \"cutting directly into colour,\" an act closer to sculpting than to painting.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e is among the largest and most exuberant of the late cut-outs: leaf and frond forms in vivid greens, blacks, and whites fan outward like a burst of botanical energy. It was first published in the final issue of the journal \u003cem\u003eVerve\u003c\/em\u003e dedicated to Matisse's last works (1950–54) and subsequently reproduced as a lithograph. The composition distils Matisse's lifelong preoccupation with the decorative — not as ornament but as a primary expressive mode, as serious and as demanding as any other.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eLa Gerbe\u003c\/em\u003e (The Sheaf), 1953, published in \u003cem\u003eVerve: Last Works of Matisse 1950–1954\u003c\/em\u003e. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211593547,"sku":"2aacb779-b3be-4f20-a2c8-410718b83254","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/72b1004b-2693-4492-b1ab-96e5ad8821ed.jpg?v=1787638566"},{"product_id":"anna-atkins-cyanotype-botany-mug","title":"Anna Atkins: Cyanotype Ferns, 1840s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAnna Atkins\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCyanotype Ferns, 1840s\u003c\/em\u003e\u003cbr\u003eNational Gallery of Art, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA fern laid straight onto sensitised paper and left in the sun. No camera, no lens: white fronds standing against the deep Prussian blue of the cyanotype ground, each leaflet resolved with a clarity no hand-drawn illustration could match. The sheet is from the 1840s and is now in the National Gallery of Art, Washington, D.C.\u003c\/p\u003e\u003cp\u003eAnna Atkins (1799–1871) was a British botanist who in 1843 produced what is widely recognised as the first photographically illustrated book: \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, issued in self-published fascicles over the following decade. She had learned the cyanotype process — a photosensitive technique using iron salts — directly from its inventor, Sir John Herschel, who communicated it the previous year, and she applied it not as a novelty but as a scientific instrument: specimens placed directly onto coated paper and exposed to sunlight, yielding silhouettes of extraordinary precision. Atkins understood that photography and natural history were not in competition but in alliance, and her work stands at the intersection of Victorian science, botanical illustration and the new visual art of photography in its first decade.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAnna Atkins, \u003cem\u003eFerns. Specimen of Cyanotype\u003c\/em\u003e, 1840s. National Gallery of Art, Washington, D.C. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454267211,"sku":"cde77fa9-35cd-4bc6-883f-e805b326d281","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Atkins_Mug_front_v3.jpg?v=1787130693"},{"product_id":"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":"william-morris-strawberry-thief-1883-porcelain-art-mug","title":"William Morris: Strawberry Thief, 1883 – 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 Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eStrawberry Thief\u003c\/em\u003e, design registered 1883; this length c. 1936, Merton Abbey\u003cbr\u003eIndigo-discharged cotton, plain weave, block printed, 88.2 x 99 cm\u003cbr\u003eThe Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, inv. 1937.696\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\u003eWilliam Morris registered the design for \u003cem\u003eStrawberry Thief\u003c\/em\u003e in 1883. It came out of the kitchen garden at Kelmscott Manor, where song thrushes worked their way under the nets and carried off the fruit. Two birds face each other across a stem of acanthus with a strawberry between them; behind them an indigo ground carries oak leaves, dog-roses and the small four-petalled flowers Morris had studied in mediaeval herbals.\u003c\/p\u003e\u003cp\u003eIt was the most difficult thing his firm had yet attempted. To keep a true indigo ground and still print colour over it, Morris had to master the indigo-discharge process: the cotton was dyed blue in the vat, the pattern bleached back out of it, and the cleared areas then printed by hand from wood blocks. He worked at it for years, and the finished pattern carries more colours than any other of his printed textiles. This length was block-printed at Merton Abbey around 1936, from the original blocks.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a quarter of life size. The section follows the detail the museum itself publishes of this length: the pair of thrushes with the strawberry between them, set at the centre of the front so that neither bird is cut, and the acanthus stem carrying the eye on around the cup.\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\/william-morris-tulip-1875-porcelain-art-mug\"\u003eTulip, 1875\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-kennet-1883-porcelain-art-mug\"\u003eKennet, 1883\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eStrawberry Thief\u003c\/em\u003e, design registered 1883; indigo-discharged cotton, plain weave, block printed, c. 1936, Merton Abbey. 88.2 × 99 cm. The Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, 1937.696. 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":58251761221963,"sku":"7da3b549-183e-43ea-a9c2-67b977816181","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/c1e0118e-d091-4f50-88aa-58c098fca6eb.webp?v=1787678180"},{"product_id":"william-morris-tulip-1875-porcelain-art-mug","title":"William Morris: Tulip, 1875 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTulip\u003c\/em\u003e, 1875\u003cbr\u003eRoller-printed cotton, 76.1 x 95.3 cm\u003cbr\u003eThe Cleveland Museum of Art, Gift of Mrs. Philip White, inv. 1937.579\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\u003eMorris designed \u003cem\u003eTulip\u003c\/em\u003e in 1875, in the years when he was teaching himself to dye and print by hand but did not yet have a printworks of his own — that came with Merton Abbey in 1881, so this pattern was still produced for him by a commercial firm. It is one of the designs he built on an older source: the swaying symmetrical stems and the turned-over leaves come out of the Italian cut velvets he studied at the South Kensington Museum.