{"title":"Moments in History","description":"\u003cp\u003eFrom the Bayeux Tapestry to the Wright brothers: art mugs with a story for anyone who loves history.\u003c\/p\u003e","products":[{"product_id":"frederic-remington-broncho-buster-mug","title":"Frederic Remington: The Broncho Buster, 1895 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrederic Remington\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Broncho Buster\u003c\/em\u003e, 1895\u003cbr\u003eBronze, 81.9 × 69.2 × 38.1 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 39.65.45\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\"\u003e\u003c\/p\u003e\n\n\u003cp\u003eFrederic Remington (1861–1909) was twenty-five years old when he first travelled to the American West, and the experience transformed him. He returned repeatedly over the following two decades, working as a painter, illustrator, and — in the final years of his career — sculptor, to record a way of life he sensed was disappearing. \u003cem\u003eThe Broncho Buster\u003c\/em\u003e, modelled in 1895, was his first bronze and remains his most celebrated work: a cowboy on a rearing horse, the rider leaning back against the animal's momentum, hat raised, the composition spiralling upward in a controlled explosion of energy. Remington solved the considerable technical challenge of balancing the bronze on two rear hooves by concentrating weight at the base and using the horse's tail as a third point of support.\u003c\/p\u003e\n\n\u003cp\u003eThe sculpture entered the permanent collections of the Metropolitan Museum of Art and has since been cast in numerous editions; copies have occupied the Oval Office of the White House under several administrations, lending it a peculiar double life as both fine art and political symbol. For Remington, the work was personal — an act of preservation as much as invention, made at the moment when the frontier he had documented was being absorbed into national mythology. The image reproduced here — bold, kinetic, resolved in silhouette — captures the bronze as it was meant to be seen: from below, against the sky.\u003c\/p\u003e\n\n\u003cp\u003eThis edition is released to mark the 250th anniversary of the United States. The Broncho Buster is one of the defining images of American identity — a nation that mythologised its own frontier almost as it lived it. At 250, that myth is still very much alive. The America 250 ribbon on this mug is a small acknowledgment of that moment.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/the-last-cast\"\u003eThe Last Cast\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\n\u003cp\u003eFrederic Remington, \u003cem\u003eThe Broncho Buster\u003c\/em\u003e, modelled 1895, revised 1909; this cast by November 1910. Bronze, 32¼ × 27¼ × 15 in. (81.9 × 69.2 × 38.1 cm). Bequest of Jacob Ruppert, 1939. The Metropolitan Museum of Art, New York, acc. no. 39.65.45. Open Access, public domain.\u003c\/p\u003e\n\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723537686859,"sku":"0da90804-b76a-400f-aa8f-f715b9c80d74","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Remington_Mug_front_v3.jpg?v=1787138229"},{"product_id":"melli-beese-aviatress-mug","title":"Melli Beese, Germany's First Aviatress, 1911 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eMelli Beese, Germany's First Aviatress\u003c\/em\u003e, 1911\u003cbr\u003ePhotographer unrecorded\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOn 13 September 1911, her twenty-fifth birthday, Amelie \"Melli\" Beese passed her pilot's examination at the Johannisthal airfield near Berlin and became the first woman to hold a German aviator's licence, number 115. The achievement had not come easily: her male colleagues at the flight school sabotaged her aircraft on the day of her first attempt, and she was forced to repeat the test. She passed anyway, flying the required figure-eights and altitude trials with the composure that would mark her whole career. Within months she had founded her own flying school at Johannisthal and was training other pilots.\u003c\/p\u003e\u003cp\u003eThe photograph on this mug is a real-photo postcard from that airfield — printed from the negative onto photographic paper, not reproduced in ink. Two captions are scratched into the negative itself: \u003cem\u003eFlugplatz Johannisthal\u003c\/em\u003e across the top, and at the foot, in quotation marks, \u003cem\u003e„Frl. Beese auf Rumpler-Taube“\u003c\/em\u003e. The „Frl.“ dates the card. Beese married Charles Boutard on 25 January 1913, so the picture was made in 1911 or 1912, in the months around the licence she had taken on a machine of exactly this type. She sits at the wheel in flying helmet and light coat, one hand on the rim, looking straight out of the frame.\u003c\/p\u003e\u003cp\u003eThe same negative also went to the illustrated press. A second sheet in this collection, shown in the gallery, has it as a printed plate: a wider frame that keeps the whole leading edge of the wing and the distant hangar, set in a ruled border, captioned in Fraktur \u003cem\u003e„Fräulein Beese, die erste deutsche Flugzeugpilotin.