{"title":"Gifts","description":"\u003cp\u003eMugs that carry as a present without needing the argument.\u003c\/p\u003e\u003cp\u003eEverything in this shop has a documented source and a reason to exist. These are the ones that also work when you hand them to someone: the motif does the talking, and the person unwrapping it does not have to know why it matters art-historically to be pleased with it.\u003c\/p\u003e\u003cp\u003eThree conditions decide what appears here. The image explains itself without prior knowledge. It has an occasion or a recipient — Christmas, a wedding, a reader, a collector, someone who watches birds. And it can be shipped to all five of our markets, because a gift that is unavailable where the recipient lives is not a gift.\u003c\/p\u003e\u003cp\u003eFine porcelain, 10 oz, dishwasher and microwave safe. Each listing names the work, its date, the institution that holds it and its rights position.\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":"claude-monet-woman-with-a-parasol-mug","title":"Claude Monet: Woman with a Parasol, 1875 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eClaude Monet (1840-1926)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWoman with a Parasol - Madame Monet and Her Son\u003c\/em\u003e, 1875\u003cbr\u003eOil on canvas, 100 x 81 cm (framed 119.4 x 99.7 cm)\u003cbr\u003eNational Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, inv. 1983.1.29\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; the Gallery states that this object's media is free and in the public domain (NGA Open Access)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eClaude Monet painted \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e in 1875, at a moment when Impressionism was still a contested proposition and the movement's founding figures were engaged in their most urgent experiment with light, colour, and the representation of outdoor experience. The painting shows Monet's wife Camille on a hillside, her son Jean slightly behind and below her; the viewpoint is low, so that the figures are seen against the sky rather than the landscape, the parasol casting its warm shadow across Camille's face and dress. The composition is built on the sensation of wind — the grass moves, the dress billows, the clouds shift — and on the way midday summer light bleaches and divides colour into its constituent sensations.\u003c\/p\u003e\u003cp\u003eThe work is now in the collection of the National Gallery of Art in Washington, DC, a gift of Mr and Mrs Paul Mellon. It was painted at Argenteuil, where Monet lived from 1871 to 1878, in the most productive period of his early career. Camille appears in many of his major works from this period; she died in 1879, aged thirty-two, and the paintings of her retain a particular quality of attention — she is always exactly herself, never a generalised figure, which is what separates Monet's best work from the merely Impressionist and places it in the category of portraiture, even when portraiture was not its stated purpose.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/monet-stacks-of-wheat-1891\"\u003eStacks of Wheat, 1890–91\u003c\/a\u003e · \u003ca href=\"\/products\/claude-monet-bed-of-chrysanthemums-1897-porcelain-art-mug\"\u003eBed of Chrysanthemums, 1897\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eClaude Monet, \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e, 1875; oil on canvas, 100 × 81 cm. National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1983.1.29. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723605221707,"sku":"24a00b96-b1ed-409f-a353-a60e1b4031e6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Monet_Mug_front_v3.jpg?v=1787126762"},{"product_id":"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":"thomas-mann-in-kuesnacht-mug","title":"Thomas Mann in Küsnacht, 1930s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eThomas Mann in Küsnacht, 1930s\u003c\/em\u003e\u003cbr\u003ePhotograph of Thomas Mann at Schiedhaldenstrasse 33\u003cbr\u003eETH Zürich, TMA_0316\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThomas Mann left Germany in February 1933 for a lecture tour and did not return. From September 1933 he rented the house at Schiedhaldenstrasse 33 in Küsnacht, on the eastern shore of Lake Zurich, and stayed five years. He was formally expatriated in December 1936; the University of Bonn withdrew his honorary doctorate in the same month.\u003c\/p\u003e\u003cp\u003eThe photograph shows him on the terrace of that house: wicker chair, flat cap, reading glasses, a manuscript box open on the marble table in front of him. It is not a portrait of the Nobel laureate — the prize was already four years behind him when he arrived — but of an ordinary working morning in exile. Volumes of the \u003cem\u003eJoseph\u003c\/em\u003e novels were written here, while the language he wrote in was being taken over by the state he had left.\u003c\/p\u003e\u003cp\u003eKüsnacht is also where this collection is curated, three streets from that terrace. That is the reason the photograph is in it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotograph of Thomas Mann at Schiedhaldenstrasse 33, Küsnacht, 1930s. Photographer unrecorded. Thomas-Mann-Archiv der ETH Zürich, TMA_0316. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211921227,"sku":"19513552-f471-408b-8684-ea05e7ec0fa5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ThomasMann_Mug_front.jpg?v=1787042993"},{"product_id":"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":"sherlock-holmes-the-reichenbach-falls-mug","title":"Frederic Dorr Steele: Sherlock Holmes, 1903 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrederic Dorr Steele\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSherlock Holmes\u003c\/em\u003e, 1903\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eWhen Arthur Conan Doyle brought Sherlock Holmes back from the dead in \"The Adventure of the Empty House\" — published in \u003cem\u003eCollier's Weekly\u003c\/em\u003e on 26 September 1903 after a ten-year absence, following Holmes's apparent death at the Reichenbach Falls — the magazine needed an illustration equal to the occasion. Frederic Dorr Steele (1873–1944) provided it. His cover image of Holmes, shown in deerstalker cap and Inverness cape, became one of the most recognisable portraits of a fictional character in the history of illustration. Steele would go on to illustrate the Holmes stories for American publications over several decades, and his visual interpretation of the detective — lean, intense, the pipe and cape inseparable from the figure — became the dominant American image of Holmes, influencing theatrical productions, film adaptations, and popular imagination well into the twentieth century.\u003c\/p\u003e\u003cp\u003eThe deerstalker and cape were not Doyle's invention: they came from Sidney Paget's earlier illustrations for \u003cem\u003eThe Strand Magazine\u003c\/em\u003e in London. But Steele refined and popularised the look for American readers, and his 1903 \u003cem\u003eCollier's\u003c\/em\u003e cover stands as the moment when Holmes's visual identity was fully consolidated on both sides of the Atlantic. The illustration combines the character's famous penetrating intelligence — evident in the posture, the slight forward lean — with the period atmosphere of the gaslit Edwardian thriller: fog, cape, the suggestion of a London street.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrederic Dorr Steele, cover illustration, \u003cem\u003eCollier's Weekly\u003c\/em\u003e, 26 September 1903. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723312210251,"sku":"2138a654-6047-468a-b004-a4f869a2d511","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Sherlock_Mug_front_v4_1262376d-2dd3-49bb-9268-7f49ff5cdd09.jpg?v=1787300584"},{"product_id":"rogier-van-der-weyden-adoration-magi-mug","title":"Rogier van der Weyden: Adoration of the Magi, 1455 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRogier van der Weyden\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAdoration of the Magi\u003c\/em\u003e, 1455\u003cbr\u003eoil on oak panel\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThree kings — one kneeling, his crown set down beside him, two standing — present their gifts to the Christ Child held by the Virgin. The figures are individuated, their costumes described with a jeweller's precision; the ruin in which the Nativity takes place opens onto a landscape behind, connecting the intimate foreground to a world of historical and cosmic depth. It is a composition that manages reverence and ceremony without stiffness.\u003c\/p\u003e\u003cp\u003eThis is the central panel of the \u003cem\u003eColumba Altarpiece\u003c\/em\u003e by Rogier van der Weyden (c. 1399–1464), the dominant painter of the Netherlandish school in the generation after Jan van Eyck. Named after the Church of St Columba in Cologne, for whose Marienkapelle it was commissioned between about 1455 and 1462, the triptych depicts the Annunciation, the Adoration of the Magi and the Presentation in the Temple across its three wings, each rendered with the psychological intensity and technical command that distinguish Van der Weyden from his contemporaries. The altarpiece is today one of the great treasures of the Alte Pinakothek in Munich.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eRogier van der Weyden, \u003cem\u003eColumba Altarpiece\u003c\/em\u003e (central panel: Adoration of the Magi), c. 1455–1462, oil on oak panel. Alte Pinakothek, Munich. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454627659,"sku":"5ea09cd5-5ecf-4992-ab10-683599b0c472","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Weyden_Mug_front_v3.jpg?v=1787125573"},{"product_id":"kandinsky-concentric-rings-mug","title":"Wassily Kandinsky: Concentric Rings, 1913 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWassily Kandinsky\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eConcentric Rings\u003c\/em\u003e, 1913\u003cbr\u003ewatercolour, 23.9 × 31.5 cm\u003cbr\u003eLenbachhaus und Kunstbau München, Gabriele Münter Stiftung 1957, GMS 446\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0 1\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA grid of squares, each holding a target of coloured rings in a different combination. It is not a finished painting but an investigation — a systematic test of how colours behave when placed next to one another — and it is simultaneously a scientific document and an object of remarkable visual intensity.\u003c\/p\u003e\n\u003cp\u003eWassily Kandinsky (1866–1944) made \u003cem\u003eFarbstudie – Quadrate mit konzentrischen Ringen\u003c\/em\u003e in 1913, at a moment of decisive transition. He had recently completed \u003cem\u003eÜber das Geistige in der Kunst\u003c\/em\u003e, the text in which he argued that colour and form could act directly on the viewer's emotions without the mediation of representational subject matter. By 1913 he was already producing his first fully abstract compositions — the \u003cem\u003eImprovisations\u003c\/em\u003e and \u003cem\u003eCompositions\u003c\/em\u003e — and the colour studies of this period were the systematic groundwork for that leap. Each ring carries what Kandinsky believed was an intrinsic emotional charge; the relationships between them were as carefully considered as the intervals in a musical score. The work is held at the Städtische Galerie im Lenbachhaus in Munich.