{"title":"Icons of Art","description":"\u003cp\u003eThe works most people can already picture, and a few they should be able to: Hokusai's wave and his red Fuji, Vermeer's milkmaid pouring at a window in Delft, the sunflowers Van Gogh laid flat on a table in Paris a year before Arles, Matisse cutting shapes out of painted paper at the end of his life, and a marble Aphrodite ploughed up on Melos in 1820.\u003c\/p\u003e\u003cp\u003eThey cover about two thousand years and every technique the collection owns — panel, canvas, woodblock, engraving, photograph, cut paper, stone. What they have in common is narrower than fame. They hold up at the scale of a table, at arm's length, on a Monday morning.\u003c\/p\u003e\u003cp\u003eEach listing names the work, its date, the institution that holds it and its rights status. Fine porcelain, 10 oz, dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","products":[{"product_id":"henri-matisse-la-gerbe","title":"Henri Matisse: La Gerbe, 1953 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e, 1953\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e (The Sheaf) was completed by Henri Matisse in 1953, the year before his death, when he was eighty-three years old and had been working almost exclusively in cut-outs for a decade. Unable to stand at an easel, Matisse directed his assistants from a wheelchair or his bed, working at a scale and with a freedom that belied his physical circumstances. The cut-out method — scissors moving through sheets of paper painted in pure gouache — had become, in his own words, \"cutting directly into colour,\" an act closer to sculpting than to painting.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLa Gerbe\u003c\/em\u003e is among the largest and most exuberant of the late cut-outs: leaf and frond forms in vivid greens, blacks, and whites fan outward like a burst of botanical energy. It was first published in the final issue of the journal \u003cem\u003eVerve\u003c\/em\u003e dedicated to Matisse's last works (1950–54) and subsequently reproduced as a lithograph. The composition distils Matisse's lifelong preoccupation with the decorative — not as ornament but as a primary expressive mode, as serious and as demanding as any other.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eLa Gerbe\u003c\/em\u003e (The Sheaf), 1953, published in \u003cem\u003eVerve: Last Works of Matisse 1950–1954\u003c\/em\u003e. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211593547,"sku":"2aacb779-b3be-4f20-a2c8-410718b83254","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/72b1004b-2693-4492-b1ab-96e5ad8821ed.jpg?v=1787638566"},{"product_id":"henri-matisse-icarus","title":"Henri Matisse: Icarus, 1947 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIcarus\u003c\/em\u003e, 1947\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBetween 1943 and 1947, while recovering from major surgery and largely confined to his rooms in Vence, Henri Matisse worked almost entirely with scissors. Sheets of paper were painted in flat gouache to his instruction; he then cut into them directly, drawing with the blade rather than the pencil — \"cutting directly into colour,\" as he put it. \u003cem\u003eJazz\u003c\/em\u003e, published by Tériade in Paris in 1947, was the first public appearance of the method: twenty plates printed in pochoir, each colour brushed through a stencil in the same gouache tones Matisse had cut, interleaved with pages reproducing his own large handwriting.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eIcarus\u003c\/em\u003e is plate VIII. A dark figure falls against a field of deep blue, the heart a single red disc, yellow stars scattered around it — one of them cut so freely that it runs off the blue and onto the bare paper. The myth of the boy who flew too near the sun becomes, in Matisse's hands, not a warning but an image of flight itself. Facing the plate in the book, on page 54, Matisse asks in his own hand: \u003cem\u003e« Ne devrait-on pas faire accomplir un grand voyage en avion aux jeunes gens ayant terminé leurs études ? »\u003c\/em\u003e — \"Should not young people who have finished their studies be sent on a great journey by aeroplane?\" The mug carries the plate alone; the fourth product image shows the opening it comes from, handwriting and all.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eIcare\u003c\/em\u003e, plate VIII from \u003cem\u003eJazz\u003c\/em\u003e, Paris, Tériade, 1947; pochoir. Bibliothèque nationale de France, département Réserve des livres rares, RES G-Z-165. Source gallica.bnf.fr \/ Bibliothèque nationale de France. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211560779,"sku":"955b2c1a-14b4-47be-8687-09ca91b4cf2a","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/e2bbda85-da13-485c-8ccb-7a86da4f8a26.jpg?v=1787674995"},{"product_id":"henri-matisse-self-portrait","title":"Henri Matisse: Self-Portrait, 1930 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSelf-Portrait\u003c\/em\u003e, 1930\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBy 1930, Henri Matisse had earned the right to look back at himself with something approaching equanimity. The decade that followed the First World War had seen him move from the sensuous chaos of his Nice interiors — sunlit rooms, reclining figures, pattern layered on pattern — toward a leaner, more architecturally considered approach to form. His 1930 self-portrait belongs to this moment of consolidation. Reduced to essentials, it shows a man who has put aside decorative abundance in favour of something more penetrating: the direct confrontation of the artist with his own face, rendered in a few confident lines.\u003c\/p\u003e\u003cp\u003eThe self-portrait with Matisse's signature carries the authority of an artist at the height of his international reputation — the same year he travelled to Tahiti and began the commission that would lead to his great Dance murals in Merion, Pennsylvania. The minimalism is not simplicity but compression: everything that could be said with more has been said with less, which was the achievement of a lifetime.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, self-portrait with signature, 1930. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211659083,"sku":"b1132537-d4f2-4be4-a4e6-a791c3ce6122","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/MatisseSelfPortrait_Mug_front_v2.jpg?v=1787176501"},{"product_id":"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\u003ePublic collection\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 is now in a public collection 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. 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":"paul-klee-portrait","title":"Paul Klee in His Studio, 1921 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003ePaul Klee in His Studio\u003c\/em\u003e, 1921\u003cbr\u003ePhotographic portrait (detail) of Paul Klee in the studio\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA photographic portrait of Paul Klee in his studio at Possenhofen, Germany, in 1921 — the year he joined the Bauhaus faculty. It catches him at the moment his theoretical and painterly powers were converging: composed, watchful, surrounded by the quiet intensity of the working studio. It is a portrait not of fame but of concentration.\u003c\/p\u003e\u003cp\u003eKlee (1879–1940) occupied a singular position in twentieth-century art — equally at home among the Expressionists, the Surrealists and the Bauhaus masters, yet finally reducible to none of them. Swiss-German by formation, he taught at the Bauhaus in Weimar and Dessau from 1921 to 1931, developing a body of theory — collected in the \u003cem\u003ePedagogical Sketchbook\u003c\/em\u003e and the Bauhaus courses — that remains among the most searching attempts to articulate how line, tone and colour generate meaning. His work runs to more than nine thousand pieces: small, luminous, and governed by an inner logic he described as „taking a line for a walk.“\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotographic portrait (detail) of Paul Klee in the studio, Possenhofen, Germany, 1921. Reproduced under licence. The artist's name is used to identify the historical figure depicted, not to suggest endorsement or official affiliation. All trademark rights are acknowledged and respected.