“\u003c\/em\u003e and credited at the right to the \u003cem\u003eInternationale Illustrations-Agentur in Berlin\u003c\/em\u003e. Two things follow. The picture was agency work — syndicated, not made for one client — which is why the same frame appears both as a postcard and on a printed page. And the two captions on the card are no part of the photograph: the press plate carries neither of them. They were scratched in for the postcard edition, and the wider frame was trimmed away at the same time.\u003c\/p\u003e\u003cp\u003eThe card had been in circulation and shows it: foxing in the sky, a soft crease along the upper edge, the small marks that a century of pockets and albums leaves behind. Those have been taken out for this edition. The tone, the photographic grain and both captions are as they are on the card.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eReal-photo postcard, \u003cem\u003e„Frl. Beese auf Rumpler-Taube“\u003c\/em\u003e, Flugplatz Johannisthal, Berlin, 1911–12. Photographer unrecorded; the negative was distributed by the Internationale Illustrations-Agentur in Berlin, whose credit stands under the press reproduction of the same frame. Both sheets from the collection of Dr. Walther Fuchs; the card scanned from the original at 600 dpi. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856453415243,"sku":"f51f572f-c70d-4f40-978b-9cf1ebaabfc5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Beese_Mug_front_v2_388af291-436b-48e8-81f9-343fb8ae6599.jpg?v=1787307761"},{"product_id":"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":"white-10oz-porcelain-slim-mug-quilt-eagle-pattern","title":"Eagle Quilt: Twenty-Six Stars, 1837 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eTwenty-Six Stars\u003c\/em\u003e, 1837\u003cbr\u003eQuilt, 103 × 97 in.\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 1974.32\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cstrong\u003eAmerica 250 · Jubilee Edition\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Gemini_Generated_Image_5999r55999r55999_4a4d9d37-9593-4186-9fb3-a89fdfd98dfe.jpg?v=1783343892\" alt=\"America 250 · Jubilee Edition\" style=\"max-width: 180px; width: 100%;\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Eagle at Home: A New Nation Stitches Its Symbol\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn 4 July 2026, America turned 250. In New England, sometime around 1837, an anonymous needleworker bent over cotton and thread and stitched an eagle — the eagle — at the centre of a quilt. She knew exactly what it meant.\u003c\/p\u003e\u003cp\u003eThe design follows the Great Seal of the United States, adopted by Congress in 1782: an eagle with wings spread, arrows in one talon, an olive branch in the other. Above the eagle's head: twenty-six stars. Twenty-six — because in January 1837, Michigan had just become the twenty-sixth state, and someone, somewhere, decided this quilt would mark the moment. Not with a ceremony, not with a monument. With cloth and a needle, at a kitchen table.\u003c\/p\u003e\u003cp\u003eThe eagle had moved fast through American domestic life after the Revolution. It appeared on silver, on porcelain, on furniture and uniforms. The Society of the Cincinnati — founded in 1783 by officers who had served under Washington — adopted the same eagle for their badge of honour. By 1837, the symbol was everywhere, but it hadn't yet become imperial. This quilt catches it while it was still personal: a grandmother's pride, a family's declaration. \u003cem\u003eWe are Americans. This is our bird.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe mug carries the quilt's central eagle medallion. The full cotton textile — 103 by 97 inches, almost a perfect square — now hangs in the American Wing of the Metropolitan Museum of Art in New York.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRead the full story: \u003ca href=\"https:\/\/tazzarte.com\/blogs\/stories\/the-quilt-that-counted-michigan\"\u003eThe Quilt That Counted Michigan\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eQuilt, Eagle pattern, American, ca. 1837–50. Cotton, 103 × 97 in. (261.6 × 246.4 cm). Gift of Mrs. Jacob Kaplan, 1974. The Metropolitan Museum of Art, New York, acc. no. 1974.32. Public domain. \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/13899\"\u003eView at the Met →\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57781406204235,"sku":"e06a45a7-39e0-4d85-ad1c-fdb48f84dac1","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/cf2eaa1f-1628-424f-9b5e-5797cc4f284b.webp?v=1783408673"},{"product_id":"bayeux-tapestry-halleys-comet-1066-mug","title":"Bayeux Tapestry: Halley's Comet, 1066 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eHalley's Comet\u003c\/em\u003e, 1066\u003cbr\u003ewool embroidery on linen\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePhotograph by Myrabella, 7 March 2013, Wikimedia Commons, released by the photographer into the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eSpring, 1066. A comet blazes across the night sky over England. Men stand rooted to the ground, arms flung upward, unable to look away. \"Isti mirant stella\" — these men marvel at the star — reads the stitched inscription above their heads. A few paces on in the embroidered narrative, King Harold sits at Westminster as a messenger leans close to deliver the news.