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/wassily-kandinsky-la-fleche-the-arrow-1943-porcelain-art-mug\"\u003eLa flèche (The Arrow), 1943\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eWassily Kandinsky, \u003cem\u003eFarbstudie – Quadrate mit konzentrischen Ringen\u003c\/em\u003e, 1913; watercolour, gouache and crayon, 23.9 × 31.5 cm. Städtische Galerie im Lenbachhaus und Kunstbau München, Gabriele Münter Stiftung 1957, GMS 446. Open-access image released by the museum under CC0 1.0.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723314012491,"sku":"845bcf1d-5190-45bc-a96e-152ffbd6935e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Kandinsky_Mug_front_v3.jpg?v=1787128067"},{"product_id":"the-swing-by-fragonard-mug","title":"Jean-Honoré Fragonard: The Swing, 1767 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJean-Honoré Fragonard\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Swing\u003c\/em\u003e, 1767\u003cbr\u003eoil on canvas\u003cbr\u003eThe Wallace Collection, London\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePink and gold light, a sculpted garden space, a flying shoe, and the momentary revelation of a petticoat as the swing rises. The commission behind it was as knowing as the picture: a member of the French court — by some accounts the Baron de Saint-Julien — asked for a scene of his mistress on a garden swing, pushed by a bishop, while he himself lay concealed in the shrubbery below to watch.\u003c\/p\u003e\u003cp\u003eJean-Honoré Fragonard (1732–1806) turned that request into one of the century's great paintings, carried off with a technique of extraordinary delicacy and assurance. The Wallace Collection in London, which has held \u003cem\u003eThe Swing\u003c\/em\u003e since the nineteenth century, describes it as among the most complete expressions of the Rococo spirit — a style devoted to pleasure, elegance and the aestheticisation of aristocratic leisure in the decades before the Revolution swept it away. Fragonard survived the Revolution, outlived his patrons and died in relative obscurity; his rehabilitation as a master came later. The painting, which treats its own frivolity with perfect seriousness, has never required rehabilitation.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJean-Honoré Fragonard, \u003cem\u003eThe Swing\u003c\/em\u003e, c. 1767–1768, oil on canvas. The Wallace Collection, London. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454365515,"sku":"665d5ccb-bdec-4624-b569-32f4380dd21c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Fragonard_Mug_front_v3.jpg?v=1787130321"},{"product_id":"cat-with-kittens-mug","title":"Henriëtte Ronner: Cat with Kittens, 1844 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenriëtte Ronner\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCat with Kittens\u003c\/em\u003e, 1844\u003cbr\u003eoil on panel\u003cbr\u003eRijksmuseum, Amsterdam\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA mother cat tends to her kittens with the concentrated absorption of an animal that has forgotten it is being watched. The small figures tumble and press close in the warm, even light of a Dutch interior. Henriëtte Ronner was twenty-three when she painted it in 1844; the panel is in the Rijksmuseum, Amsterdam.\u003c\/p\u003e\u003cp\u003eRonner (1821–1909) was born in Amsterdam to a family of painters and began exhibiting professionally while still a teenager, initially concentrating on landscapes and animal subjects in the tradition of Dutch naturalism. By the 1860s she had settled in Brussels and shifted her attention almost exclusively to cats — a subject she would make entirely her own. She built a specially designed glass-fronted studio that allowed her to observe her feline subjects at close quarters while they went about their lives. The resulting paintings combine the meticulous observation of the seventeenth-century Dutch masters with the Victorian taste for the domestic scene. \u003cem\u003eCat with Kittens\u003c\/em\u003e is an early work, already showing the attention to feline behaviour that would characterise her mature practice: a painting about watchfulness — the mother's and the painter's — executed with the patient precision that sustained a career across seven decades.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eHenriëtte Ronner, \u003cem\u003eCat with Kittens\u003c\/em\u003e, 1844, oil on panel. Rijksmuseum, Amsterdam. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723317453131,"sku":"8765a23f-2f29-435f-9619-34726d2626f0","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Ronner_Mug_front_v3.jpg?v=1787128462"},{"product_id":"anna-atkins-cyanotype-botany-mug","title":"Anna Atkins: Cyanotype Ferns, 1840s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAnna Atkins\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCyanotype Ferns, 1840s\u003c\/em\u003e\u003cbr\u003eNational Gallery of Art, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA fern laid straight onto sensitised paper and left in the sun. No camera, no lens: white fronds standing against the deep Prussian blue of the cyanotype ground, each leaflet resolved with a clarity no hand-drawn illustration could match. The sheet is from the 1840s and is now in the National Gallery of Art, Washington, D.C.\u003c\/p\u003e\u003cp\u003eAnna Atkins (1799–1871) was a British botanist who in 1843 produced what is widely recognised as the first photographically illustrated book: \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, issued in self-published fascicles over the following decade. She had learned the cyanotype process — a photosensitive technique using iron salts — directly from its inventor, Sir John Herschel, who communicated it the previous year, and she applied it not as a novelty but as a scientific instrument: specimens placed directly onto coated paper and exposed to sunlight, yielding silhouettes of extraordinary precision. Atkins understood that photography and natural history were not in competition but in alliance, and her work stands at the intersection of Victorian science, botanical illustration and the new visual art of photography in its first decade.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAnna Atkins, \u003cem\u003eFerns. Specimen of Cyanotype\u003c\/em\u003e, 1840s. National Gallery of Art, Washington, D.C. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454267211,"sku":"cde77fa9-35cd-4bc6-883f-e805b326d281","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Atkins_Mug_front_v3.jpg?v=1787130693"},{"product_id":"francois-pompon-polar-bear-mug","title":"François Pompon: Polar Bear, 1922 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrançois Pompon\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePolar Bear\u003c\/em\u003e, 1922\u003cbr\u003emarble on marble base, 27.9 × 48.3 × 17.1 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 30\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe sculpture is in the public domain — Pompon died in 1933\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eParis, autumn 1922. In a corner of the Salon d'Automne an unassuming plaster figure of a polar bear stops visitors mid-step. No anecdotal detail, no textured fur, no glass-eyed realism — just the economical sweep of a shoulder turning into a paw, and a head lifted mid-stride. François Pompon, then sixty-seven and known outside the studios chiefly as the man who had carved other sculptors' marble — Rodin's above all — had made the sculpture of his life.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eOurs blanc\u003c\/em\u003e went on to define an era. Pompon spent his last decade executing it in stone, marble and bronze for collectors and public collections across France, and in 1925 Émile-Jacques Ruhlmann placed a cast at the centre of his pavilion at the Paris Exposition Internationale des Arts Décoratifs — the exhibition that gave Art Deco its name. Through radical simplification he found something truer about the animal than surface naturalism ever could.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich version this is\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe bear on this mug is the marble, cut about 1923 — the Salon plaster carried into stone, forty-eight centimetres long on a black marble base, and bought for a New York collection in 1930. It is photographed side on in the museum’s studio against a plain grey ground, so that nothing competes with the silhouette. The marble is left as it is: a warm off-white that the porcelain takes up almost exactly.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. Light in the hand, about 200 g, with a thin, smooth rim: lighter than a diner mug, finer at the lip. If you want a heavy café mug, this is the wrong one. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrançois Pompon (1855–1933), \u003cem\u003ePolar Bear\u003c\/em\u003e (\u003cem\u003eOurs blanc\u003c\/em\u003e), ca. 1923; marble on marble base, 27.9 × 48.3 × 17.1 cm. The Metropolitan Museum of Art, New York, 30.123ab, Purchase, Edward C. Moore Jr. Gift, 1930. The sculpture is in the public domain — Pompon died in 1933. The photograph is the museum’s own, released under CC0 1.0 through its Open Access programme.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454070603,"sku":"a635d71b-fcfd-4cb0-8453-3773f5e21127","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/4438ff39-da24-497d-b97d-6e2c9f50e176.jpg?v=1788902166"},{"product_id":"venus-de-milo-ideal-greek-beauty-art-mug","title":"Venus de Milo, c. 130 BCE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eVenus de Milo, c. 130 BCE\u003c\/em\u003e\u003cbr\u003emarble\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe statue is in the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe \u003cem\u003eVenus de Milo\u003c\/em\u003e was discovered in 1820 by a peasant farmer on the Aegean island of Milos, buried in the ruins of an ancient theatre. Within months it had been acquired by the French ambassador to the Ottoman court and presented to Louis XVIII, who donated it to the Louvre — where it has remained ever since, drawing more visitors than almost any other object in the museum. Created sometime between 130 and 100 BCE, the statue is carved from Parian marble in two main sections joined at the hips; its subject is almost certainly Aphrodite, the Greek goddess of love and beauty, though the missing arms have made certain identification impossible. That ambiguity has proved central to the work's long afterlife.\u003c\/p\u003e\u003cp\u003eBy the nineteenth century the \u003cem\u003eVenus de Milo\u003c\/em\u003e had become the exemplar of classical Greek beauty — the standard against which all other representations of the female form were measured. Its influence on Western aesthetics was enormous, and the discovery of its missing arms has been the subject of speculation and fantasy for two centuries. What is beyond dispute is the statue's formal intelligence: the slight rotation of the torso against the lower body, the barely suggested spiral of the composition, the way the drapery pools at the hips to anchor an otherwise floating figure. It is both ideal and specific, remote and intensely present.\u003c\/p\u003e\u003cp\u003eThe mug takes her in profile, head bowed, against a dark ground — the view from her right side, which is the one the Louvre lets you have when the room is full and you cannot stand in front of her.