\u003c\/p\u003e\u003cp\u003eIt is a roller print — the cloth drawn between engraved copper rollers, one for each colour — which is why it reads more finely than the wood-block prints Morris made later at Merton Abbey. The pattern was sold in several colourways and on more than one cloth; this length is the pale green on cream. Tulips rise between broad acanthus leaves, and behind them a fine scrolling stem fills the ground so that nothing is left empty.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a third of life size. \u003cem\u003eTulip\u003c\/em\u003e is a mirrored pattern, so the section was set by the flowers and not by the repeat: one whole tulip stands at the centre of the front — the opened bloom, the bud beside it and the long flower turning down out of the same stem — uncut, with the mirrored pair falling away to either side.\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\/william-morris-strawberry-thief-1883-porcelain-art-mug\"\u003eStrawberry Thief, 1883\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-kennet-1883-porcelain-art-mug\"\u003eKennet, 1883\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eTulip\u003c\/em\u003e, 1875; roller-printed cotton. 76.1 × 95.3 cm. The Cleveland Museum of Art, Gift of Mrs. Philip White, 1937.579. 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":58251793334603,"sku":"6fc457e8-c63f-49c2-bfd1-c1de943c8ddb","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/389be884-b37a-4edf-ba33-c50e29b825dc.webp?v=1787683369"},{"product_id":"william-morris-kennet-1883-porcelain-art-mug","title":"William Morris: Kennet, 1883 – 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 Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eKennet\u003c\/em\u003e, designed 1883; this length c. 1920\u003cbr\u003ePlain weave cotton, printed, 90.2 x 97.8 cm\u003cbr\u003eThe Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, inv. 1937.698\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\u003eMorris designed \u003cem\u003eKennet\u003c\/em\u003e in 1883 and named it, like the other chintzes of those years, after a river that runs into the Thames. He had moved his printworks to Merton Abbey on the Wandle in 1881, and it was the water there that let him dye with indigo and wash the printed cloth properly. The rivers gave the patterns their names because the rivers made the patterns possible. \u003cem\u003eKennet\u003c\/em\u003e is the one that looks most like water: the stems sway on a long diagonal and the leaves lie over as weed lies in a current.\u003c\/p\u003e\u003cp\u003eThe pattern carries two kinds of flower. One is a small open rosette seen straight on. The other is large, furled and seen from the side — and it is not an English flower at all. It is the pomegranate of Italian cut velvet, the motif Morris had studied at the South Kensington Museum, now the Victoria and Albert; the museum record for this length names those velvets as the source of his strongly diagonal patterns. At the centre of a design named after an English chalk stream sits a Mediterranean flower brought home from a museum case.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a quarter of life size, set so that one whole pomegranate bloom stands uncut at the centre of the front, its stem sweeping away to either side. A flower seen straight on flattens as the cylinder turns; one seen in profile does not, and it leads the eye around the cup.\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\/william-morris-strawberry-thief-1883-porcelain-art-mug\"\u003eStrawberry Thief, 1883\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-tulip-1875-porcelain-art-mug\"\u003eTulip, 1875\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eKennet\u003c\/em\u003e, designed 1883; plain weave cotton, printed; this length c. 1920. 90.2 × 97.8 cm. The Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, 1937.698. 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":58252212797771,"sku":"68d3f09a-d723-4f0d-b9c6-1ab353f12905","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ec41937d-2a8e-4fcf-8ef3-c2390d4e3fa9.webp?v=1787681652"},{"product_id":"georgia-okeeffe-white-flower-1929-porcelain-art-mug","title":"Georgia O'Keeffe: White Flower, 1929 – 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\u003eGeorgia O'Keeffe\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWhite Flower\u003c\/em\u003e, 1929\u003cbr\u003eoil on canvas, 76.2 × 91.5 cm\u003cbr\u003eThe Cleveland Museum of Art, Hinman B\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\u003eIn the summer of 1929 Georgia O'Keeffe went to New Mexico for the first time, and the desert kept her for the rest of her life. This flower was painted that year and shown the following February in New York as \u003cem\u003eWhite Flower, N.M.\u003c\/em\u003e — number nine in an exhibition Alfred Stieglitz called simply \u003cem\u003e27 New Paintings\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eShe framed flowers the way a photographer would: close, magnified, the blossom running past the edges of the canvas so that there is no stem, no vase, no room, nothing to give the scale. What is left is the thing itself — white petals turning in and out of one another, a ring of orange stamens at the centre, a few blades of dark green pushing in from the corners.\u003c\/p\u003e\u003cp\u003eCritics of the day insisted on reading her flowers as images of the female body. O'Keeffe rejected that reading for the rest of her life, and resisted just as firmly being called a woman artist rather than simply an artist.