\u003c\/p\u003e\u003cp\u003eThis is Scenes 32–33 of the Bayeux Tapestry: the most celebrated panels of the most famous medieval artwork in existence. Probably commissioned within years of the Norman Conquest by Bishop Odo of Bayeux — William the Conqueror's half-brother — the nearly seventy-metre wool-on-linen chronicle recorded the events of 1066 with dramatic economy. The comet, Halley's, had been observed by chroniclers across Europe and Asia that spring. In the tapestry, it is unambiguously an omen. At Hastings in October, the omen proved correct.\u003c\/p\u003e\u003cp\u003eOn 10 September 2026 the tapestry goes on show at the British Museum in London, in Britain for the first time in more than nine hundred years. The loan runs until 11 July 2027 and the opening months are already sold out. The panel at the centre of the publicity is the one wrapped around this mug.\u003c\/p\u003e\u003cp\u003eReproduced from a photograph of the original eleventh-century embroidery. The wool was dyed with three plants — madder for the reds, woad for the blues, weld for the yellows — and nine hundred years have taken the edge off all three. The colours here have been lifted back so that they read with full intensity on white porcelain.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the same scene as Charles Stothard engraved it. The Society of Antiquaries of London sent him to Bayeux in 1816 to copy the whole tapestry; James Basire cut the plates, and their publication in 1821–23 was the first time a complete colour reproduction had been put before the public. Stothard drew the embroidery after the damage of the Revolution and before the nineteenth-century repairs — which is why his plates are still the reference for what is original stitching and what is later mending. One thing he did not draw: a fragment left Bayeux during the campaign and surfaced in London. The South Kensington Museum sent it back on 14 August 1872. Who removed it has never been settled.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eBayeux Tapestry, scenes 32–33, wool embroidery on linen, c. 1070s, Bayeux, Normandy. Photograph by Myrabella, 7 March 2013, Wikimedia Commons, released by the photographer into the public domain. Fourth image: Charles Alfred Stothard, \u003cem\u003eThe Tapestry of Bayeux\u003c\/em\u003e, engraved by James Basire, Society of Antiquaries of London, 1821–23; Internet Archive, Public Domain Mark 1.0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57838947303755,"sku":"bd212831-ea2a-4e6a-97d0-dd3534b07b3f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/f17a3bf6-942d-4c7b-91a2-11f24b650ce3.webp?v=1783751513"},{"product_id":"egyptian-ostracon-sparrow-sketch-mug","title":"Egyptian Ostracon: Sketch of a Sparrow, c. 1470 BCE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eSketch of a Sparrow, c. 1470 BCE\u003c\/em\u003e\u003cbr\u003eLimestone and paint, 6.6 × 10.6 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, Rogers Fund, 1923, inv. 23.3.7\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (Open Access)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOstraca were the scrap paper of ancient Egypt: flakes of limestone and broken pottery, picked up where they lay and drawn on without ceremony. This one carries a sparrow, painted in red ochre with a black beak and black legs, standing on a line the artist drew for it. It was made at Thebes during the joint reign of Hatshepsut and Thutmose III, between about 1479 and 1458 BCE, on a piece of stone that fits in the palm of a hand.\u003c\/p\u003e\u003cp\u003eNothing about it was meant to last. It is a practice piece — the kind of drawing an artist makes to get a shape right before committing it to a tomb wall — and that is what makes it worth looking at. The hand is quick and unguarded. The bird is observed rather than copied: the round breast, the cocked tail, the small alert head. The same creature runs through the hieroglyphic script, where the sparrow sign stands in words having to do with smallness.\u003c\/p\u003e\u003cp\u003eThe flake is printed as it is, cut free of its photographic background, so the broken edge of the stone becomes the edge of the image. The red mark at the right is the museum's own accession number.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eArtist's Sketch of a Sparrow\u003c\/em\u003e, New Kingdom, Dynasty 18, joint reign of Hatshepsut and Thutmose III, ca. 1479–1458 BCE. Limestone and paint, 6.6 × 10.6 cm. From Thebes, Upper Egypt. The Metropolitan Museum of Art, New York, Rogers Fund, 1923, accession no. 23.3.7. Public domain (Open Access).