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eVenus de Milo\u003c\/em\u003e (Aphrodite of Milos), c. 130–100 BCE, Parian marble, H. 2.02 m. Musée du Louvre, Paris, Ma 399 (LL 299). The statue is in the public domain; the photograph reproduced here was made by Marie-Lan Nguyen in 2007 and released by her into the public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856453480779,"sku":"b1fedfc2-2a8f-465d-9ede-d768640036c6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/fe49f899-bfea-417b-abcf-3acd0225cf88.webp?v=1788028778"},{"product_id":"victorian-robin-antique-botanical-mug","title":"Thomas Bewick: The Redbreast, 1797 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eThomas Bewick\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Redbreast\u003c\/em\u003e, 1797\u003cbr\u003ewood engraving\u003cbr\u003eWellcome Collection, London\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThomas Bewick cut this robin into the end grain of a block of boxwood, working the picture in white lines out of solid black — a way of engraving on wood he brought to a pitch nobody had reached before him. It was printed in 1797 in the first volume of \u003cem\u003eA History of British Birds\u003c\/em\u003e, the book Charlotte Brontë later put into Jane Eyre's hands on the opening page of the novel.\u003c\/p\u003e\u003cp\u003eThe bird stands on a snow-covered stone. Behind it: a paling fence, bare trees, a farmhouse under snow, the flat light of a winter afternoon. Bewick set his birds in the countryside he knew, the Tyne valley where he had grown up, and the robin is the one that stays through the winter — he drew it accordingly.\u003c\/p\u003e\u003cp\u003eThe block printed in black. Bewick himself washed watercolour over his own drawing for this cut, and that sheet survives in the British Museum; the colour here follows it — the flat orange of the breast, the olive of the back, the cold blue lying in the snow. To be clear about what this is: the lines are Bewick's, taken from a printed impression; the colouring was done for this edition and is ours, not his. It is not a historical hand-coloured print and is not offered as one.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eThomas Bewick, \u003cem\u003eThe Redbreast\u003c\/em\u003e, wood engraving, first published in \u003cem\u003eA History of British Birds\u003c\/em\u003e, vol. I, Newcastle 1797. The impression reproduced here is from the Newcastle edition of 1847, digitised by the Wellcome Collection, London. Public domain. Colouring added for this edition after Bewick's own watercolour drawing for the block, British Museum 1882,0311.1270.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724160311627,"sku":"6b7caefc-792b-4db6-b689-d0b1f5591dc6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/bewick_v2_front_3000.jpg?v=1787213622"},{"product_id":"george-washingtons-coffee-cup-society-of-the-cincinnati-1784","title":"George Washington's Coffee Cup, 1784 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eGeorge Washington's Coffee Cup\u003c\/em\u003e, 1784\u003cbr\u003ePorcelain, H. 2½ in. (6.4 cm)\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 39.18.3\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\" style=\"max-width: 180px; width: 100%;\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e250 Years. One Cup.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn 4 July 2026 the United States turned 250. In the American Wing of the Metropolitan Museum of Art, a small porcelain coffee cup sits quietly — one of 302 pieces that George Washington ordered from China in 1786, used throughout his presidency, and kept at Mount Vernon until his death.\u003c\/p\u003e\u003cp\u003eWashington drank coffee. His household accounts document it. He served guests — diplomats, officers, members of the new government — using this service, in New York, in Philadelphia, at Mount Vernon. The service included several coffee cups. He used them. Which one he held on any given morning, history does not record. But the cup now in the Met is one of those cups. The same service. The same glaze. The same painted figure of Fame with her trumpet, the same Cincinnati eagle beneath her.\u003c\/p\u003e\u003cp\u003eThis re-edition reproduces the cup faithfully — same form, same decoration, same weight in the hand. Made to be used, not displayed.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/he-drank-from-this-cup\"\u003eHe Drank From This Cup\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eCoffee Cup, Chinese, ca. 1784. Porcelain, H. 2½ in. (6.4 cm). Gift of R. Thornton Wilson, 1939. The Metropolitan Museum of Art, New York, acc. no. 39.18.3. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57766951944523,"sku":"b44b651c-0f25-4f10-81d2-e9163c968702","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/3accdd5e-14ed-4617-8d7c-e6e87172013d.webp?v=1783342226"},{"product_id":"limbourg-brothers-tres-riches-heures-may-mug","title":"Limbourg Brothers: Très Riches Heures (May), 1416 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eLimbourg Brothers\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTrès Riches Heures (May)\u003c\/em\u003e, 1416\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn May 1411, the courtiers of John, Duke of Berry, ride out in splendour. Clad in robes of spring green — the colour of hope and renewal — they wind through the Bois de Vincennes to the sound of trumpets, their horses garlanded, their laughter carrying across the vellum. Rising behind them in the distance, the towers of the Palais de la Cité — the royal palace on the Île de la Cité in Paris, seat of the French crown — gleam silver-white against a sky of lapis blue.\u003c\/p\u003e\u003cp\u003eThis is \u003cem\u003eMois de Mai\u003c\/em\u003e from \u003cem\u003eLes Très Riches Heures du Duc de Berry\u003c\/em\u003e, the most celebrated illuminated manuscript of the Middle Ages. Painted around 1412–1416 by the Flemish brothers Pol, Herman and Johan Limbourg — three prodigies who died young, their masterwork left unfinished — it depicts the twelve months in scenes of the finest refinement European painting had yet reached. No other medieval book matches its colour, its observation of the natural world, or the sheer joy it takes in human festivity.\u003c\/p\u003e\u003cp\u003eThe May folio is its most exuberant page: a world at its most alive, before plague and war and the long shadow of the fifteenth century closed in.\u003c\/p\u003e\u003cp\u003eThe design wraps the cavalcade around the mug. The fourth product image shows the complete original folio — with its gilded outer border and the zodiac calendar arch above, the sun's chariot passing through Gemini — so that what the mug takes and what it leaves are both visible.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFolio for May, \u003cem\u003eLes Très Riches Heures du Duc de Berry\u003c\/em\u003e, Limbourg Brothers, c. 1412–1416. Musée Condé, Chantilly. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57767477379403,"sku":"9db76b67-49f7-4fe7-86f7-8ce7fc7a1e2f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/daf2f9b1-e301-4853-a206-f913cdc72070.webp?v=1783200209"},{"product_id":"white-10oz-porcelain-slim-mug-quilt-eagle-pattern","title":"Eagle Quilt: Twenty-Six Stars, 1837 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eTwenty-Six Stars\u003c\/em\u003e, 1837\u003cbr\u003eQuilt, 103 × 97 in.\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 1974.32\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\" style=\"max-width: 180px; width: 100%;\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Eagle at Home: A New Nation Stitches Its Symbol\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn 4 July 2026, America turned 250. In New England, sometime around 1837, an anonymous needleworker bent over cotton and thread and stitched an eagle — the eagle — at the centre of a quilt. She knew exactly what it meant.\u003c\/p\u003e\u003cp\u003eThe design follows the Great Seal of the United States, adopted by Congress in 1782: an eagle with wings spread, arrows in one talon, an olive branch in the other. Above the eagle's head: twenty-six stars. Twenty-six — because in January 1837, Michigan had just become the twenty-sixth state, and someone, somewhere, decided this quilt would mark the moment. Not with a ceremony, not with a monument. With cloth and a needle, at a kitchen table.\u003c\/p\u003e\u003cp\u003eThe eagle had moved fast through American domestic life after the Revolution. It appeared on silver, on porcelain, on furniture and uniforms. The Society of the Cincinnati — founded in 1783 by officers who had served under Washington — adopted the same eagle for their badge of honour. By 1837, the symbol was everywhere, but it hadn't yet become imperial. This quilt catches it while it was still personal: a grandmother's pride, a family's declaration. \u003cem\u003eWe are Americans. This is our bird.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe mug carries the quilt's central eagle medallion. The full cotton textile — 103 by 97 inches, almost a perfect square — now hangs in the American Wing of the Metropolitan Museum of Art in New York.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/the-quilt-that-counted-michigan\"\u003eThe Quilt That Counted Michigan\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eQuilt, Eagle pattern, American, ca. 1837–50. Cotton, 103 × 97 in. (261.6 × 246.4 cm). Gift of Mrs. Jacob Kaplan, 1974. The Metropolitan Museum of Art, New York, acc. no. 1974.32. Public domain. \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/13899\"\u003eView at the Met →\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57781406204235,"sku":"e06a45a7-39e0-4d85-ad1c-fdb48f84dac1","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/cf2eaa1f-1628-424f-9b5e-5797cc4f284b.webp?v=1783408673"},{"product_id":"bayeux-tapestry-halleys-comet-1066-mug","title":"Bayeux Tapestry: Halley's Comet, 1066 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eHalley's Comet\u003c\/em\u003e, 1066\u003cbr\u003ewool embroidery on linen\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePhotographic campaign 2017 (Université de Caen Normandie, CNRS, ENSICAEN), Wikimedia Commons; 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\u003eFrom 10 September 2026 to 11 July 2027 the tapestry is on view at the British Museum in London – the first time it has been shown in England since it was made. The panel at the centre of the attention is the one wrapped around this mug. Tazzarte is not affiliated with the British Museum or the exhibition.\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 fifth 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\u003eThe first of a series of three: the comet, then \u003ca href=\"\/products\/bayeux-tapestry-the-norman-charge-at-hastings-1066-porcelain-art-mug\"\u003ethe Norman charge at Hastings\u003c\/a\u003e and \u003ca href=\"\/products\/bayeux-tapestry-the-death-of-harold-1066-porcelain-art-mug\"\u003ethe death of Harold\u003c\/a\u003e, where the omen is fulfilled. All three together: \u003ca href=\"\/collections\/bayeux-tapestry-the-comet-and-the-king\"\u003eBayeux Tapestry: The Comet and the King\u003c\/a\u003e.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. Light in the hand, about 200 g, with a thin, smooth rim: lighter than a diner mug, finer at the lip. If you want a heavy café mug, this is the wrong one. 