\u003c\/p\u003e\u003cp\u003eThe Cleveland Museum of Art bought the painting in 1930, within a year of its making, and has kept it ever since.\u003c\/p\u003e\u003cp\u003eThe mug carries the painting whole and uncropped, at the centre of the front — its white against the white of the porcelain.\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\u003eGeorgia O'Keeffe, \u003cem\u003eWhite Flower\u003c\/em\u003e, 1929; oil on canvas, 76.2 × 91.5 cm. The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1930.2162. Open-access image released by the museum under CC0. A copyright notice printed in 1930 without a name is the reason this mug is sold here and not in Switzerland: \u003ca href=\"\/blogs\/stories\/the-notice-that-was-missing-a-name\"\u003eread how we checked the rights on this image\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58253842022731,"sku":"43d0e6f1-0e34-426a-b9a6-1800013222c7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/f4ac9a5c-1156-4030-94c1-d874ebe75cf2.webp?v=1787696006"},{"product_id":"vincent-van-gogh-irises-detail-1889-porcelain-art-mug","title":"Vincent van Gogh: Irises (Detail), 1889 – 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\u003eIrises\u003c\/em\u003e, 1889\u003cbr\u003eOil on canvas, 74.3 x 94.3 cm\u003cbr\u003eThe J. Paul Getty Museum, Los Angeles, inv. 90.PA.20\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe white iris stands alone. Van Gogh set it just left of centre, one pale flower in a bed of blue, turned away from the rest. Every account of the painting comes back to it.\u003c\/p\u003e\u003cp\u003eHe painted \u003cem\u003eIrises\u003c\/em\u003e in May 1889, in his first week at the asylum of Saint-Paul-de-Mausole outside Saint-Rémy-de-Provence, working in the walled garden before he was allowed beyond it. There is no drawing underneath: he began straight onto the canvas with the brush, and the leaves were laid in first, cutting across everything that came after.\u003c\/p\u003e\u003cp\u003eThe colour is argued rather than described. Blue against the orange marigolds behind, and between them a green that belongs to neither — the lesson he had taken from Japanese prints, which he had been collecting and copying for two years. The blue has shifted since 1889: the flowers were painted a warmer violet, and the red lake pigment in them has faded.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole canvas: the white iris, the marigolds above it, and the blue flowers closing in from both sides. The complete painting is shown in the last product image. The printable field on a mug is about nine centimetres high; a canvas almost a metre wide would shrink to a stamp on it, so the honest way to put this picture on a mug is to take a part of it that Van Gogh composed as a whole.\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-sunflowers-1887-porcelain-art-mug\"\u003eSunflowers, 1887\u003c\/a\u003e · \u003ca href=\"\/products\/van-gogh-the-bedroom-1889\"\u003eThe Bedroom, 1889\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eVincent van Gogh, \u003cem\u003eIrises\u003c\/em\u003e, 1889. Oil on canvas, 74.3 × 94.3 cm. The J. Paul Getty Museum, Los Angeles, 90.PA.20. Open-access image released by the museum.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368361464139,"sku":"a2a97614-05b9-43b3-953c-5c4b8eae3785","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/27a35c29-7269-4540-acc9-d6fdfed00975.webp?v=1789026125"},{"product_id":"carl-blechen-the-palm-house-on-the-pfaueninsel-detail-1834-porcelain-art-mug","title":"Carl Blechen: The Palm House on the Pfaueninsel (Detail), 1834 – 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\u003eCarl Blechen\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Palm House on the Pfaueninsel (Detail)\u003c\/em\u003e, 1834\u003cbr\u003eOil on canvas, 135 × 126 cm\u003cbr\u003eArt Institute of Chicago, 1996\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\u003eA glass house in Berlin, painted from the inside. Blechen made it for Friedrich Wilhelm III, who paid a thousand thalers for it, and what the king got was not a view of a building but the experience of standing in one: floor, columns, painted arches, palms overhead, and the light coming down green through the leaves.\u003c\/p\u003e\u003cp\u003eThe palms were real and expensive. The king had bought a whole French collection on Alexander von Humboldt's advice, and Schinkel built the house on the Pfaueninsel to hold them. It burned down in 1880. The trees, the coloured glass and the Moorish decoration survive only in pictures like this one.\u003c\/p\u003e\u003cp\u003eThe women on the carpet are Blechen's invention — a European fantasy of the tropics, added to a room that never had them. The Art Institute says so plainly in its own catalogue entry, and so do we.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole canvas: the white column, the palms above it, the blue glass beyond, and the group on the red carpet. The complete painting is shown in the last product image. The printable field on a mug is about nine centimetres high; a canvas of 135 by 126 centimetres would shrink to a stamp, so the mug takes the part of the room the painting is built around.\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\u003eCarl Blechen, \u003cem\u003eThe Interior of the Palm House on the Pfaueninsel Near Potsdam\u003c\/em\u003e, 1834. Oil on canvas, 135 × 126 cm. Art Institute of Chicago, 1996.388. 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":58368443875659,"sku":"6e7ac645-4e7f-475d-972a-78133fa519b3","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/cc76dc0b-1c40-46c7-990f-5d18cb6c66a5.webp?v=1789023917"},{"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"}],"url":"https:\/\/tazzarte.com\/collections\/flowers-botanicals.oembed","provider":"Tazzarte","version":"1.0","type":"link"}