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58186960568651,"sku":"8f387d7e-08d5-4b71-be47-3763e3905fab","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/sparrow_ostracon_front_3000.jpg?v=1787206513"},{"product_id":"albert-einstein-on-a-bicycle-1933-porcelain-art-mug","title":"Albert Einstein on a Bicycle, 1933 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eAlbert Einstein on a Bicycle\u003c\/em\u003e, 1933\u003cbr\u003ePhotographer unrecorded\u003cbr\u003eLeo Baeck Institute, New York, Albert Einstein Collection AR 136, call number F 5314A\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA driveway in Santa Barbara, February 1933. A man of fifty-three rides towards the camera with both hands on the bars and his whole face laughing. Behind him a white house, a second bicycle propped against the shrubs, shutters open to the winter sun. In front of him, thrown long across the asphalt, the shadow of a bicycle and its rider.\u003c\/p\u003e\u003cp\u003eEinstein had come to California at the beginning of January for his third winter at Caltech. On 30 January, while he was here, Hitler became Chancellor. In the middle of March he decided to go back to Europe and wrote his resignation to the Prussian Academy of Sciences during the crossing; by the time the ship reached Antwerp he had resolved never to set foot on German soil again, and he never did. On 7 October 1933 he sailed for America and stayed. This photograph belongs to the weeks in between — a Berlin professor on a Californian driveway, laughing, with everything about to change.\u003c\/p\u003e\u003cp\u003eThe print is a small snapshot with a deckled edge, its emulsion gone warm over ninety years. It is held at the Leo Baeck Institute in New York, in the Albert Einstein Collection, under the call number F 5314A. The record names the place — in front of Ben Meyer's house in Santa Barbara — but not the photographer.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the print as the archive holds it, with the part printed on the mug marked. The white border and the staining along the lower edge fall outside the mark; the crease across the upper left corner runs into it and has been retouched, as has a small loss at the corner itself. The mug carries the photograph alone — straightened, cleaned of specks, with the warm tone of the paper kept.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAlbert Einstein riding a bicycle, in front of Ben Meyer's house in Santa Barbara, California, February 1933. Photographer unrecorded. Leo Baeck Institute, New York, Albert Einstein Collection AR 136, call number F 5314A. Reproduced by permission of the Institute.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58220226576715,"sku":"b3885e98-62a3-4cd7-8b0c-402651df5bb7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Einstein_Mug_1_front_3000.jpg?v=1787349412"},{"product_id":"wright-brothers-first-flight-1903-porcelain-art-mug","title":"The Wright Brothers at Kitty Hawk, 1903 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eThe Wright Brothers at Kitty Hawk\u003c\/em\u003e, 1903\u003cbr\u003ePhotograph by John T, 18 × 12.5 cm\u003cbr\u003eLibrary of Congress, Prints \u0026amp; Photographs Division, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA machine of spruce, ash and muslin is a foot or two above the sand, and the man at the right is Wilbur, standing where his run ended. Orville is lying prone at the controls, on his stomach, hips in the cradle that warped the wings. Behind them the launch rail runs back across the beach — a single wooden track laid on the flat. It is 10:35 in the morning of 17 December 1903, at Kill Devil Hills near Kitty Hawk, North Carolina, and the wind is coming in cold off the Atlantic.\u003c\/p\u003e\n\u003cp\u003eThe photograph exists because Orville set it up before he flew. He put the camera on a tripod, aimed it at the spot where he expected the machine to leave the rail, and showed John T. Daniels of the Kill Devil Hill lifesaving station how and when to snap the shutter. Daniels had never seen a camera before. He squeezed the bulb at exactly the right moment and afterwards was not certain he had squeezed it at all.\u003c\/p\u003e\n\u003cp\u003eThe flight lasted twelve seconds and covered 120 feet — shorter than the wingspan of an airliner. Three more followed that morning, each longer than the last; the fourth stayed up 59 seconds. Then a gust caught the machine on the ground and rolled it over, and it never flew again.\u003c\/p\u003e\n\u003cp\u003eThe negative is a glass dry plate, 18 by 12.5 centimetres. It stayed with the brothers and is held today in their own papers at the Library of Congress.\u003c\/p\u003e\n\u003cp\u003eThe plate is damaged: a corner is broken away at the lower left and the emulsion is lost in two places along the bottom edge. Rather than paint them out, the mug carries a cropped frame that leaves them off the sheet. The picture gives up the far end of the launch rail and gains nothing that was not on the plate.