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. Photographic campaign 2017 (Université de Caen Normandie, CNRS, ENSICAEN), Wikimedia Commons; public domain. Fifth 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\/e22a9fb9-fae5-418f-bb9c-4800c1423e83.webp?v=1791583515"},{"product_id":"attributed-to-felix-thiollier-lady-and-horse-in-the-snow-1899-art-mug","title":"Attributed to Félix Thiollier: Lady and Horse in the Snow, 1899 – Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAttributed to Félix Thiollier\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLady and Horse in the Snow\u003c\/em\u003e, 1899\u003cbr\u003ephotograph in March 2025\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eWhat is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA woman in a long dark coat walks away from us across a snow-covered paddock, a thin whip trailing from her right hand. Behind her a dark horse breaks into a gallop along the rail. Bare trees stand in the falling snow, and the light is so flat that everything except the two dark shapes dissolves into grey. It is an ordinary working moment — a horse being exercised on a winter morning — held with the compositional care of a painting.\u003c\/p\u003e\u003cp\u003eThe photograph is generally published as the work of Félix Thiollier (1842–1914) and dated 1899. Thiollier was a Saint-Étienne industrialist who left business early for art and archaeology, taught himself photography, and spent more than twenty years photographing the Forez — its monuments, its ruins, its people and above all its weather — leaving some three to four thousand negatives. He composed like a painter: deliberate framing, subdued light, deep texture. His descendants gave the surviving archive to the Musée d'art moderne et contemporain de Saint-Étienne Métropole in 2024.\u003c\/p\u003e\u003cp\u003eThe attribution is traditional rather than documented, and this edition says so. Asked about this photograph in March 2025, the museum's Collections service replied that it could not confirm the attribution from its records. The title and the year travel with the picture wherever it is reproduced; neither has a museum source behind it. What is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAttributed to Félix Thiollier (1842–1914), \u003cem\u003eLady and Her Horse on a Snowy Day\u003c\/em\u003e, 1899. Private collection. Public domain. Printed from the best reproduction traced; the motif is set at the size its true resolution supports rather than enlarged beyond it.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58214931530059,"sku":"8eba5719-51b6-4513-9694-53865d55aa24","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Thiollier_Snow_front_3000.jpg?v=1787316287"},{"product_id":"musee-entomologique-carpenter-bee-xylocopa-morio-1878-art-mug","title":"Musée Entomologique: Carpenter Bee (Xylocopa morio), 1878 – Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eCarpenter Bee (Xylocopa morio)\u003c\/em\u003e, 1878\u003cbr\u003eHand-coloured wood engraving\u003cbr\u003eMadge Entomology Collection, University of Alberta Libraries, and made available through the Internet Archive and the Biodiversity Heritage Library\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA carpenter bee crosses the frame on rust-red wings, its body a blue-black so deep the engraver left the paper bare to model it. Around it a passionflower vine in fine hatching, a tendril curling into a spiral, and at the right the trunk of a dead tree — the material the bee is named for. Carpenter bees do not build, they bore: they cut galleries into standing dead wood, and the genus name says so. \u003cem\u003eXylocopa\u003c\/em\u003e is Greek for wood-cutter.\u003c\/p\u003e\u003cp\u003eThe sheet is \u003cem\u003eHyménoptères — Pl. VII\u003c\/em\u003e from the \u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, the three-volume natural history that Jules Rothschild published in Paris between 1876 and 1878; this plate belongs to volume three, \u003cem\u003eLes Insectes\u003c\/em\u003e. The full plate sets four bees on one passionflower — beside \u003cem\u003eXylocopa morio\u003c\/em\u003e three tropical American species: \u003cem\u003eChrysantheda frontalis\u003c\/em\u003e, \u003cem\u003eEuglossa romandi\u003c\/em\u003e and \u003cem\u003eCentris denudans\u003c\/em\u003e. This mug takes the upper part alone: the carpenter bee, its vine and its tree. The fourth product image shows the whole sheet with the printed part marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp\u003eThe plates are wood engravings, coloured by hand one copy at a time, so no two are quite alike. What you see is the colouring of one particular copy — the one in the Dr. Ronald B. Madge Entomology Collection at the University of Alberta. Nothing has been repainted. The yellowing of the paper has been balanced out and the tone opened so that the engraved line carries on white porcelain; the hatching, the colour and the silhouette are as the sheet has them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same sheet\u003c\/strong\u003e — The passionflower at the centre of the same plate, with the green orchid bee, is on its own mug: \u003ca href=\"\/products\/musee-entomologique-orchid-bee-and-passionflower-chrysantheda-frontalis-1878-art-mug\"\u003eOrchid Bee and Passionflower (Chrysantheda frontalis)\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, vol. 3, \u003cem\u003eLes Insectes\u003c\/em\u003e, Paris: J. Rothschild, 1878, plate \u003cem\u003eHyménoptères — Pl. VII\u003c\/em\u003e, upper detail. Hand-coloured wood engraving. Digitised from the copy in the Dr. Ronald B. Madge Entomology Collection, University of Alberta Libraries, and made available through the Internet Archive and the Biodiversity Heritage Library. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58218243031371,"sku":"8cf64015-fe59-497f-88fb-07a6b7a56a05","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Xylocopa_Mug_front_3000.jpg?v=1787327399"},{"product_id":"wright-brothers-first-flight-1903-porcelain-art-mug","title":"The Wright Brothers at Kitty Hawk, 1903 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eThe Wright Brothers at Kitty Hawk\u003c\/em\u003e, 1903\u003cbr\u003ePhotograph by John T, 18 × 12.5 cm\u003cbr\u003eLibrary of Congress, Prints \u0026amp; Photographs Division, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA machine of spruce, ash and muslin is a foot or two above the sand, and the man at the right is Wilbur, standing where his run ended. Orville is lying prone at the controls, on his stomach, hips in the cradle that warped the wings. Behind them the launch rail runs back across the beach — a single wooden track laid on the flat. It is 10:35 in the morning of 17 December 1903, at Kill Devil Hills near Kitty Hawk, North Carolina, and the wind is coming in cold off the Atlantic.\u003c\/p\u003e\n\u003cp\u003eThe photograph exists because Orville set it up before he flew. He put the camera on a tripod, aimed it at the spot where he expected the machine to leave the rail, and showed John T. Daniels of the Kill Devil Hill lifesaving station how and when to snap the shutter. Daniels had never seen a camera before. He squeezed the bulb at exactly the right moment and afterwards was not certain he had squeezed it at all.\u003c\/p\u003e\n\u003cp\u003eThe flight lasted twelve seconds and covered 120 feet — shorter than the wingspan of an airliner. Three more followed that morning, each longer than the last; the fourth stayed up 59 seconds. Then a gust caught the machine on the ground and rolled it over, and it never flew again.\u003c\/p\u003e\n\u003cp\u003eThe negative is a glass dry plate, 18 by 12.5 centimetres. It stayed with the brothers and is held today in their own papers at the Library of Congress.\u003c\/p\u003e\n\u003cp\u003eThe plate is damaged: a corner is broken away at the lower left and the emulsion is lost in two places along the bottom edge. Rather than paint them out, the mug carries a cropped frame that leaves them off the sheet. The picture gives up the far end of the launch rail and gains nothing that was not on the plate.\u003c\/p\u003e\n\u003cp\u003eThe fourth product image shows four details at close range: Orville at the controls, Wilbur beside the wing, the launch rail on the sand, and the tools left standing where the run began.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\u003cp\u003eFirst flight, 120 feet in 12 seconds, 10:35 a.m.; Kitty Hawk, North Carolina, 17 December 1903; dry-plate glass negative, 18 × 12.5 cm. Photograph by John T. Daniels, camera set by Orville Wright. Glass negatives from the Papers of Wilbur and Orville Wright, Library of Congress, Prints \u0026amp; Photographs Division, Washington, D.C., LC-DIG-ppprs-00626 (LCCN 00652085). Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58236306325835,"sku":"f03461c1-4d70-4e1e-b48a-6fbe771bcd86","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Wright_Mug_1_front_3000_014b09d5-437d-485c-b166-4c0672f29fab.jpg?v=1787548145"},{"product_id":"wilson-bentley-snowflake-1905-porcelain-art-mug","title":"Wilson Bentley: Snowflake, c. 1905 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilson A. Bentley (1865-1931)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSnowflake\u003c\/em\u003e, c. 1905\u003cbr\u003eGelatin silver printing-out-paper print, 10.1 x 7.6 cm\u003cbr\u003eThe Museum of Modern Art, New York, inv. 393.2006\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eWilson Bentley was a farmer in Jericho, Vermont, in the snowbelt — about three metres of snow a year. His mother taught him at home. For his fifteenth birthday, in 1880, he was given a microscope. He spent the next years trying to draw what he saw in it, and failing.\u003c\/p\u003e\u003cp\u003eThen he connected a bellows camera to the microscope. In 1885, aged nineteen, he made the first photograph of a snow crystal that anyone had ever made.\u003c\/p\u003e\u003cp\u003eThe apparatus stood outdoors, because indoors the specimens melted. He waited in the cold, caught the falling flakes on a board, moved them under the lens with a feather, and exposed for a minute and a half. He did this for forty-six winters and photographed more than five thousand crystals. From that collection came the sentence everyone now repeats without knowing whose it was: no two are alike.\u003c\/p\u003e\u003cp\u003eThis one is a stellar dendrite, and it is as near to perfect as his plates come. Six arms of equal length, each carrying the same paired branches at the same angle, each branch ending in a small flat plate. At the centre, a hexagon the size of a pinhead. The crystal was on the ground for a few seconds and then gone; the photograph is all that is left of it.\u003c\/p\u003e\u003cp\u003eBentley cut the crystal out of the print and mounted it on dark card. That is why the field is a black disc on a pale ground. He did this five thousand times over forty-six winters, in an unheated shed behind the farmhouse.\u003c\/p\u003e\u003cp\u003eThis print was made around 1905 and came to the Museum of Modern Art in New York a century later, acquired in memory of John Parkinson III through the generosity of his friends. It is 10.1 by 7.6 centimetres — the size of a postcard.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/wilson-bentley-frost-1910-porcelain-art-mug\"\u003eFrost, c. 1910\u003c\/a\u003e · \u003ca href=\"\/products\/wilson-bentley-dew-spider-web-1910-porcelain-art-mug\"\u003eDew on a Spider Web, c. 1910\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilson A. Bentley (1865–1931), Snowflake, c. 1905. Gelatin silver printing-out-paper print, 10.1 × 7.6 cm. The Museum of Modern Art, New York, 393.2006. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58236941402443,"sku":"e5924d2a-568e-4c02-bc63-b9c61fe2a485","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/BentleyMoMA_Mug_1_front_3000_e47a7620-cee2-425d-bc4b-aa0919e41416.jpg?v=1787593068"},{"product_id":"wilson-bentley-frost-1910-porcelain-art-mug","title":"Wilson Bentley: Frost, c. 1910 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilson Bentley\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eFrost\u003c\/em\u003e, c. 1910\u003cbr\u003eGelatin silver print\u003cbr\u003eThe Metropolitan Museum of Art, New York, 2015\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThis is not a snow crystal. It is frost — ice grown straight out of the air onto a cold surface. A snowflake falls once and is gone in seconds. Frost builds over hours, fern upon fern, until the whole pane is filled.\u003c\/p\u003e\u003cp\u003eWilson Bentley was a farmer in Jericho, Vermont, in the snowbelt — about three metres of snow a year. In 1885, aged nineteen, he bolted a bellows camera to a microscope and made the first photograph of a snow crystal that anyone had ever made. He kept at it for forty-six winters and more than five thousand crystals.\u003c\/p\u003e\u003cp\u003eSnow was not all he photographed. He turned the same apparatus on dew, on raindrops and on frost — the whole of what water does when it is left alone in cold air. These are the plates nobody quotes, and they are the ones that show him as a photographer rather than a collector.\u003c\/p\u003e\u003cp\u003eThis one is frost, made around 1910. The ferns run edge to edge: no centre, no border, no right way up. The pattern simply carries on past the frame, which is why it is printed here as a band that runs round the mug rather than as a picture on the front. Wherever you set the mug down, there is more of it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/wilson-bentley-snowflake-1905-porcelain-art-mug\"\u003eSnowflake, c. 1905\u003c\/a\u003e · \u003ca href=\"\/products\/wilson-bentley-dew-spider-web-1910-porcelain-art-mug\"\u003eDew on a Spider Web, c. 1910\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilson Alwyn Bentley (1865–1931), [Frost], c. 1910. Gelatin silver print. The Metropolitan Museum of Art, New York, 2015.201, Purchase, Alfred Stieglitz Society Gifts, 2015. Open Access, CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58240301531467,"sku":"3935b168-04b2-400e-921c-1296ec3a3b47","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Frost_Mug_1_front_3000_fbd3800c-2be6-4104-b664-dd38a5952f3d.jpg?v=1787600683"},{"product_id":"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":"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":"tacuinum-sanitatis-nix-et-glacies-c-1390-porcelain-art-mug","title":"Tacuinum Sanitatis: Nix et Glacies, c. 1390 – 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\u003eNix et Glacies\u003c\/em\u003e, c. 1390\u003cbr\u003eTempera and gold on parchment\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\u003eAround 1390 a workshop in Lombardy made a picture book for a north-Italian court. Its text was the \u003cem\u003eTacuinum sanitatis\u003c\/em\u003e, a Latin health handbook drawn from the \u003cem\u003eTaqwim al-sihha\u003c\/em\u003e of the Baghdad physician Ibn Butlan, who died about 1066. Every thing in the world that could touch the body — bread, wind, cheese, sleep, snow — was given one leaf: a framed painting above, a red rubric, and six fixed headings beneath. Its nature. Which kind to choose. What it helps. What it harms. How to cancel the harm. What it produces.\u003c\/p\u003e\n\u003cp\u003eThis leaf is \u003cem\u003eNix et glacies\u003c\/em\u003e, snow and ice. The painter had a medical rubric to illustrate and painted a snowball fight: a young man in red hose caught mid-turn on the ice, a young woman in blue with a snowball already raised and a second one held ready. Behind them the brown rock of the mountains under fresh snow. It is among the earliest surviving depictions of a snowball fight in European art — \u003ca href=\"\/blogs\/stories\/nix-et-glacies-the-oldest-snowball-fight\"\u003eread the whole story here\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eThe print takes the leaf as the illuminator bounded it. The crop follows his own framing line and stops there. Nothing inside it was retouched, nothing added, nothing removed; the red rubric stays where he wrote it. The six paragraphs of Latin below the frame lie outside the frame, and so outside the picture — they are not painted over, they are simply not part of it. The second product image shows the whole leaf with the printed section marked, so the source is visible for what it is.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\u003cp\u003eTacuinum sanitatis, Lombardy, c. 1390–1400. Tempera and gold on parchment. Paris, Bibliothèque nationale de France, Département des Manuscrits, NAL 1673, f. 96v. Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58299399864651,"sku":"06cd7d6b-6611-4b9a-a3c5-6269c910d141","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/41ba904f-c9f2-47a0-abf4-131ca169e16d.webp?v=1788025673"},{"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":"rembrandt-van-rijn-the-three-trees-detail-1643-porcelain-art-mug","title":"Rembrandt van Rijn: The Three Trees (Detail), 1643 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRembrandt van Rijn\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Three Trees (Detail)\u003c\/em\u003e, 1643\u003cbr\u003eEtching with drypoint and engraving on laid paper, 21.4 × 28 cm\u003cbr\u003eNational Gallery of Art, Washington, Rosenwald Collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThree trees on a rise, and above them a sky that took most of the work. Rembrandt drew the clouds with the etching needle, then went back into the plate with drypoint and the burin, and the diagonal rain falling across the top left corner was ruled in with a straightedge — the only ruled lines in the sheet.\u003c\/p\u003e\u003cp\u003eIt is his largest landscape print and the only one with weather in it. The storm is moving off to the left; the light is already back on the fields, where a herd is grazing and a town stands on the horizon. Small things are hidden in the plate: an artist sketching on the hillside at the right, a fisherman and his wife at the water's edge, a cart on the skyline, a pair of lovers in the bushes below the trees.\u003c\/p\u003e\u003cp\u003eThere is no title on the plate and no story attached to it. Rembrandt made it in 1643, the year after Saskia died, and it has been read as an allegory ever since; nothing in the sheet supports that, and nothing rules it out.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: the three trees themselves, the ruled sky behind them, and the thicket below. The complete etching is shown in the last product image. A mug offers about nine centimetres of printable height — a wide landscape would shrink to a stamp on it, so what is printed here is the group that gives the plate its name.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn, \u003cem\u003eThe Three Trees\u003c\/em\u003e, 1643. Etching with drypoint and engraving on laid paper, plate 21.4 × 28 cm, sheet 21.8 × 28.7 cm. National Gallery of Art, Washington, Rosenwald Collection. Open access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368403374411,"sku":"046e959a-3701-406e-8de7-6d6e3efeaed7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/5db07916-fd0b-43a1-b053-da402775ed94.webp?v=1789025140"},{"product_id":"william-henry-fox-talbot-articles-of-china-detail-1844-porcelain-art-mug","title":"William Henry Fox Talbot: Articles of China (Detail), 1844 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Henry Fox Talbot\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eArticles of China (Detail)\u003c\/em\u003e, 1844\u003cbr\u003eSalted paper print from a paper negative, 13.7 × 18.2 cm\u003cbr\u003eArt Institute of Chicago, 2015\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eCC0, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePorcelain photographed in 1843, printed on porcelain in 2026. Talbot set four shelves of china against a dark ground in the yard at Lacock Abbey, in full sun, because his paper needed it, and the sun is why the shadows fall the way they do.\u003c\/p\u003e\u003cp\u003eHe had a reason beyond the display. In \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e, the book this plate belongs to, he wrote that a photograph of a collection would be evidence in court if the objects were ever stolen — «mute testimony», he called it. This is the first argument ever made in print for photography as a record rather than a picture.\u003c\/p\u003e\u003cp\u003eIt is a salted paper print from a paper negative: no glass, no plate, no sharp edge. The image sits in the fibres of the sheet, which is why the porcelain glows rather than gleams, and why the cups on the third shelf have gone soft where the light struck them hardest.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: one vertical section of the shelves, from the top row to the bottom. The complete photograph is shown in the last product image. The printable field on a mug is about nine centimetres high; the full sheet is a wide one, and it would shrink to a stamp, so the mug takes a column of it — four shelves, thirteen pieces of china, cups and saucers among them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eWilliam Henry Fox Talbot, \u003cem\u003eArticles of China\u003c\/em\u003e, 1843–44. Salted paper print from a paper negative, image 13.7 × 18.2 cm, sheet 18.7 × 22.4 cm. Plate III of \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e. Art Institute of Chicago, 2015.74. CC0, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368425034059,"sku":"57310553-41d9-4235-bf87-005d164a80af","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/6178437e-59f7-47b9-b016-2447c6eb5527.webp?v=1789024240"},{"product_id":"henri-rousseau-tropical-forest-with-monkeys-detail-1910-porcelain-art-mug","title":"Henri Rousseau: Tropical Forest with Monkeys (Detail), 1910 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Rousseau\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTropical Forest with Monkeys (Detail)\u003c\/em\u003e, 1910\u003cbr\u003eOil on canvas, 129.5 × 162.5 cm\u003cbr\u003eNational Gallery of Art, Washington, John Hay Whitney Collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eRousseau never left France. The jungle he painted for forty years was assembled in Paris — from the hothouses of the Jardin des Plantes, from the zoo next door, from a picture book of wild animals, and from the plants on his own windowsill, enlarged until a houseplant became a tree.\u003c\/p\u003e\u003cp\u003eThis is one of the last canvases he finished; he died in the autumn of 1910. The leaves are laid on in flat overlapping planes, each one drawn with its own edge, and the greens are counted rather than blended — contemporaries said he mixed more than fifty of them.\u003c\/p\u003e\u003cp\u003eThe picture is not a scene so much as a wall of foliage with animals set into it: a grey langur in the middle, orange monkeys swinging at the right, a bird, and a fishing rod that one of them is holding, which nobody has ever satisfactorily explained.