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211855691,"sku":"c3fbe336-8333-40fc-9f70-83b93fcf6077","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Klee_Mug_front.jpg?v=1786992806"},{"product_id":"henri-matisse-the-snail","title":"Henri Matisse: The Snail, 1953 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Snail\u003c\/em\u003e, 1953\u003cbr\u003elithograph\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBy 1948, Matisse could no longer stand at an easel. Confined to his bed following surgery, he turned to scissors and painted paper — and produced some of the most joyful work of his life. \u003cem\u003eL'Escargot\u003c\/em\u003e (The Snail), made in 1953 at the Hôtel Régina in Nice, is among the last and most luminous of these cut-outs: a spiral of pure colour that radiates outward with quiet authority.\u003c\/p\u003e\u003cp\u003eThe lithograph edition was published in 1958 by Mourlot Frères of Paris for \u003cem\u003eVerve\u003c\/em\u003e magazine (Vol. IX, No. 35\/36), under the title \u003cem\u003eThe Last Works of Henri Matisse\u003c\/em\u003e, edited by Tériade. The original is held in the Tate Modern, London. This mug reproduces the 1958 Mourlot lithograph.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eL'Escargot\u003c\/em\u003e, 1953; colour lithograph, Mourlot Frères for \u003cem\u003eVerve\u003c\/em\u003e vol. IX, no. 35\/36, 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States. Matisse'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":57724211691851,"sku":"230955c3-a882-41c4-9593-af8717a59117","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8a5dc929-f8a0-4714-9852-898ed1e92dde.jpg?v=1786709341"},{"product_id":"henri-matisse-blue-nude-ii-mug","title":"Henri Matisse: Blue Nude II, 1952 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBlue Nude II\u003c\/em\u003e, 1952\u003cbr\u003elithograph published in Verve\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe four \u003cem\u003eBlue Nudes\u003c\/em\u003e (1952) are among the most commanding achievements of Matisse's final period, made when he was eighty-two years old and had been working almost exclusively in the cut-out technique for a decade. The figures are composed entirely from shapes cut from paper painted in a single shade of cerulean blue — the cutting and arranging serving simultaneously as drawing and painting, the process by which Matisse arrived at forms that could not have been achieved by any other means. The \u003cem\u003eBlue Nudes\u003c\/em\u003e were not made as a series but as independent explorations of the same problem: how to render the human figure through cut colour alone, stripping away everything that conventional representation would regard as necessary.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eBlue Nude II\u003c\/em\u003e shows a seated female figure in a pose that reconfigures bodily weight and volume into something simultaneously anatomical and abstract — the body understood as a set of planar relationships rather than as a described surface. The version reproduced here is the colour lithograph published in \u003cem\u003eVerve\u003c\/em\u003e, Volume IX, Numbers 35–36 (\u003cem\u003eDernières Oeuvres de Matisse 1950–54\u003c\/em\u003e), 1958, which disseminated the cut-outs to an international audience after Matisse's death. The lithograph measures 36.5 × 27 cm.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eBlue Nude II\u003c\/em\u003e, 1952; colour lithograph published in \u003cem\u003eVerve\u003c\/em\u003e, vol. IX, nos. 35–36, 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723585331531,"sku":"af75be17-b584-44e6-8a30-2b4ea41c15b5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/a3582038-d81a-49b1-b491-f2e2200a5bba.jpg?v=1786718343"},{"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\u003ePublic collection\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 a public collection in Washington, DC. 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. 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":"alfred-stieglitz-winter-fifth-avenue-mug","title":"Alfred Stieglitz: Winter, Fifth Avenue, 1893 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAlfred Stieglitz\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWinter, Fifth Avenue\u003c\/em\u003e, 1893\u003cbr\u003ephotogravure from the original negative\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAlfred Stieglitz made \u003cem\u003eWinter, Fifth Avenue\u003c\/em\u003e in 1893 during a blizzard that effectively emptied the streets of New York — standing in the snow for three hours waiting for the right moment, a patience that was rewarded with one of the defining images of nineteenth-century photography. The photograph shows a horse-drawn carriage emerging from a veil of falling snow on a deserted Fifth Avenue, the city behind it dissolved into grey. It was the image that established Stieglitz's reputation and helped make the argument — then far from settled — that photography could be a fine art.\u003c\/p\u003e\u003cp\u003eStieglitz (1864–1946) would go on to become the most significant figure in American art photography of the early twentieth century, founding the Photo-Secession movement, editing the journal \u003cem\u003eCamera Notes\u003c\/em\u003e and later \u003cem\u003eCamera Work\u003c\/em\u003e, and running the gallery 291, where he showed Cézanne, Matisse, Picasso, and Rodin to American audiences for the first time. \u003cem\u003eWinter, Fifth Avenue\u003c\/em\u003e precedes all of this, but contains its essential argument: that a photograph, made with sufficient attention and intention, can be a work of art.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAlfred Stieglitz, \u003cem\u003eWinter—Fifth Avenue\u003c\/em\u003e, 1893; photogravure from the original negative, published in \u003cem\u003eCamera Work\u003c\/em\u003e No. 12, October 1905. Open-access image released by the museum under CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454857035,"sku":"459b6d29-6f3b-4eec-b029-0b3ff569cc9c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Stieglitz_CameraWork_Mug_front.jpg?v=1788040023"},{"product_id":"giotto-madonna-child-art-mug","title":"Giotto di Bondone: Madonna and Child, c. 1310 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eGiotto di Bondone\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eMadonna and Child\u003c\/em\u003e, c. 1310\u003cbr\u003etempera on poplar panel, 85.4 × 61.8 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePainted in the same years as the Scrovegni Chapel frescoes, this is the moment when Western painting broke with Byzantine convention: figures began to occupy space, faces began to hold emotion. The work passed through the collection of New York banker Henry Goldman before entering an American public collection — a trajectory that traces how Renaissance devotional painting migrated from Florentine altars to American museums.\u003c\/p\u003e\u003cp\u003eThe rose in Mary's hand is not decoration. It is a theological argument: she is identified with the Church as the bride of Christ. The Christ Child's gesture simultaneously signals divine mission and human attachment. This is not the most famous Giotto — it is the one that rewards looking.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eGiotto di Bondone, \u003cem\u003eMadonna and Child\u003c\/em\u003e, c. 1310–1315, tempera on poplar panel, 85.4 × 61.8 cm. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":50957461586251,"sku":"0fb589cb-a69b-4a03-af88-f9e99ef2a63e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Giotto_Mug_front_v3.jpg?v=1787129205"},{"product_id":"henri-matisse-nuit-de-noel-christmas-night-mug","title":"Henri Matisse: Nuit de Noël, 1952 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eNuit de Noël\u003c\/em\u003e, 1952\u003cbr\u003elithograph 1958\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn 1952, \u003cem\u003eTime\u003c\/em\u003e magazine commissioned Henri Matisse to design a stained-glass window for its New York offices — a commission he accepted at the age of eighty-two, working from his apartment in Nice where illness had largely confined him for the previous decade. The resulting design, \u003cem\u003eNuit de Noël\u003c\/em\u003e (Christmas Night), was completed in 1952 and translated into glass the following year. Like all of Matisse's late work, it was made using the cut-out technique: shapes cut from paper painted in pure gouache, then arranged and rearranged until the composition resolved itself. The design was subsequently issued as a lithograph, in editions of 1951 and 1958, reproducing the brilliant yellows and blues of the stained glass in a form that could be widely distributed.