{"title":"At the Desk","description":"\u003cp\u003eClear, graphic art for the desk: abstract compositions, Japanese prints and star maps that look good in any workspace.\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-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":"netsuke-hare-amber-eyes-mug","title":"Netsuke: Hare with Amber Eyes, Edo Period – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eHare with Amber Eyes, Edo Period\u003c\/em\u003e\u003cbr\u003eThe Metropolitan Museum of Art, New York, acc, inv. 10.211.10\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen Access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA hare carved in ivory, small enough to close a hand around. Netsuke are Japanese toggles, used to secure a medicine box or a tobacco pouch to the sash of a kimono — functional objects that became vehicles for extraordinary artistry. The hare was a common subject: a creature associated in Japanese folklore with the moon, longevity and good fortune. This one is in the Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003eNetsuke were made from the seventeenth century onwards by specialist craftsmen, depicting animals, mythological figures, scenes from daily life and objects of all kinds, often with a wit and observation that belies their scale. The collection of 264 netsuke described in Edmund de Waal's memoir \u003cem\u003eThe Hare with Amber Eyes\u003c\/em\u003e (2010) followed the dispersal and reassembly of a family collection through five generations across Paris, Vienna and Tokyo — the netsuke surviving wars, displacement and loss as the larger world around them shifted beyond recognition. De Waal inherited the collection from his great-uncle Iggie, and the book that resulted is both a history of objects and a meditation on what it means for beautiful things to persist.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eNetsuke of a Rabbit\u003c\/em\u003e, Japan, Edo or Meiji period, 19th century. Ivory. Gift of Mrs. Russell Sage, 1910. The Metropolitan Museum of Art, New York, acc. no. 10.211.10. Open Access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211822923,"sku":"da114ddc-de5a-4cc8-8480-c9b609f0ae6f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Netsuke_Mug_front.jpg?v=1786980428"},{"product_id":"kandinsky-concentric-rings-mug","title":"Wassily Kandinsky: Concentric Rings, 1913 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWassily Kandinsky\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eConcentric Rings\u003c\/em\u003e, 1913\u003cbr\u003ewatercolour, 23.9 × 31.5 cm\u003cbr\u003eLenbachhaus und Kunstbau München, Gabriele Münter Stiftung 1957, GMS 446\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0 1\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA grid of squares, each holding a target of coloured rings in a different combination. It is not a finished painting but an investigation — a systematic test of how colours behave when placed next to one another — and it is simultaneously a scientific document and an object of remarkable visual intensity.\u003c\/p\u003e\n\u003cp\u003eWassily Kandinsky (1866–1944) made \u003cem\u003eFarbstudie – Quadrate mit konzentrischen Ringen\u003c\/em\u003e in 1913, at a moment of decisive transition. He had recently completed \u003cem\u003eÜber das Geistige in der Kunst\u003c\/em\u003e, the text in which he argued that colour and form could act directly on the viewer's emotions without the mediation of representational subject matter. By 1913 he was already producing his first fully abstract compositions — the \u003cem\u003eImprovisations\u003c\/em\u003e and \u003cem\u003eCompositions\u003c\/em\u003e — and the colour studies of this period were the systematic groundwork for that leap. Each ring carries what Kandinsky believed was an intrinsic emotional charge; the relationships between them were as carefully considered as the intervals in a musical score. The work is held at the Städtische Galerie im Lenbachhaus in Munich.