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole canvas: the langur among the white blossoms, with the red-leaved plants closing the picture at the bottom. The complete painting is shown in the last product image. The printable field on a mug is about nine centimetres high; a canvas of 129 by 162 centimetres would shrink to a stamp, so the mug takes the group 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\u003eHenri Rousseau, \u003cem\u003eTropical Forest with Monkeys\u003c\/em\u003e, 1910. Oil on canvas, 129.5 × 162.5 cm. National Gallery of Art, Washington, John Hay Whitney Collection. Open access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368453935435,"sku":"dcc892c7-4243-4378-8f37-8ac316d057da","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/616c109f-96bc-4841-a8ba-8ca1438c1a06.webp?v=1789023581"},{"product_id":"johannes-vermeer-girl-with-a-pearl-earring-c-1665-porcelain-art-mug","title":"Johannes Vermeer: Girl with a Pearl Earring, c. 1665 – 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\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGirl with a Pearl Earring\u003c\/em\u003e, c. 1665\u003cbr\u003eOil on canvas, 44.5 × 39 cm\u003cbr\u003eMauritshuis, The Hague, inv. 670\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe museum publishes this image as public domain through Europeana\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eShe is turning towards you, and the turn is the whole picture. The head is caught mid-movement, the mouth just open, the eyes already fixed — Vermeer painted the instant before someone speaks.\u003c\/p\u003e\u003cp\u003eIt is not a portrait. It is a \u003cem\u003etronie\u003c\/em\u003e, a study of a type rather than a person: an anonymous head in imagined dress, the kind of picture a seventeenth-century painter made to show what he could do. Nobody knows who sat for it, or whether anyone sat at all.\u003c\/p\u003e\u003cp\u003eThe pearl is the demonstration. Look closely and there is no pearl there — two strokes of white lead, one soft and broad for the reflected light of the collar, one sharp on the upper edge, over a ground so thin the canvas shows through. It reads as a pearl only at a distance, which is precisely the trick.\u003c\/p\u003e\u003cp\u003eRecent examination has changed the background. What looks like empty black was once a green curtain, painted in a glaze of indigo and weld that has faded and darkened over three and a half centuries. The girl was never floating in the dark; she stood in a room.\u003c\/p\u003e\u003cp\u003eThe mug carries the whole painting, at the proportions of the canvas, not a detail.\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\/vermeer-the-milkmaid-porcelain-art-mug\"\u003eThe Milkmaid, c. 1660\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJohannes Vermeer, \u003cem\u003eGirl with a Pearl Earring\u003c\/em\u003e, c. 1665. Oil on canvas, 44.5 × 39 cm. Mauritshuis, The Hague, inv. 670. The museum publishes this image as public domain through Europeana.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368986186059,"sku":"1df5d52a-2a0b-45ed-976f-0235a59e7908","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/2c429153-deb5-48b8-8e76-10461408c7b4.webp?v=1789021195"},{"product_id":"musee-entomologique-orchid-bee-and-passionflower-chrysantheda-frontalis-1878-art-mug","title":"Musée Entomologique: Orchid Bee and Passionflower (Chrysantheda frontalis), 1878 – Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eOrchid Bee and Passionflower (Chrysantheda frontalis)\u003c\/em\u003e, 1878\u003cbr\u003eHand-coloured wood engraving\u003cbr\u003eSmithsonian Libraries and Archives\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ecourtesy of Smithsonian Libraries and Archives\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA green orchid bee hangs over the open passionflower, its body a hard metallic green the engraver built out of ruled lines and one wash of colour. The flower carries the picture: a crown of fine filaments, the three styles bent over the centre, and around it the leaves and coiling tendrils of the vine. At the lower left a second, smaller bee works the next blossom.\u003c\/p\u003e\u003cp\u003eThe sheet is \u003cem\u003eHyménoptères — Pl. VII\u003c\/em\u003e from the \u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, the three-volume natural history that Jules Rothschild published in Paris between 1876 and 1878; this plate belongs to volume three, \u003cem\u003eLes Insectes\u003c\/em\u003e. The full plate sets four bees on one passionflower — \u003cem\u003eXylocopa morio\u003c\/em\u003e above, and three tropical American species: \u003cem\u003eChrysantheda frontalis\u003c\/em\u003e, \u003cem\u003eEuglossa romandi\u003c\/em\u003e and \u003cem\u003eCentris denudans\u003c\/em\u003e. This mug takes the middle of the plate, the flower itself with \u003cem\u003eChrysantheda frontalis\u003c\/em\u003e; the companion mug takes the carpenter bee above it. The fourth product image shows the whole sheet with the printed part marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp\u003eThe plates are wood engravings, coloured by hand one copy at a time, so no two are quite alike. What you see is the colouring of one particular copy — the one in the Smithsonian Libraries and Archives, photographed anew for this edition at 850 ppi. Nothing has been repainted. The yellowing of the paper has been balanced out and the tone opened so that the engraved line carries on white porcelain; the hatching, the colour and the silhouette are as the sheet has them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same sheet\u003c\/strong\u003e — The carpenter bee at the top of the same plate is on its own mug: \u003ca href=\"\/products\/musee-entomologique-carpenter-bee-xylocopa-morio-1878-art-mug\"\u003eCarpenter Bee (Xylocopa morio)\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, vol. 3, \u003cem\u003eLes Insectes\u003c\/em\u003e, Paris: J. Rothschild, 1878, plate \u003cem\u003eHyménoptères — Pl. VII\u003c\/em\u003e, central detail. Hand-coloured wood engraving. Digitised from the copy held by the Smithsonian Libraries and Archives; courtesy of Smithsonian Libraries and Archives. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58413236715851,"sku":"ff13629d-d6e1-4a48-abf8-08c3f90bd065","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/e9c50366-c289-438d-8db3-66d829a85469.jpg?v=1788878196"},{"product_id":"karl-walser-kokyu-player-1908","title":"Karl Walser: Japanese Musician with Kokyū, 1908 — 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\u003eKarl Walser\u003c\/strong\u003e (1877-1943)\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eJapanese Musician with Kokyu\u003c\/em\u003e, 1908\u003c\/div\u003e\n\u003cdiv lang=\"ja\"\u003eカール・ヴァルザー（1877–1943）／胡弓を弾く女性、1908年\u003c\/div\u003e\n\u003cdiv\u003eWatercolour over pencil, reproduced in collotype\u003c\/div\u003e\n\u003cdiv\u003eSigned and dated lower right: karl walser 1908\u003c\/div\u003e\n\u003cdiv\u003eFrom Bernhard Kellermann, \u003cem\u003eSassa yo Yassa. Japanische Taenze\u003c\/em\u003e, Paul Cassirer, Berlin 1920\u003c\/div\u003e\n\u003cdiv style=\"font-size:.85em;margin-top:8px\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA woman kneels with the kokyu, the small bowed instrument of the Japanese stage, held upright on her knee. Karl Walser drew the pose in pencil and let the colour fall in afterwards, in patches that never quite fill the outline - which is why the kimono still moves.\u003c\/p\u003e\u003cp\u003eHe was in Japan for half a year in 1908, in Yokohama, Tokyo, Kyoto, Ise and Miyazu, and filled sketchbooks with dancers and musicians, watching them from the floor of the room rather than from a seat in a theatre.\u003c\/p\u003e\u003cp\u003eWalser is being rediscovered in Japan right now: a retrospective of some 150 works opened at the Tokyo Station Gallery in April 2026 and runs at the Nakanoshima Museum of Art, Osaka, until 27 September 2026.\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\u003eKarl Walser (1877-1943), Japanese Musician with Kokyu, 1908. Collotype plate from Bernhard Kellermann, Sassa yo Yassa. Japanische Taenze, Paul Cassirer, Berlin 1920. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58432726499659,"sku":"731401a8-880f-4393-bf6b-2391ad210a1f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/024abc68-a336-4851-88bb-70517c498239.webp?v=1789019237"},{"product_id":"mexica-feathered-serpent-pendant-1325-1521-porcelain-art-mug","title":"Mexica Feathered Serpent Pendant, 1325-1521 - Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eMexica artist(s)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eFeathered serpent pendant, 1325–1521 CE\u003c\/em\u003e\u003cbr\u003eshell, 4.1 × 4.8 × 0.6 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 2020.386.1\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access image, released for unrestricted use\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe pendant keeps the shape of a cross-section through a conch shell, and into that shape a feathered serpent has been incised: the head at the centre seen from above, two drilled eyes on either side of the feathered snout, the body coiled around the empty middle, the rattlesnake tail curled on the reverse. Two human hands emerge from the coils. One holds a flower that Leonardo López Luján identified as the huacalxóchitl, the Nahuatl name for Philodendron affine, a plant the Mexica associated with sensuality and pleasure; the other may hold a knife.\u003c\/p\u003e\u003cp\u003eAn ornament of this type is an ehecacozcatl, a wind jewel, worn by Quetzalcoatl-Ehecatl, the creator and god of wind. The material carries meanings of its own: shell belonged to warriors, and above all to water and fertility. Layer upon layer, in something that measures barely five centimetres across.\u003c\/p\u003e\u003cp\u003eShell was worked in ateliers that stood, in all likelihood, inside the royal palaces, and Adrián Velázquez Castro has argued that the finished ornaments were reserved for the private ceremonies of the Mexica elite. An object like this one speaks of control over everything that was scarce at once: a raw material carried from far away, and access to the few hands able to turn it into this.\u003c\/p\u003e\u003cp\u003eThe mug carries the pendant at full height against a neutral ground, the carving read as it is read in the case, with the light raking across the incised feathers.\u003c\/p\u003e\u003cp\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFeathered serpent pendant, Mexica (Aztec), Mexico, 1325–1521 CE, shell, H. 4.1 × W. 4.8 × D. 0.6 cm. The Metropolitan Museum of Art, New York, Gift of the Mol Collection, 2020, accession number 2020.386.1. The museum publishes the image as Open Access for unrestricted commercial and non-commercial use.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58502407225675,"sku":"80831fd5-6f6b-424f-abf7-65b9d2b21d58","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ed79f7ff-827e-4bb9-b7b6-ffa315dcf476.webp?v=1789623999"},{"product_id":"maya-bird-ornament-600-800-ce-porcelain-art-mug","title":"Maya Bird Ornament, 600–800 CE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eMaya artist(s)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBird ornament, 600–800 CE\u003c\/em\u003e\u003cbr\u003eshell, 6.4 × 6.4 × 1.3 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 1978.412.103\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image, released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA water bird stands with its wings spread wide, cut from a single piece of shell. The long neck and the heavy, hooked bill point to a cormorant, a bird at home on the lakes and rivers of the Maya lowlands. Where the plumage of the breast parts, the head of an aged god looks out at the viewer, small and frontal, set into the bird as though it belonged there.