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eNuit de Noël\u003c\/em\u003e is a composition of extraordinary simplicity and radiance: abstract leaf and star forms in saturated yellow against a ground of deep blue, the whole suggesting candlelight, cold sky, and the particular stillness of the Christmas season without depicting any of them directly. It is Matisse at his most distilled — the reduction of a complex visual idea to its irreducible essentials — and it demonstrates that the cut-out method, which had begun as a practical adaptation to physical limitation, had become the most expressive instrument of his final years.\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 class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eNuit de Noël\u003c\/em\u003e (Christmas Night), maquette 1952, lithograph 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723491189067,"sku":"b0e4cc5c-dd14-40ca-8b7a-b4eacea5133f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ef928290-421e-4b91-afd2-d4b91d117f00.jpg?v=1786719984"},{"product_id":"girl-with-the-umbrella-mug","title":"Jessie Willcox Smith: Girl with the Umbrella, 1922 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJessie Willcox Smith\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGirl with the Umbrella\u003c\/em\u003e, 1922\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA child absorbed in her own world under a tilted umbrella, the composition simple and frontal, the colour warm despite the implied wet of the day. The umbrella's angle suggests movement and purpose; her expression is self-possessed. Jessie Willcox Smith understood that children in illustration need not perform cuteness — that the most affecting images are those in which the subject seems unaware of being observed.\u003c\/p\u003e\u003cp\u003eThe picture first appeared on the cover of \u003cem\u003eGood Housekeeping\u003c\/em\u003e in April 1922. Smith (1863–1935) was the most celebrated American illustrator of childhood of her generation, on that magazine's covers for fifteen consecutive years and illustrating editions of \u003cem\u003eLittle Women\u003c\/em\u003e, \u003cem\u003eA Child's Garden of Verses\u003c\/em\u003e, \u003cem\u003eHeidi\u003c\/em\u003e and dozens of other canonical texts. She trained in Philadelphia, studying under Howard Pyle, and her mature style — warm, richly coloured, with a gift for catching children in unself-conscious moments — was exactly attuned to the culture that bought the magazines. Her covers were collected, framed and treasured by the readers who found them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJessie Willcox Smith, cover illustration, \u003cem\u003eGood Housekeeping\u003c\/em\u003e, April 1922. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723378860363,"sku":"3c79ced4-d54c-4aac-b437-e9901f8eae3e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/JWS_Mug_front_v3.jpg?v=1787129935"},{"product_id":"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 now in a public collection 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":"matisse-la-danse-mug","title":"Henri Matisse: La Danse, 1909 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Danse\u003c\/em\u003e, 1909\u003cbr\u003eoil on canvas\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHenri Matisse painted the first version of \u003cem\u003eLa Danse\u003c\/em\u003e in 1909 as a study for the monumental commission placed by the Russian collector Sergei Shchukin — a work that would hang at the top of the staircase in his Moscow mansion alongside a companion panel, \u003cem\u003eLa Musique\u003c\/em\u003e. The painting shows five figures in a ring, their bodies reduced to bare essentials: pink against green and blue, movement arrested at its most expressive point.\u003c\/p\u003e\u003cp\u003eThe composition has roots in Matisse's own earlier work — a background group of dancing figures appears in \u003cem\u003eLe Bonheur de vivre\u003c\/em\u003e (1906) — but in \u003cem\u003eLa Danse\u003c\/em\u003e everything peripheral has been stripped away. What remains is rhythm, colour, and the suggestion of an energy that predates individual consciousness. The painting entered a public collection in New York in 1963.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eLa Danse\u003c\/em\u003e (first version), 1909, oil on canvas. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States. Matisse'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":57723308376395,"sku":"fce0c01c-dda1-4ca4-9a41-b7de773baf60","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/eb9eca7a-0104-46f4-a87e-28e7e52f502e.jpg?v=1786720238"},{"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":"jan-luyken-dirk-willems","title":"Jan Luyken: Dirk Willems Saves His Pursuer, 1685 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJan Luyken\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eDirk Willems Saves His Pursuer\u003c\/em\u003e, 1685\u003cbr\u003eetching\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the winter of 1569, a man fleeing for his faith turned back to save the very officer pursuing him. That man was Dirk Willems — an Anabaptist from Asperen whose act of mercy on a frozen Dutch river has become one of the most enduring images in the history of religious conscience.\u003c\/p\u003e\u003cp\u003eJan Luyken's etching, published in the \u003cem\u003eMartyrs Mirror\u003c\/em\u003e (1685), has carried this story across the centuries. It captures the exact moment Willems reaches back toward the man who has fallen through the ice — knowing that to save him means his own recapture. He was burned at the stake later that year.\u003c\/p\u003e\u003cp\u003eThis mug bears the complete engraving as it appears in the 1685 edition, cropped to the platemark and printed across the full porcelain surface.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/jan-luyken-workings-of-the-eye\"\u003eThe Workings of the Eye, 1682\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJan Luyken, \u003cem\u003eDirk Willemsz. redt zijn vervolger uit het ijs bij Asperen, 1569\u003c\/em\u003e, etching, in Thieleman J. van Braght, \u003cem\u003eHet Bloedig Tooneel of Martelaers Spiegel\u003c\/em\u003e, Amsterdam 1685. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211724619,"sku":"976f4bc2-5a5e-4829-9af4-496767b88d22","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Luyken_Mug_front.jpg?v=1787040222"},{"product_id":"venus-de-milo-ideal-greek-beauty-art-mug","title":"Venus de Milo, c. 130 BCE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eVenus de Milo, c. 130 BCE\u003c\/em\u003e\u003cbr\u003emarble\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe statue is in the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe \u003cem\u003eVenus de Milo\u003c\/em\u003e was discovered in 1820 by a peasant farmer on the Aegean island of Milos, buried in the ruins of an ancient theatre. Within months it had been acquired by the French ambassador to the Ottoman court and presented to Louis XVIII, who gave it to a public collection in Paris — 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 museum 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. 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":"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\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\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 a public collection in New York, 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 a public collection 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=\"\/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). 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":"jan-luyken-workings-of-the-eye","title":"Jan Luyken: The Workings of the Eye, 1682 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJan Luyken\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Workings of the Eye\u003c\/em\u003e, 1682\u003cbr\u003eetching and letterpress\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn 1682 the Amsterdam publisher Willem Goeree issued his \u003cem\u003eNatuurlyk en schilderkonstig ontwerp der menschkunde\u003c\/em\u003e — an anatomy written for painters who wanted to understand the body they were drawing. For the chapter on the eye he turned to Jan Luyken, the finest etcher in the city.