\u003c\/p\u003e\n\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\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":"henri-matisse-les-velours-mug","title":"Henri Matisse: Les Velours, 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\u003eLes Velours\u003c\/em\u003e, 1947\u003cbr\u003egouache on paper cutout\u003cbr\u003eKunstmuseum Basel\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 completed \u003cem\u003eComposition (Les velours)\u003c\/em\u003e in 1947, the same year he published \u003cem\u003eJazz\u003c\/em\u003e and at the height of his engagement with the cut-out technique he had been developing since the early 1940s. The work is an extended horizontal composition — some 239 centimetres wide — made from shapes cut from paper painted in gouache, mounted on painted paper ground. The forms Matisse arrived at are simultaneously organic and abstract: they suggest algae, antlers, plant fronds, and purely invented shapes in equal measure, expanding and contracting across the long format with the rhythmic freedom that the scissors-and-paper method permitted. There is no preparatory drawing, no correction: the cutting is the drawing.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eLes velours\u003c\/em\u003e entered the Kunstmuseum Basel in 1954, where it remains. Its scale makes it primarily a work for institutional experience, but the individual forms translate with surprising vitality to smaller formats — their internal logic, the relationship between figure and ground, the counterpoint of positive and negative shapes, survives the change of scale. Matisse at eighty was working at a size and with an ambition that younger artists might have envied.\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\/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\u003eComposition (Les velours)\u003c\/em\u003e, 1947, gouache on paper cutout, mounted on painted paper. Kunstmuseum Basel. 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":57724211626315,"sku":"8bef00d6-9498-4c72-9286-ce379037546f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/LesVelours_Mug_front_v3.jpg?v=1787140187"},{"product_id":"bayeux-tapestry-halleys-comet-1066-mug","title":"Bayeux Tapestry: Halley's Comet, 1066 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eHalley's Comet\u003c\/em\u003e, 1066\u003cbr\u003ewool embroidery on linen\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePhotograph by Myrabella, 7 March 2013, Wikimedia Commons, released by the photographer into the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eSpring, 1066. A comet blazes across the night sky over England. Men stand rooted to the ground, arms flung upward, unable to look away. \"Isti mirant stella\" — these men marvel at the star — reads the stitched inscription above their heads. A few paces on in the embroidered narrative, King Harold sits at Westminster as a messenger leans close to deliver the news.\u003c\/p\u003e\u003cp\u003eThis is Scenes 32–33 of the Bayeux Tapestry: the most celebrated panels of the most famous medieval artwork in existence. Probably commissioned within years of the Norman Conquest by Bishop Odo of Bayeux — William the Conqueror's half-brother — the nearly seventy-metre wool-on-linen chronicle recorded the events of 1066 with dramatic economy. The comet, Halley's, had been observed by chroniclers across Europe and Asia that spring. In the tapestry, it is unambiguously an omen. At Hastings in October, the omen proved correct.\u003c\/p\u003e\u003cp\u003eOn 10 September 2026 the tapestry goes on show at the British Museum in London, in Britain for the first time in more than nine hundred years. The loan runs until 11 July 2027 and the opening months are already sold out. The panel at the centre of the publicity is the one wrapped around this mug.\u003c\/p\u003e\u003cp\u003eReproduced from a photograph of the original eleventh-century embroidery. The wool was dyed with three plants — madder for the reds, woad for the blues, weld for the yellows — and nine hundred years have taken the edge off all three. The colours here have been lifted back so that they read with full intensity on white porcelain.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the same scene as Charles Stothard engraved it. The Society of Antiquaries of London sent him to Bayeux in 1816 to copy the whole tapestry; James Basire cut the plates, and their publication in 1821–23 was the first time a complete colour reproduction had been put before the public. Stothard drew the embroidery after the damage of the Revolution and before the nineteenth-century repairs — which is why his plates are still the reference for what is original stitching and what is later mending. One thing he did not draw: a fragment left Bayeux during the campaign and surfaced in London. The South Kensington Museum sent it back on 14 August 1872. Who removed it has never been settled.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eBayeux Tapestry, scenes 32–33, wool embroidery on linen, c. 1070s, Bayeux, Normandy. Photograph by Myrabella, 7 March 2013, Wikimedia Commons, released by the photographer into the public domain. Fourth image: Charles Alfred Stothard, \u003cem\u003eThe Tapestry of Bayeux\u003c\/em\u003e, engraved by James Basire, Society of Antiquaries of London, 1821–23; Internet Archive, Public Domain Mark 1.0.