\u003c\/p\u003e\u003cp\u003eThe feathers are rendered as rows of fine u-shaped incisions, each one cut with stone tools. The shell itself had travelled: marine shell reached the inland courts along long-distance trade routes, and its scarcity made it a material for rulers and for offerings rather than for everyday ornament.\u003c\/p\u003e\u003cp\u003ePierced at the edges, the plaque was sewn onto a garment or worn as a pendant, catching the light against cloth or skin. The pairing of a bird with an aged deity is not a one-off. It runs through Maya imagery from the late Preclassic to the Postclassic, a combination stable enough to have carried a meaning its makers never needed to spell out.\u003c\/p\u003e\u003cp\u003eThe mug carries the museum's photograph exactly as it was taken, the carving raking the studio light against its neutral ground — the object as it is seen in the case, not a cut-out.\u003c\/p\u003e\u003cp\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eMaya artist(s), Bird ornament, 600–800 CE; shell, 6.4 × 6.4 × 1.3 cm. The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Purchase, Mrs. Gertrud A. Mellon Gift, 1963, 1978.412.103. Open-access image released by the museum under CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58504517583179,"sku":"770f0b57-be1f-46d0-8ee1-b39b5aa409b6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/73909ce2-f4da-413b-839a-45cefadf4f31.webp?v=1789633119"},{"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"},{"product_id":"iznik-tankard-with-tulips-and-carnations-late-16th-century-porcelain-art-mug","title":"Iznik Tankard with Tulips and Carnations, Late 16th Century – 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\u003eIznik, Turkey (Ottoman)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTankard (Hanap) with Tulips, Hyacinths, Roses, and Carnations\u003c\/em\u003e, late 16th century\u003cbr\u003efritware with underglaze painting in blue, turquoise, red, and black, 19.6 × 15 × 10.5 cm\u003cbr\u003eThe Art Institute of Chicago, 1913.342\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image, released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA tall, straight-sided tankard — the Ottoman form called a hanap — painted as a meadow in motion. Carnations with scalloped red heads stand on leafy stems, tulips rise in blue, sprays of hyacinth hang in bells, and small red tulips lean out between the leaves, while long black stems sweep diagonally around the body. A border of blue scallops with red dots closes the field at the rim and at the foot.\u003c\/p\u003e\u003cp\u003eIznik, in north-western Anatolia, made the finest Ottoman ceramics of the sixteenth century. The body is fritware, a hard white paste coated in white slip, painted in cobalt blue, turquoise and black and finished under a clear glaze. The red is the signature of the period: a thick, iron-rich slip that stands slightly proud of the surface, a colour the Iznik potters mastered in the second half of the century.\u003c\/p\u003e\u003cp\u003eThe flowers are the court's own vocabulary. Tulip, carnation, hyacinth and rose run through Ottoman tiles, textiles and bookbindings of the same years, drawn from the gardens of Istanbul and repeated until they became a style of their own.\u003c\/p\u003e\u003cp\u003eFor this mug the complete painted decoration was taken from the museum's four photographs of the tankard and unrolled into one continuous band, as if the vessel had been rolled out flat. Nothing has been redrawn. The white of the porcelain takes the place of the tankard's white ground. On the tankard the painted field is closed by a black vertical rule on either side of the handle; the band on the mug ends with those same two rules, beside the mug's own handle.\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\u003eIznik, Turkey, Ottoman period, Tankard (Hanap) with Tulips, Hyacinths, Roses, and Carnations, late 16th century; fritware with underglaze painting in blue, turquoise, red, and black, 19.6 × 15 × 10.5 cm. The Art Institute of Chicago, Mary Jane Gunsaulus Collection, 1913.342. Open-access image released by the museum under CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58539718410571,"sku":"87838aee-04cc-41a3-89d7-86ede3a6f8b6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/70df1450-b7a9-4482-801a-a3e534e29edf.webp?v=1789907490"},{"product_id":"claude-monet-bed-of-chrysanthemums-1897-porcelain-art-mug","title":"Claude Monet: Bed of Chrysanthemums, 1897 – 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\u003eBed of Chrysanthemums (Massif de chrysanthèmes)\u003c\/em\u003e, 1897\u003cbr\u003eOil on canvas, 81.7 x 100.5 cm\u003cbr\u003eKunstmuseum Basel, deposit of the Dr. h.c. Emile Dreyfus Foundation, inv. G 1970.11\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; image data released by the Kunstmuseum Basel as public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eNo sky, no path, no edge of the garden: Monet looks straight down into a bed of chrysanthemums and lets it fill the whole canvas. Pink and white heads crowd against deep red and ragged yellow ones, and between them the leaves turn into dark pools of green and blue. The picture has no single point to rest on; the eye wanders across it the way it wanders across a carpet.\u003c\/p\u003e\u003cp\u003eIt is one of four chrysanthemum paintings Monet made in the autumn of 1897, probably in his own garden at Giverny, and showed the following June at the Galerie Georges Petit in Paris. The critic Gustave Geffroy, reviewing that exhibition, spoke of an \"effet de tapisserie\" — a tapestry effect. The flat, all-over surface points ahead to the water lilies, which Monet would paint in the same close-up way for the rest of his life.\u003c\/p\u003e\u003cp\u003eLook at the lower left corner of the mug: the orange strokes there hold Monet's signature and the date, \"Claude Monet 97\", exactly as he painted 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 series:\u003c\/strong\u003e \u003ca href=\"\/products\/claude-monet-woman-with-a-parasol-mug\"\u003eWoman with a Parasol, 1875\u003c\/a\u003e · \u003ca href=\"\/products\/monet-stacks-of-wheat-1891\"\u003eStacks of Wheat, 1890–91\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eClaude Monet, \u003cem\u003eBed of Chrysanthemums (Massif de chrysanthèmes)\u003c\/em\u003e, 1897; oil on canvas, 81.7 × 100.5 cm. Kunstmuseum Basel, deposit of the Dr. h.c. Emile Dreyfus Foundation, G 1970.11. 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":58598458425675,"sku":"abbfa643-3c33-4a5a-8698-ca75ee11e80d","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/126581ed-d7ec-4d58-a4ab-edd6ecd65ad5.jpg?v=1790357514"},{"product_id":"paul-gauguin-ta-matete-the-market-1892-porcelain-art-mug","title":"Paul Gauguin: Ta matete (The Market), 1892 – 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\u003ePaul Gauguin (1848–1903)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTa matete (The Market)\u003c\/em\u003e, 1892\u003cbr\u003eOil on jute, 73.2 x 91.5 cm\u003cbr\u003eKunstmuseum Basel, gift of Dr. h.c. Robert von Hirsch, inv. 1849\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; image data released by the Kunstmuseum Basel as public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eFive women sit side by side on a green bench, turned in strict profile, their hands raised in small, deliberate gestures. Nobody looks at anybody. Behind them, under blue tree trunks, figures cross a pale square, and a sixth woman in a red-and-yellow pareu closes the row at the right like a curtain.\u003c\/p\u003e\u003cp\u003eThe stiff, frieze-like order is borrowed. Gauguin kept a photograph of an Egyptian wall painting from a tomb at Thebes, made some 3,300 years earlier, and lifted its seated figures and their raised hands into a Tahitian scene. The title is the Tahitian form of the English word \"market\"; it probably points to the market in Papeete, a place with an ambiguous reputation in colonial Tahiti. Gauguin painted the picture in 1892, during his first stay on the island.\u003c\/p\u003e\u003cp\u003eIts later path is a small history of modern collecting. The Paris dealer Ambroise Vollard set it aside for Karl Ernst Osthaus, founder of the Folkwang Museum; in 1917 and 1918 it changed hands at auction and among dealers in Berlin and Munich. In 1941 the collector Robert von Hirsch, who had left Frankfurt for Basel, gave it to the city as thanks for his Swiss citizenship.\u003c\/p\u003e\u003cp\u003eLook at the lower left corner of the mug: Gauguin lettered the title, TA MATETE, straight into the paint; his signature and the date \"92\" sit at the lower right.\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\u003ePaul Gauguin, \u003cem\u003eTa matete (The Market)\u003c\/em\u003e, 1892; oil on jute, 73.2 × 91.5 cm. Kunstmuseum Basel, gift of Dr. h.c. Robert von Hirsch, 1849. 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":58685799596363,"sku":"5776e7bb-9b6d-4ef8-8558-8e452ce99b28","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/d7de12b9-d67d-4cf1-93af-17cd521725c8.jpg?v=1791006329"},{"product_id":"wassily-kandinsky-la-fleche-the-arrow-1943-porcelain-art-mug","title":"Wassily Kandinsky: La flèche (The Arrow), 1943 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWassily Kandinsky (1866–1944)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa flèche (The Arrow)\u003c\/em\u003e, 1943\u003cbr\u003eOil on cardboard, 41.9 x 57.9 cm\u003cbr\u003eKunstmuseum Basel, gift of Dr. h.c. Richard Doetsch-Benziger, inv. 1989\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; image data released by the Kunstmuseum Basel as public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOn a deep night-blue ground, small things float as if under a microscope: a red, flame-like shape speckled with black, a pale crescent, a twisting band made of coloured segments, a ladder-like tower standing on a half-circle. In the middle, almost lost among them, a small arrow points to the left and gives the picture its name.\u003c\/p\u003e\u003cp\u003eKandinsky painted it in February 1943 in Neuilly-sur-Seine, on the edge of occupied Paris, in the last years of his life. Canvas was hard to come by, and many of these late works are on cardboard, like this one. The soft, almost organic forms belong to his Paris period, when he looked at embryos, plankton and cells in biology books as much as at geometry. On the back he numbered the picture himself: No 711.\u003c\/p\u003e\u003cp\u003eLook at the lower left corner of the mug: there is his monogram, a K set inside an angle, with the date 43 beneath it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/kandinsky-concentric-rings-mug\"\u003eConcentric Rings, 1913\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWassily Kandinsky, \u003cem\u003eLa flèche (The Arrow)\u003c\/em\u003e, 1943; oil on cardboard, 41.9 × 57.9 cm. Kunstmuseum Basel, gift of Dr. h.c. Richard Doetsch-Benziger, 1989. Public domain in Switzerland, the EU and the United Kingdom; Wassily Kandinsky died in 1944. This mug is not sold into the United States. Wassily Kandinsky's name identifies the historical artwork; it does not suggest endorsement or affiliation.