\u003c\/p\u003e\u003cp\u003eLuyken's plate shows the whole path of sight in one image: a candle at the left, its rays entering both eyes, the optic nerves winding back through the skull to the brain. It is anatomy as an artist saw it — drawn with the same hand that made Luyken's poems and his martyr scenes, two decades before Newton published his \u003cem\u003eOpticks\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eThis mug bears the central plate, marked II, from the 1682 edition — printed across the full porcelain surface with its original paper tone. The fourth product image shows the complete sheet with the printed detail marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/jan-luyken-dirk-willems\"\u003eDirk Willems Saves His Pursuer, 1685\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJan Luyken, plate marked I–III, etching and letterpress, in Willem Goeree, \u003cem\u003eNatuurlyk en schilderkonstig ontwerp der menschkunde\u003c\/em\u003e, Amsterdam 1682. Van Eeghen 484. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58163234046283,"sku":"9a210257-1a68-4f10-8640-930fb9ed3dcb","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Optik_Mug_front.jpg?v=1787039687"},{"product_id":"hokusai-the-great-wave-off-kanagawa-art-mug","title":"Katsushika Hokusai: The Great Wave off Kanagawa, c. 1831 – 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\u003eKatsushika Hokusai (1760-1849)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eUnder the Wave off Kanagawa (Kanagawa oki nami ura), from Thirty-six Views of Mount Fuji\u003c\/em\u003e, ca. 1830-32\u003cbr\u003eWoodblock print, ink and colour on paper; published by Nishimuraya Yohachi\u003cbr\u003ePublic 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 boats are caught under the wave. They are oshiokuri-bune, the fast rowing barges that ran live fish from the Izu and Bōsō peninsulas into the markets of Edo, and the men in them have stopped rowing: they lie flat along the hulls with their hands on the gunwales. Thirty men are in the boats; twenty-two of them are drawn. Above them the crest is breaking into claws. Behind, low in the trough, sits Mount Fuji, snow on its cone, small enough to be taken for another wave.\u003c\/p\u003e\u003cp\u003eThe blue is why the sheet looks the way it does. Prussian blue came in from Holland and reached Japan in quantity in 1829; within two years the Edo print trade had reorganised itself around it. It held its depth across a flat printed area, and it did not fade the way indigo faded. Hokusai used both here, the imported pigment against the old one.\u003c\/p\u003e\u003cp\u003eHe was seventy-one. The box at the upper left carries the series title, and beside it the signature: Hokusai aratame Iitsu hitsu — from the brush of Hokusai, who has changed his name to Iitsu. He used more than thirty names in his life and rarely began a new body of work without taking another. This is the first sheet of Thirty-six Views of Mount Fuji, published by Nishimuraya Yohachi. It sold well enough that ten more were added and the thirty-six became forty-six.\u003c\/p\u003e\u003cp\u003eSomething like eight thousand impressions came off the blocks over the years, and the blocks wore down as they went; of the first edition, 113 sheets are known to survive. The one printed here is a fine early impression, left to a public collection in 1929 — the key block still sharp in the foam, the gradation in the sky unbroken, the paper light.\u003c\/p\u003e\u003cp\u003eThe mug carries the sheet whole, edge to edge: the cartouche and the signature at the left, all three boats, the claws of the crest, and Fuji in the gap. Nothing is cropped away.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details from the sheet: the title cartouche with the signature, the crest breaking, a boat under the wave, and Mount Fuji in the trough.\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\/hokusai-red-fuji-porcelain-art-mug\"\u003eRed Fuji, c. 1831\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eKatsushika Hokusai, Under the Wave off Kanagawa (Kanagawa oki nami ura), from the series Thirty-six Views of Mount Fuji, ca. 1830–32. Woodblock print, ink and colour on paper, published by Nishimuraya Yohachi. Open Access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58235138900299,"sku":"90c3fab0-2920-4be2-9e8b-ba8b71b6b4ee","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/GreatWave_Mug_1_front_3000_a766dc74-0522-432b-bcba-baf027753521.jpg?v=1787515646"},{"product_id":"van-gogh-sunflowers-1887-porcelain-art-mug","title":"Vincent van Gogh: Sunflowers, 1887 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eVincent van Gogh (1853-1890)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSunflowers\u003c\/em\u003e, Paris, 1887\u003cbr\u003eOil on canvas, 43.2 x 61 cm\u003cbr\u003ePublic 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\u003eTwo sunflower heads lie on a blue ground, cut and already past their best. One still shows its disc, the seeds packed in a spiral under a haze of pale paint. The other has turned right over, so that what faces out is the back of the flower, petals splayed and bleached. Nothing holds them — no vase, no table, no horizon. Van Gogh laid them down and brushed the blue around them thickly enough that you can still see where the brush turned.\u003c\/p\u003e\u003cp\u003eParis, late summer 1887. He painted four canvases of cut sunflowers that season: a small study, this one, a second pair now in Bern, and a larger sheet of four heads now in Otterlo. They are the sunflowers before the sunflowers — a year older than the vases he painted in Arles, which is what most people mean by the word.\u003c\/p\u003e\u003cp\u003eGauguin took two of them, in an exchange made that winter. The two small canvases hung above his bed in his Paris apartment until the mid-1890s, when he sold his best things to the dealer Ambroise Vollard to pay for the South Seas. This is one of the two. Later, when Gauguin asked for one of the Arles sunflowers as well, Van Gogh refused — Gauguin had two already.\u003c\/p\u003e\u003cp\u003eThe blue is what makes the yellow work. Van Gogh had spent his Paris months on complementary colour, testing it canvas by canvas, and here the whole ground is given over to the argument. He signed in the paint at the lower left, in yellow on the blue: Vincent 87.\u003c\/p\u003e\u003cp\u003eThe mug carries the painting edge to edge, cropped just inside the worn edge of the canvas, at the proportions of the original — 43.2 by 61 centimetres.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at close range: the open disc, the turned bloom, the signature, and a stem laid across the blue.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/van-gogh-the-bedroom-1889\"\u003eThe Bedroom, 1889\u003c\/a\u003e · \u003ca href=\"\/products\/vincent-van-gogh-irises-detail-1889-porcelain-art-mug\"\u003eIrises (Detail), 1889\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eVincent van Gogh, Sunflowers, Paris, 1887. Oil on canvas, 43.2 × 61 cm. Open Access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58235235565899,"sku":"a5a02ca2-bd35-4e8f-a8ee-93d16225d119","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/VanGogh_Mug_1_front_3000_0ce4a664-dda4-4437-bc81-69a44a9c6314.jpg?v=1787517241"},{"product_id":"vermeer-the-milkmaid-porcelain-art-mug","title":"Johannes Vermeer: The Milkmaid, c. 1660 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJohannes Vermeer (1632-1675)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Milkmaid\u003c\/em\u003e, c. 1660\u003cbr\u003eOil on canvas, 45.5 x 41 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMilk falls in a thin stream from the jug into an earthenware bowl. It is the only thing in the picture that moves. The maid holds the jug with both hands and looks down at what she is doing; on the table in front of her, broken bread, a basket, a blue cloth. On the wall behind, a nail and the hole where another one was. The room is a back kitchen and the light comes from one window with a broken pane.\u003c\/p\u003e\u003cp\u003eVermeer painted it in Delft around 1660, on a canvas of 45.5 by 41 centimetres — small, and built like a monument. She stands in the light like a statue. The surfaces are made of countless small dots of paint: the crust of the bread, the rim of the basket, the wicker, the highlights along her sleeve.