\u003c\/p\u003e\n\u003cp\u003eThe fourth product image shows four details at close range: Orville at the controls, Wilbur beside the wing, the launch rail on the sand, and the tools left standing where the run began.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\n\u003cp\u003eFirst flight, 120 feet in 12 seconds, 10:35 a.m.; Kitty Hawk, North Carolina, 17 December 1903; dry-plate glass negative, 18 × 12.5 cm. Photograph by John T. Daniels, camera set by Orville Wright. Glass negatives from the Papers of Wilbur and Orville Wright, Library of Congress, Prints \u0026amp; Photographs Division, Washington, D.C., LC-DIG-ppprs-00626 (LCCN 00652085). Public domain.\u003c\/p\u003e\n\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58236306325835,"sku":"f03461c1-4d70-4e1e-b48a-6fbe771bcd86","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Wright_Mug_1_front_3000_014b09d5-437d-485c-b166-4c0672f29fab.jpg?v=1787548145"},{"product_id":"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":"the-switzerland-lands-in-cape-town-1927-swiss-aviation-history-mug","title":"The 'Switzerland' Lands in Cape Town, 1927 – Swiss Aviation History Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003ePhotographer unknown\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe seaplane «Switzerland» lands in Cape Town\u003c\/em\u003e, 21 February 1927\u003cbr\u003eGelatin silver photograph\u003cbr\u003ePublished as plate 197 in Mittelholzer, Gouzy, Heim, «Afrikaflug», Orell Füssli, Zurich 1927\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOn 21 February 1927 the Dornier Merkur CH-171 «Switzerland», flown by Walter Mittelholzer, touched down in Cape Town after 77 days and some 20,000 km from Lake Zurich — the first crossing of Africa by seaplane. The man standing on the nose, one hand on the propeller, is Oskar Schmid, grandfather of Tazzarte’s founder. The photograph runs right around the mug, so the aircraft appears full length.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotographer unknown, «The ‘Switzerland’ lands in Cape Town», 1927; gelatin silver photograph. Published as plate 197 in Walter Mittelholzer, René Gouzy and Arnold Heim, «Afrikaflug», Orell Füssli, Zurich 1927. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58493102850379,"sku":"4e1b2020-bd44-4fc3-8396-63bbad892dd5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8488fff0-d3f7-491e-84c1-3c046490832e.webp?v=1789591608"},{"product_id":"maya-bird-ornament-600-800-ce-porcelain-art-mug","title":"Maya Bird Ornament, 600–800 CE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eMaya artist(s)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBird ornament, 600–800 CE\u003c\/em\u003e\u003cbr\u003eshell, 6.4 × 6.4 × 1.3 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, 1978.412.103\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image, released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA water bird stands with its wings spread wide, cut from a single piece of shell. The long neck and the heavy, hooked bill point to a cormorant, a bird at home on the lakes and rivers of the Maya lowlands. Where the plumage of the breast parts, the head of an aged god looks out at the viewer, small and frontal, set into the bird as though it belonged there.\u003c\/p\u003e\u003cp\u003eThe feathers are rendered as rows of fine u-shaped incisions, each one cut with stone tools. The shell itself had travelled: marine shell reached the inland courts along long-distance trade routes, and its scarcity made it a material for rulers and for offerings rather than for everyday ornament.\u003c\/p\u003e\u003cp\u003ePierced at the edges, the plaque was sewn onto a garment or worn as a pendant, catching the light against cloth or skin. The pairing of a bird with an aged deity is not a one-off. It runs through Maya imagery from the late Preclassic to the Postclassic, a combination stable enough to have carried a meaning its makers never needed to spell out.\u003c\/p\u003e\u003cp\u003eThe mug carries the museum's photograph exactly as it was taken, the carving raking the studio light against its neutral ground — the object as it is seen in the case, not a cut-out.\u003c\/p\u003e\u003cp\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eMaya artist(s), Bird ornament, 600–800 CE; shell, 6.4 × 6.4 × 1.3 cm. The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Purchase, Mrs. Gertrud A. Mellon Gift, 1963, 1978.412.103. Open-access image released by the museum under CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58504517583179,"sku":"770f0b57-be1f-46d0-8ee1-b39b5aa409b6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/73909ce2-f4da-413b-839a-45cefadf4f31.webp?v=1789633119"}],"url":"https:\/\/tazzarte.com\/collections\/gifts-for-history-lovers.oembed","provider":"Tazzarte","version":"1.0","type":"link"}