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58686663852363,"sku":"0cbabc73-1768-4f6c-bf5d-2924e1c547e0","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/7760401a-ac7e-48c9-93b7-18a571b20559.jpg?v=1791018692"},{"product_id":"bayeux-tapestry-the-death-of-harold-1066-porcelain-art-mug","title":"Bayeux Tapestry: The Death of Harold, 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\u003eThe Death of Harold\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, Wikimedia Commons, released by the photographer under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHastings, 14 October 1066, late in the day. Under the words HAROLD REX INTERFECTUS EST – here King Harold is killed – the embroiderers set two figures. One stands with a shaft at his eye; a few steps on, another is cut down by a horseman’s sword. Which of them is Harold has long been argued over, and the arrow may owe something to nineteenth-century repairs. What is not in doubt is the place of the scene in the story. That spring, on the same embroidery, men had pointed at a comet in the sky. Here the omen is fulfilled.\u003c\/p\u003e\u003cp\u003eThe last of a series of three: \u003ca href=\"\/products\/bayeux-tapestry-halleys-comet-1066-mug\"\u003ethe comet of 1066\u003c\/a\u003e, \u003ca href=\"\/products\/bayeux-tapestry-the-norman-charge-at-hastings-1066-porcelain-art-mug\"\u003ethe Norman charge at Hastings\u003c\/a\u003e, and the death of Harold. All three together: \u003ca href=\"\/collections\/bayeux-tapestry-the-comet-and-the-king\"\u003eBayeux Tapestry: The Comet and the King\u003c\/a\u003e.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. Handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eBayeux Tapestry, scene 57, c. 1070–1077; wool embroidery on linen. Photograph by Myrabella, released under 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":58710359408971,"sku":"36e61c85-2d0f-47d0-a7d4-93e1b938550f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/dbbcb519-8ba1-4816-a4dc-0e976c6da9d1.webp?v=1791186473"},{"product_id":"bayeux-tapestry-the-norman-charge-at-hastings-1066-porcelain-art-mug","title":"Bayeux Tapestry: The Norman Charge at Hastings, 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\u003eThe Norman Charge at Hastings\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, Wikimedia Commons, released by the photographer under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHastings, 14 October 1066. Above the riders runs part of a long stitched sentence – ET SAPIENTER AD PRELIUM. Duke William has urged his men to make ready, manfully and wisely, for battle against the English army. Below it the Norman knights ride out, lances raised, horses at full stretch, and in the lower border the animals keep pace. It is the moment between the omen of the comet in spring and the death of King Harold that evening.\u003c\/p\u003e\u003cp\u003eThe middle of a series of three: \u003ca href=\"\/products\/bayeux-tapestry-halleys-comet-1066-mug\"\u003ethe comet of 1066\u003c\/a\u003e, the charge, and \u003ca href=\"\/products\/bayeux-tapestry-the-death-of-harold-1066-porcelain-art-mug\"\u003ethe death of Harold\u003c\/a\u003e. All three together: \u003ca href=\"\/collections\/bayeux-tapestry-the-comet-and-the-king\"\u003eBayeux Tapestry: The Comet and the King\u003c\/a\u003e.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. Handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eBayeux Tapestry, scene 51, c. 1070–1077; wool embroidery on linen. Photograph by Myrabella, released under 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":58710456893771,"sku":"f57dc0b1-d93b-4453-af2d-e911c91251ec","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8a6012ec-72cf-4948-9e51-f08e9facdf68.webp?v=1791188407"},{"product_id":"george-jones-ivy-bower-1881-porcelain-art-mug","title":"George Jones \u0026 Sons: Ivy Bower (Detail), 1881 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eGEORGE JONES \u0026amp; SONS (Stoke-on-Trent, 1873–1951)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIvy Bower\u003c\/em\u003e, design registered 1881\u003cbr\u003eTransfer print on earthenware, plate — detail\u003cbr\u003ePrivate collection, pattern no. 6099\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\n\u003cp\u003eIn September 1881 George Jones \u0026amp; Sons of Stoke-on-Trent registered a new tableware pattern: two small birds at home in a bower of ivy, one perched among the leaves, one coming in to land. It belongs to the years when English potters were looking at Japanese prints – a free, asymmetric spray of ivy takes the place of the old, strictly symmetrical border.\u003c\/p\u003e\n\u003cp\u003eThe firm printed the pattern on earthenware and on bone china, in green or in brown, and on finer pieces the print was coloured by hand. The bird group on this mug is taken line for line from a green transfer-printed plate in the curator's own collection; nothing has been redrawn. Turned by a quarter, the spray runs around the mug as a garland, as it does on the firm's own cups. The whole plate is shown in the last product image.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\u003cp\u003eGeorge Jones \u0026amp; Sons, \u003cem\u003eIvy Bower\u003c\/em\u003e, 1881; transfer print on earthenware, pattern no. 6099. Private collection. Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58716147548491,"sku":"3521f755-5790-4d7b-90c1-44a0d1d2dc40","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/df960d98-2199-4cf0-8abf-edc8d565626c.webp?v=1791231028"},{"product_id":"heidi-anniversary-mug-heidi-hugging-a-goat-jessie-willcox-smith-1922","title":"Heidi Anniversary Mug: Heidi Hugging a Goat – Jessie Willcox Smith 1922","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 (1863–1935)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eHeidi Hugging a Goat\u003c\/em\u003e, 1922\u003cbr\u003eChapter vignette, line drawing with one colour tint, printed in Johanna Spyri, \u003cem\u003eHeidi\u003c\/em\u003e (Philadelphia: David McKay, 1922)\u003cbr\u003eThe New York Public Library, image ID 1699013\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain. Digitally restored from the 1922 edition.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eIn 1922 the Philadelphia publisher David McKay brought out a new American edition of \u003cem\u003eHeidi\u003c\/em\u003e with pictures by Jessie Willcox Smith, then the most sought-after children's illustrator in the United States. Besides ten colour plates, Smith drew a small vignette for the head of each chapter. This is one of them: Heidi on the mountain pasture, both arms round a goat's neck, her face pressed into its coat.\u003c\/p\u003e\n\u003cp\u003eJohanna Spyri, the author of \u003cem\u003eHeidi\u003c\/em\u003e, was born on 12 June 1827. Her two-hundredth birthday in 2027 is the occasion for this anniversary edition: six vignettes from the 1922 book, each on a mug of its own.\u003c\/p\u003e\n\u003cp\u003eDigitally restored from the 1922 edition. The printed page carries the dot screen of the halftone process; here the drawing has been rebuilt line by line and the tint laid in as clean, flat colour, so that Smith's pen work reads crisply on white porcelain.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\u003cp\u003eJessie Willcox Smith, \u003cem\u003eHeidi Hugging a Goat\u003c\/em\u003e, 1922; chapter vignette, line drawing with one colour tint, from Johanna Spyri, \u003cem\u003eHeidi\u003c\/em\u003e (Philadelphia: David McKay, 1922). The New York Public Library, image ID 1699013. Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58785903182155,"sku":"93d7032a-73ad-4be7-ad0f-a26e7d7a5d1b","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/73863349-0d7a-4506-9683-680626c96168.webp?v=1791649662"},{"product_id":"heidi-anniversary-mug-two-goats-with-pink-bows-jessie-willcox-smith-1922","title":"Heidi Anniversary Mug: Two Goats with Pink Bows – Jessie Willcox Smith 1922","description":"\u003cp\u003eIn 1922 the Philadelphia publisher David McKay brought out a new American edition of \u003cem\u003eHeidi\u003c\/em\u003e with pictures by Jessie Willcox Smith, then the most sought-after children's illustrator in the United States. Besides ten colour plates, Smith drew a small vignette for the head of each chapter. This is one of them: two goats in the high grass, heads lowered until their foreheads meet, each with a pink bow at the neck.\u003c\/p\u003e\n\u003cp\u003eJohanna Spyri, the author of \u003cem\u003eHeidi\u003c\/em\u003e, was born on 12 June 1827. Her two-hundredth birthday in 2027 is the occasion for this anniversary edition: six vignettes from the 1922 book, each on a mug of its own.\u003c\/p\u003e\n\u003cp\u003eDigitally restored from the 1922 edition. The printed page carries the dot screen of the halftone process; here the drawing has been rebuilt line by line and the tint laid in as clean, flat colour, so that Smith's pen work reads crisply on white porcelain.\u003c\/p\u003e\n\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\n\u003cp\u003eJessie Willcox Smith, \u003cem\u003eTwo Goats with Pink Bows\u003c\/em\u003e, 1922; chapter vignette, line drawing with one colour tint, from Johanna Spyri, \u003cem\u003eHeidi\u003c\/em\u003e (Philadelphia: David McKay, 1922). The New York Public Library, image ID 1699015. Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58785965146443,"sku":"54e887a5-d4e0-4094-9ac0-266c1af0696c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/028d6e01-6c04-46f6-8971-f1148ca31a17.webp?v=1791650785"},{"product_id":"heidi-anniversary-mug-heidi-with-a-goat-jessie-willcox-smith-1922","title":"Heidi Anniversary Mug: Heidi with a Goat – Jessie Willcox Smith 1922","description":"\u003cp\u003eIn 1922 the Philadelphia publisher David McKay brought out a new American edition of \u003cem\u003eHeidi\u003c\/em\u003e with pictures by Jessie Willcox Smith, then the most sought-after children's illustrator in the United States. Besides ten colour plates, Smith drew a small vignette for the head of each chapter. This is one of them: a child in a green smock and hat sits on a grassy bank, a white goat standing close beside.\u003c\/p\u003e\n\u003cp\u003eJohanna Spyri, the author of \u003cem\u003eHeidi\u003c\/em\u003e, was born on 12 June 1827. Her two-hundredth birthday in 2027 is the occasion for this anniversary edition: six vignettes from the 1922 book, each on a mug of its own.\u003c\/p\u003e\n\u003cp\u003eDigitally restored from the 1922 edition. The printed page carries the dot screen of the halftone process; here the drawing has been rebuilt line by line and the tint laid in as clean, flat colour, so that Smith's pen work reads crisply on white porcelain.\u003c\/p\u003e\n\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\n\u003cp\u003eJessie Willcox Smith, \u003cem\u003eHeidi with a Goat\u003c\/em\u003e, 1922; chapter vignette, line drawing with one colour tint, from Johanna Spyri, \u003cem\u003eHeidi\u003c\/em\u003e (Philadelphia: David McKay, 1922). The New York Public Library, image ID 1699009. Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58785979269451,"sku":"ce30e6fc-f137-443c-800b-9c1cba2a60d1","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/3c303752-61a9-49a9-ac5d-18b149ba6e3b.webp?v=1791651034"}],"url":"https:\/\/tazzarte.com\/collections\/gift-ideas.oembed?page=4","provider":"Tazzarte","version":"1.0","type":"link"}