\u003c\/p\u003e\u003cp\u003eIn 2022 the museum scanned the canvas with macro-XRF and short-wave infrared and found two things Vermeer took out. A wooden rack for hanging jugs, sketched in black on the wall behind her head, never carried further. And a fire basket in the lower right — willow, for glowing coals, used to warm an infant or dry linen — painted over with the foot stove, the tiles and the floor. Beneath her left arm runs a thick black line laid in fast. He began roughly, in light and dark, and refined afterwards. The painter famous for his precision did not start with it.\u003c\/p\u003e\u003cp\u003eWhat stayed is at her feet: the foot stove, and beside it on the skirting a row of blue-and-white tiles, one of them carrying a small figure. It sits in the darkest part of the picture, and nobody in the room is looking at it.\u003c\/p\u003e\u003cp\u003eThe painting is upright, so it does not run round the mug as a band. It sits on the front like a picture on a wall — the whole canvas, edge to edge, at the proportions of the original, with the porcelain left white to either side.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at close range: the stream of milk, the bread and the basket, the nail on the empty wall, and the foot stove with its tiles.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. 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 class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/johannes-vermeer-girl-with-a-pearl-earring-c-1665-porcelain-art-mug\"\u003eGirl with a Pearl Earring, c. 1665\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJohannes Vermeer, The Milkmaid, c. 1660. Oil on canvas, 45.5 × 41 cm. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58235430797643,"sku":"555fff51-acbe-4155-b1ca-2a7e5d4a4a6e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Vermeer_Mug_1_front_3000_6867e7fe-0511-4189-bcb1-5a634a899e19.jpg?v=1787519083"},{"product_id":"hokusai-red-fuji-porcelain-art-mug","title":"Katsushika Hokusai: Red Fuji, c. 1831 – 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\u003eKatsushika Hokusai (1760-1849)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSouth Wind, Clear Sky (Gaifu kaisei), known as Red Fuji, from Thirty-six Views of Mount Fuji\u003c\/em\u003e, ca. 1830-32\u003cbr\u003eWoodblock print, ink and colour on paper, 24.4 x 35.6 cm\u003cbr\u003ePublic 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\u003eThe mountain fills the sheet from edge to edge and almost nothing else happens. A red cone against a blue sky, a band of cloud lying flat across the middle, a dark forest at the foot. No people, no boats, no road. The snow is bare paper: the white gullies running down the cone are the places where no block touched the sheet.\u003c\/p\u003e\u003cp\u003eThe Japanese title is Gaifū kaisei — south wind, clear sky. It names a condition, not a place. On a few mornings in late summer and early autumn, with the wind from the south and the air clear, Fuji turns red in the first light. The print is the record of a weather event that lasts a matter of minutes.\u003c\/p\u003e\u003cp\u003eIt belongs to Thirty-six Views of Mount Fuji, the series that also produced the Great Wave. The two are usually named in the same breath — the loudest sheet in the set and the quietest — and both were printed with the same imported Prussian blue, which had reached Japan in quantity only a year or two before.\u003c\/p\u003e\u003cp\u003eThe impression printed here came to a public collection in New York in 1914. The sheet is clean and the paper light, and the sky runs unbroken from deep blue at the top to pale at the horizon. That gradation is not a separate block: the printer wiped the colour across the block by hand, once for every single sheet, which is why no two impressions of this print are quite the same.\u003c\/p\u003e\u003cp\u003eThe mug carries the sheet whole, cropped just inside the paper margin, at the proportions of the original — 24.4 by 35.6 centimetres.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details from the sheet: the title cartouche with the signature, the summit with the snow left in the gullies, the banded cloud, and the line where the forest meets the red of the cone.\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\/hokusai-the-great-wave-off-kanagawa-art-mug\"\u003eThe Great Wave off Kanagawa, c. 1831\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eKatsushika Hokusai, South Wind, Clear Sky (Gaifū kaisei), also known as Red Fuji, from the series Thirty-six Views of Mount Fuji, ca. 1830–32. Woodblock print, ink and colour on paper, 24.4 × 35.6 cm. Open Access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58236379889995,"sku":"b388ef3f-5cba-4101-95f2-18e3f9fa4d9b","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/RedFuji_Mug_1_front_3000_c6d6c64d-652a-438f-8fd8-12ed55741e0e.jpg?v=1787550479"},{"product_id":"van-gogh-the-bedroom-1889","title":"Vincent van Gogh: The Bedroom, 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\u003eThe Bedroom\u003c\/em\u003e, 1889\u003cbr\u003eOil on canvas, 73.6 x 92.3 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; the museum's reproduction is released under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePerhaps the most famous bedroom in Western painting. Van Gogh made three versions of his sleeping quarters in the Yellow House at Arles. This is the second, painted in September 1889, nearly a year after the first; a third and smaller version followed at the same time, a gift for his mother and sister.\u003c\/p\u003e\n\u003cp\u003eHe set the colours down in a letter to his brother Theo: “the walls pale lilac, the floor in a broken and faded red”, the chairs and bed chrome yellow, the pillows and sheet a pale lemon green, the bedspread blood-red, the washbasin blue.\u003c\/p\u003e\n\u003cp\u003eBold colour, thick broken brushwork, lines that rush to the corner — it can read as nervous energy. Van Gogh meant the opposite. He wanted the picture to rest the eye, and believed colour alone could do it.\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\/van-gogh-sunflowers-1887-porcelain-art-mug\"\u003eSunflowers, 1887\u003c\/a\u003e · \u003ca href=\"\/products\/vincent-van-gogh-irises-detail-1889-porcelain-art-mug\"\u003eIrises (Detail), 1889\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eVincent van Gogh, \u003cem\u003eThe Bedroom\u003c\/em\u003e, 1889. Oil on canvas, 73.6 × 92.3 cm. Public domain; the museum’s reproduction is released under CC0.\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":58246916604235,"sku":"11e8fcb3-f81c-4a5a-8a3d-992d31cff81f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/08a96b7e-a585-4a64-8bcb-f1f0e7ce79dd.jpg?v=1787652937"},{"product_id":"manet-races-at-longchamp-1866","title":"Édouard Manet: The Races at Longchamp, 1866 – 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\u003eÉdouard Manet\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Races at Longchamp\u003c\/em\u003e, 1866\u003cbr\u003eOil on canvas, 44 × 84.2 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eManet turned the racecourse around. Racing pictures before him showed horses in profile, strung across the canvas like a frieze. Manet put the viewer on the track: the field comes head-on out of a haze of dust, and there is no room left to admire the horses one by one.\u003c\/p\u003e\u003cp\u003eThe crowd is a smear of black hats and pale parasols behind the rail; the green of the course runs away into the Bois de Boulogne. Nothing is finished in the academic sense. At speed, nothing is.\u003c\/p\u003e\u003cp\u003eLongchamp had opened in 1857 and was the fashionable course of the Second Empire — a place to be seen as much as to watch.\u003c\/p\u003e\u003cp\u003eÉdouard Manet, \u003cem\u003eThe Races at Longchamp\u003c\/em\u003e, 1866. Oil on canvas, 44 × 84.2 cm. Public domain; the museum's reproduction is released under CC0. The mug carries the central section of the panorama.\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":58246971785547,"sku":"3d558150-3002-480c-acba-98963af5ca8d","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/b2b2694e-4665-4108-a8ed-b4f39abcf1b4.jpg?v=1787653533"},{"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\u003ePublic collection\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 its public collection in Ohio, 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. CC0 — public domain.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58248857583947,"sku":"874d6695-0a6d-414c-8d29-456c0011e372","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/6d28ef11-490d-4971-a45a-22914e9c93f2.webp?v=1787667523"},{"product_id":"monet-stacks-of-wheat-1891","title":"Claude Monet: Stacks of Wheat, 1890–91 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eClaude Monet (1840-1926)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eStacks of Wheat (Sunset, Snow Effect)\u003c\/em\u003e, 1890-91\u003cbr\u003eOil on canvas, 65.3 x 100.4 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; the museum's reproduction is released under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the autumn of 1890 Monet set up his easel in the field just outside his farmhouse at Giverny and began painting the stacks of wheat standing there — conical ricks four to six metres high, built to hold the harvest until threshing. He worked on several canvases at once, moving from one to the next as the light moved, and kept it up through the winter. Twenty-five canvases came out of it.\u003c\/p\u003e\u003cp\u003eThe subject was never the stacks. It was the half-hour: sunset in snow, the shadows gone blue and the stubble gone violet, the stack itself a dark mass with a burning edge. Monet called what he was chasing \u003cem\u003eenveloppe\u003c\/em\u003e — the air and light lying between the eye and the thing.\u003c\/p\u003e\u003cp\u003eIn May 1891 he hung fifteen of the series side by side in one small room at a Paris gallery. It was a critical and financial success without precedent in his career, and it changed how his work was understood. The poplars, Rouen Cathedral and the water lilies all followed from it.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/claude-monet-woman-with-a-parasol-mug\"\u003eWoman with a Parasol, 1875\u003c\/a\u003e · \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\u003eStacks of Wheat (Sunset, Snow Effect)\u003c\/em\u003e, 1890–91. Oil on canvas, 65.3 × 100.4 cm. Public domain; the museum’s reproduction is released under CC0.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58248961622347,"sku":"4179e7bb-ee69-4545-b054-c8dc39f7a159","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ceb5fa7b-0886-4cea-a679-f3d19a7ae1df.jpg?v=1787667917"},{"product_id":"william-morris-strawberry-thief-1883-porcelain-art-mug","title":"William Morris: Strawberry Thief, 1883 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eStrawberry Thief\u003c\/em\u003e, design registered 1883; this length c. 1936, Merton Abbey\u003cbr\u003eIndigo-discharged cotton, plain weave, block printed, 88.2 x 99 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eWilliam Morris registered the design for \u003cem\u003eStrawberry Thief\u003c\/em\u003e in 1883. It came out of the kitchen garden at Kelmscott Manor, where song thrushes worked their way under the nets and carried off the fruit. Two birds face each other across a stem of acanthus with a strawberry between them; behind them an indigo ground carries oak leaves, dog-roses and the small four-petalled flowers Morris had studied in mediaeval herbals.\u003c\/p\u003e\u003cp\u003eIt was the most difficult thing his firm had yet attempted. To keep a true indigo ground and still print colour over it, Morris had to master the indigo-discharge process: the cotton was dyed blue in the vat, the pattern bleached back out of it, and the cleared areas then printed by hand from wood blocks. He worked at it for years, and the finished pattern carries more colours than any other of his printed textiles. This length was block-printed at Merton Abbey around 1936, from the original blocks.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a quarter of life size. The section follows the detail the museum itself publishes of this length: the pair of thrushes with the strawberry between them, set at the centre of the front so that neither bird is cut, and the acanthus stem carrying the eye on around the cup.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/william-morris-tulip-1875-porcelain-art-mug\"\u003eTulip, 1875\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-kennet-1883-porcelain-art-mug\"\u003eKennet, 1883\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eStrawberry Thief\u003c\/em\u003e, design registered 1883; indigo-discharged cotton, plain weave, block printed, c. 1936, Merton Abbey. 88.2 × 99 cm. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58251761221963,"sku":"7da3b549-183e-43ea-a9c2-67b977816181","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/c1e0118e-d091-4f50-88aa-58c098fca6eb.webp?v=1787678180"},{"product_id":"william-morris-tulip-1875-porcelain-art-mug","title":"William Morris: Tulip, 1875 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTulip\u003c\/em\u003e, 1875\u003cbr\u003eRoller-printed cotton, 76.1 x 95.3 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMorris designed \u003cem\u003eTulip\u003c\/em\u003e in 1875, in the years when he was teaching himself to dye and print by hand but did not yet have a printworks of his own — that came with Merton Abbey in 1881, so this pattern was still produced for him by a commercial firm. It is one of the designs he built on an older source: the swaying symmetrical stems and the turned-over leaves come out of the Italian cut velvets he studied in London.\u003c\/p\u003e\u003cp\u003eIt is a roller print — the cloth drawn between engraved copper rollers, one for each colour — which is why it reads more finely than the wood-block prints Morris made later at Merton Abbey. The pattern was sold in several colourways and on more than one cloth; this length is the pale green on cream. Tulips rise between broad acanthus leaves, and behind them a fine scrolling stem fills the ground so that nothing is left empty.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a third of life size. \u003cem\u003eTulip\u003c\/em\u003e is a mirrored pattern, so the section was set by the flowers and not by the repeat: one whole tulip stands at the centre of the front — the opened bloom, the bud beside it and the long flower turning down out of the same stem — uncut, with the mirrored pair falling away to either side.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/william-morris-strawberry-thief-1883-porcelain-art-mug\"\u003eStrawberry Thief, 1883\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-kennet-1883-porcelain-art-mug\"\u003eKennet, 1883\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eTulip\u003c\/em\u003e, 1875; roller-printed cotton. 76.1 × 95.3 cm. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58251793334603,"sku":"6fc457e8-c63f-49c2-bfd1-c1de943c8ddb","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/389be884-b37a-4edf-ba33-c50e29b825dc.webp?v=1787683369"},{"product_id":"william-morris-kennet-1883-porcelain-art-mug","title":"William Morris: Kennet, 1883 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eKennet\u003c\/em\u003e, designed 1883; this length c. 1920\u003cbr\u003ePlain weave cotton, printed, 90.2 x 97.8 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMorris designed \u003cem\u003eKennet\u003c\/em\u003e in 1883 and named it, like the other chintzes of those years, after a river that runs into the Thames. He had moved his printworks to Merton Abbey on the Wandle in 1881, and it was the water there that let him dye with indigo and wash the printed cloth properly. The rivers gave the patterns their names because the rivers made the patterns possible. \u003cem\u003eKennet\u003c\/em\u003e is the one that looks most like water: the stems sway on a long diagonal and the leaves lie over as weed lies in a current.\u003c\/p\u003e\u003cp\u003eThe pattern carries two kinds of flower. One is a small open rosette seen straight on. The other is large, furled and seen from the side — and it is not an English flower at all. It is the pomegranate of Italian cut velvet, the motif Morris had studied in London; the museum record for this length names those velvets as the source of his strongly diagonal patterns. At the centre of a design named after an English chalk stream sits a Mediterranean flower brought home from a display case.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a quarter of life size, set so that one whole pomegranate bloom stands uncut at the centre of the front, its stem sweeping away to either side. A flower seen straight on flattens as the cylinder turns; one seen in profile does not, and it leads the eye around the cup.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/william-morris-strawberry-thief-1883-porcelain-art-mug\"\u003eStrawberry Thief, 1883\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-tulip-1875-porcelain-art-mug\"\u003eTulip, 1875\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eKennet\u003c\/em\u003e, designed 1883; plain weave cotton, printed; this length c. 1920. 90.2 × 97.8 cm. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58252212797771,"sku":"68d3f09a-d723-4f0d-b9c6-1ab353f12905","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ec41937d-2a8e-4fcf-8ef3-c2390d4e3fa9.webp?v=1787681652"},{"product_id":"piet-mondrian-lozenge-composition-1921-porcelain-art-mug","title":"Piet Mondrian: Lozenge Composition, 1921 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003ePiet Mondrian\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLozenge Composition\u003c\/em\u003e, 1921\u003cbr\u003eoil on canvas, 60 × 60 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMondrian turned the canvas, not the picture. In 1921 he took a square stretcher, hung it on one corner, and kept the lines inside it strictly upright and level — so the grid runs true to the world while the edges of the painting cross it at forty-five degrees. No line meets a corner; each one simply leaves. He made some seventeen of these diamond paintings and regarded them as among his most demanding.\u003c\/p\u003e\u003cp\u003eThe year matters. Mondrian had come back to Paris from wartime Holland in 1919, and by 1921 his mature vocabulary had settled: black bands of unequal weight, planes of white and grey, and the three primaries — yellow at the upper left, a small red wedge at the foot, blue closing the right-hand corner. He signed it at the lowest point, where the two bottom edges meet: PM 21.\u003c\/p\u003e\u003cp\u003eThe mug carries the painting whole. Nothing is cropped and nothing is turned: the canvas was lifted off the grey ground of the museum photograph and set on the white of the porcelain, standing on its point at the centre of the front, at the same height as every other work in this collection. The last gallery image shows the photograph it came from.\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\/piet-mondrian-composition-with-red-yellow-and-blue-1927-porcelain-art-mug\"\u003eComposition with Red, Yellow, and Blue, 1927\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003ePiet Mondrian, \u003cem\u003eLozenge Composition with Yellow, Black, Blue, Red, and Gray\u003c\/em\u003e, 1921; oil on canvas, 60 × 60 cm. 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":58252800655691,"sku":"01bc4191-2e52-499f-8e1d-26155e4f3adc","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8b0dcde9-7bf2-4355-a1bc-7c4e3b36a3e4.webp?v=1787686480"},{"product_id":"piet-mondrian-composition-with-red-yellow-and-blue-1927-porcelain-art-mug","title":"Piet Mondrian: Composition with Red, Yellow, and Blue, 1927 – 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\u003ePiet Mondrian (1872-1944)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eComposition with Red, Yellow, and Blue\u003c\/em\u003e, 1927\u003cbr\u003eOil on canvas, 49.5 x 49.5 cm\u003cbr\u003ePublic collection\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\u003eThis is the picture most people mean when they say Mondrian. A square canvas of about fifty centimetres, a few black bands of unequal weight, and three colours that are mixed with nothing: red in the upper left, yellow held in a narrow strip at the right edge, blue lying along the bottom. Everything else is white and grey.\u003c\/p\u003e\u003cp\u003eThe balance is not symmetry. Mondrian set the largest field off centre, gave the left column its own width, and let the yellow run as a sliver rather than a block — so the weight of the small red square at the top is answered by the long blue at the foot. He called this equilibrium, and meant it as a way of seeing rather than a style. By 1927 he had been working at it for nearly a decade in his Paris studio on the rue du Départ, where he arranged the walls, the furniture and the easel by the same rules.\u003c\/p\u003e\u003cp\u003eThe painting reaches the mug straight. The museum photograph was taken slightly off-axis, so it was rectified from its four corners: the black bands now stand truly upright and level on the porcelain, and the canvas is shown whole, its own worn edges included, at the same height as every other work in this collection. The last gallery image shows the photograph it came from.\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\/piet-mondrian-lozenge-composition-1921-porcelain-art-mug\"\u003eLozenge Composition, 1921\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003ePiet Mondrian, \u003cem\u003eComposition with Red, Yellow, and Blue\u003c\/em\u003e, 1927; oil on canvas, 49.5 × 49.5 cm. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58252805112139,"sku":"dd952b5a-9b9d-4281-a5c6-acac7d4d8da3","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/062bef77-bbaa-466d-bbd3-3d312231d4a2.webp?v=1787686690"},{"product_id":"timothy-osullivan-sand-dunes-carson-desert-1867-porcelain-art-mug","title":"Timothy O'Sullivan: Sand Dunes, Carson Desert, 1867 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eTimothy O'Sullivan\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSand Dunes, Carson Desert\u003c\/em\u003e, 1867\u003cbr\u003ealbumen print from wet collodion negative, 19.7 × 27 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eTimothy O'Sullivan had photographed Gettysburg before he ever saw a desert. In 1867 he went west with Clarence King's survey of the fortieth parallel and made this plate in the Carson Desert of Nevada: a dune, a wagon, four mules and two sets of footprints.\u003c\/p\u003e\u003cp\u003eThe wagon is the reason the picture exists. It is a Civil War ambulance that O'Sullivan had converted into a darkroom on wheels. A wet collodion plate has to be coated, exposed and developed while it is still damp — about ten minutes, in sand, at noon — so everything he needed had to stand within a few paces of the camera. That is how his own equipment ends up inside his own photograph.\u003c\/p\u003e\u003cp\u003eAnd he arranged what you see. The museum's own record makes the point: he chose a viewpoint that blocks the horizon and shows a single wagon and only two lines of footprints. In the twenty-five years before he stood here, more than 165,000 people had passed close to this spot on their way to California. The emptiness is a decision, not a fact.\u003c\/p\u003e\u003cp\u003eThe mug carries the plate whole. Nothing is cropped, because the framing is the work: the sheet stands complete within the part of the cup you see face on, the warm tone of the albumen paper against the white porcelain, and the wagon a little right of centre, where O'Sullivan put it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eTimothy H. O'Sullivan, \u003cem\u003eSand Dunes, Carson Desert, Nevada\u003c\/em\u003e, 1867; albumen print from wet collodion negative, 19.7 × 27 cm. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58252945719627,"sku":"ed87e3d7-6592-496b-a320-571346211837","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/a23f6405-6165-49be-a3ab-aa003d987745.webp?v=1787689027"},{"product_id":"georgia-okeeffe-white-flower-1929-porcelain-art-mug","title":"Georgia O'Keeffe: White Flower, 1929 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eGeorgia O'Keeffe\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWhite Flower\u003c\/em\u003e, 1929\u003cbr\u003eoil on canvas, 76.2 × 91.5 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the summer of 1929 Georgia O'Keeffe went to New Mexico for the first time, and the desert kept her for the rest of her life. This flower was painted that year and shown the following February in New York as \u003cem\u003eWhite Flower, N.M.\u003c\/em\u003e — number nine in an exhibition Alfred Stieglitz called simply \u003cem\u003e27 New Paintings\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eShe framed flowers the way a photographer would: close, magnified, the blossom running past the edges of the canvas so that there is no stem, no vase, no room, nothing to give the scale. What is left is the thing itself — white petals turning in and out of one another, a ring of orange stamens at the centre, a few blades of dark green pushing in from the corners.\u003c\/p\u003e\u003cp\u003eCritics of the day insisted on reading her flowers as images of the female body. O'Keeffe rejected that reading for the rest of her life, and resisted just as firmly being called a woman artist rather than simply an artist.\u003c\/p\u003e\u003cp\u003eA public collection in Ohio bought the painting in 1930, within a year of its making, and has kept it ever since.\u003c\/p\u003e\u003cp\u003eThe mug carries the painting whole and uncropped, at the centre of the front — its white against the white of the porcelain.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eGeorgia O'Keeffe, \u003cem\u003eWhite Flower\u003c\/em\u003e, 1929; oil on canvas, 76.2 × 91.5 cm. Open-access image released by the museum under CC0. A copyright notice printed in 1930 without a name is the reason this mug is sold here and not in Switzerland: \u003ca href=\"\/blogs\/stories\/the-notice-that-was-missing-a-name\"\u003eread how we checked the rights on this image\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58253842022731,"sku":"43d0e6f1-0e34-426a-b9a6-1800013222c7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/f4ac9a5c-1156-4030-94c1-d874ebe75cf2.webp?v=1787696006"},{"product_id":"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":"edvard-munch-starry-night","title":"Edvard Munch: Starry Night, 1893 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eEdvard Munch\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eStarry Night\u003c\/em\u003e, 1893\u003cbr\u003eoil on canvas\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the summer of 1893 Edvard Munch was painting at Åsgårdstrand, the small beach resort south of Oslo where he spent his summers from the 1880s onward. \u003cem\u003eStarry Night\u003c\/em\u003e is that coastline after dark. An abstract mound at the right is a clump of trees; a white fence runs diagonally in front of it; the shoreline is drawn with a single undulating line that continues into the branches. Stars reflect in the water, and a flash of light shines in the trees.\u003c\/p\u003e\u003cp\u003eThe picture was painted in the same year as the first version of \u003cem\u003eThe Scream\u003c\/em\u003e, and it shows the other half of the same ambition. Munch was after the emotion the night calls up rather than its picturesque qualities, and the blue carries it. The vaguely defined shape on the fence may be the shadow of two lovers — a motif that recurs throughout his work. Some passages are laid on thickly, others left almost bare so that the lighter parts of the sky come through the weave.\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\u003eEdvard Munch, Starry Night, 1893, oil on canvas. Open-access image released by the museum under CC0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58302705893707,"sku":"362995e9-5ef8-4fa0-98ac-108977661680","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/StarryNight_Mug_front.jpg?v=1788083808"},{"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\u003ePublic collection\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. 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\u003ePublic 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. 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\u003ePublic collection\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. 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":"carl-blechen-the-palm-house-on-the-pfaueninsel-detail-1834-porcelain-art-mug","title":"Carl Blechen: The Palm House on the Pfaueninsel (Detail), 1834 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eCarl Blechen\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Palm House on the Pfaueninsel (Detail)\u003c\/em\u003e, 1834\u003cbr\u003eOil on canvas, 135 × 126 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eCC0, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA glass house in Berlin, painted from the inside. Blechen made it for Friedrich Wilhelm III, who paid a thousand thalers for it, and what the king got was not a view of a building but the experience of standing in one: floor, columns, painted arches, palms overhead, and the light coming down green through the leaves.\u003c\/p\u003e\u003cp\u003eThe palms were real and expensive. The king had bought a whole French collection on Alexander von Humboldt's advice, and Schinkel built the house on the Pfaueninsel to hold them. It burned down in 1880. The trees, the coloured glass and the Moorish decoration survive only in pictures like this one.\u003c\/p\u003e\u003cp\u003eThe women on the carpet are Blechen's invention — a European fantasy of the tropics, added to a room that never had them. The museum says so plainly in its own catalogue entry, and so do we.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole canvas: the white column, the palms above it, the blue glass beyond, and the group on the red carpet. The complete painting is shown in the last product image. The printable field on a mug is about nine centimetres high; a canvas of 135 by 126 centimetres would shrink to a stamp, so the mug takes the part of the room the painting is built around.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eCarl Blechen, \u003cem\u003eThe Interior of the Palm House on the Pfaueninsel Near Potsdam\u003c\/em\u003e, 1834. Oil on canvas, 135 × 126 cm. CC0, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368443875659,"sku":"6e7ac645-4e7f-475d-972a-78133fa519b3","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/cc76dc0b-1c40-46c7-990f-5d18cb6c66a5.webp?v=1789023917"},{"product_id":"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\u003ePublic 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. 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":"john-james-audubon-american-flamingo-detail-1838-porcelain-art-mug","title":"John James Audubon: American Flamingo (Detail), 1838 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJohn James Audubon\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAmerican Flamingo (Detail)\u003c\/em\u003e, 1838\u003cbr\u003eHand-coloured engraving with etching and aquatint by Robert Havell Jr, 97 × 65 cm\u003cbr\u003ePublic collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe bird bends double because the page would not hold it. Audubon printed \u003cem\u003eThe Birds of America\u003c\/em\u003e life-size, on double elephant folio sheets about a metre high, and a standing flamingo is taller than that — so he drew it feeding, head down at the waterline, and the neck became the great curve that runs through the plate.\u003c\/p\u003e\u003cp\u003eHe worked from birds he had shot himself in the Florida Keys in 1832, and he never got the flock he wanted; the small flamingos on the far shore were added from other studies. The nine little drawings across the top of the sheet are anatomical: bill sections, tongue, foot, the parts a naturalist would want and a painter would not.\u003c\/p\u003e\u003cp\u003eThe plate was engraved, etched and aquatinted in London by Robert Havell Jr., then coloured by hand, one sheet at a time. It is number 431, one of the last of the 435 plates, issued in 1838 as the work was closing.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: the neck, the head and the black-tipped bill at the water, with the distant birds behind. The complete plate is shown in the last product image. The printable field on a mug is about nine centimetres high; a sheet of almost a metre would shrink to a stamp, so the mug takes the curve the whole composition was built to accommodate.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJohn James Audubon, \u003cem\u003eAmerican Flamingo\u003c\/em\u003e, Plate 431 from \u003cem\u003eThe Birds of America\u003c\/em\u003e, 1838. Hand-coloured engraving with etching and aquatint by Robert Havell Jr., sheet approx. 97 × 65 cm. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368464421195,"sku":"f5bc8f64-f84e-4aed-939f-f877e85f5bd6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/d3928def-5f0a-447a-9210-f9b3a57132d9.webp?v=1789023097"},{"product_id":"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. 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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/collections\/kachel_icons_of_art_vangogh.jpg?v=1787553413","url":"https:\/\/tazzarte.com\/collections\/icons-of-art.oembed?page=4","provider":"Tazzarte","version":"1.0","type":"link"}