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57838947303755,"sku":"bd212831-ea2a-4e6a-97d0-dd3534b07b3f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/f17a3bf6-942d-4c7b-91a2-11f24b650ce3.webp?v=1783751513"},{"product_id":"andreas-cellarius-planisphaerium-ptolemaicum-1661-porcelain-art-mug","title":"Andreas Cellarius: Planisphaerium Ptolemaicum, 1661 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAndreas Cellarius\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePlanisphaerium Ptolemaicum\u003c\/em\u003e, 1661\u003cbr\u003eZentralbibliothek Zürich, T 12, doi\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic Domain Mark\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAt the centre, the Earth. A small globe of the northern hemisphere — Europe, Asia and Africa named on it — wrapped in a ring of cloud and set inside a band of flame: mundus sublunaris quatuor elementa complectens, the world below the moon that holds the four elements. Around it turn seven spheres, one for each planet the age could see, each with its god driving a chariot through the clouds. The outermost band is the zodiac. Everything moves around the Earth, because in this picture everything does.\u003c\/p\u003e\u003cp\u003eThe title is cut in half. It stands in two cartouches at the top, and you have to read across the sky to assemble it — left line, right line, left line, right. Even single words break across the gap. The engraver made the reader's eye travel the whole width of the heavens before the sentence closes.\u003c\/p\u003e\u003cp\u003eAndreas Cellarius published the Harmonia Macrocosmica in Amsterdam in 1660, and this is its opening plate. Copernicus had been in print for 117 years. Galileo had been tried 27 years earlier. The model was finished, and Cellarius opens with it anyway: the atlas was conceived as a history of ideas, and it sets out the systems of Ptolemy, of Copernicus and of Tycho Brahe side by side, each drawn on its own terms and with the same care. The sheet printed here comes from the issue of 1661; the Copernican plate, three leaves later in the same volume, is its counterpart.\u003c\/p\u003e\u003cp\u003eHe was not an astronomer. Born around 1596 at Neuhausen near Worms, he taught Latin in Amsterdam and The Hague, and from 1637 was rector of the Latin school at Hoorn, housed in a former convent. He died there in the first months of 1665. Where he is buried is not known.\u003c\/p\u003e\u003cp\u003eThe mug carries the plate whole — both cartouches, the winged figures at the sides, and in the lower corners the two groups of astronomers with their globes, quadrants and cross-staffs. The copy is the one kept in Zurich, coloured by hand.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at the size they are printed: the Earth held in cloud and fire, the cartouche where the title breaks off mid-word, the chariot of the sun on the via solis, and the astronomer in the lower right corner.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/andreas-cellarius-planisphaerium-copernicanum-1661-porcelain-art-mug\"\u003ePlanisphaerium Copernicanum, 1661\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eAndreas Cellarius, Planisphaerium Ptolemaicum sive machina orbium mundi ex hypothesi Ptolemaica in plano disposita. Plate 1 of the Harmonia Macrocosmica, Amsterdam: Johannes Janssonius, 1661. Zentralbibliothek Zürich, T 12, doi.org\/10.3931\/e-rara-89076. Public Domain Mark.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58233920749899,"sku":"260aa195-6acf-48e8-8a3c-c5491dfe299c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Cellarius_Ptol_1_front_3000.jpg?v=1787511605"},{"product_id":"andreas-cellarius-planisphaerium-copernicanum-1661-porcelain-art-mug","title":"Andreas Cellarius: Planisphaerium Copernicanum, 1661 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAndreas Cellarius\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePlanisphaerium Copernicanum\u003c\/em\u003e, 1661\u003cbr\u003eZentralbibliothek Zürich, T 12, doi\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic Domain Mark\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eAt the centre, the sun — and it has a face. Around it the circles of Mercury and Venus, then the Earth carrying its moon in a small ring of its own, then Mars, then Jupiter with four satellites, then Saturn. The outermost band is the zodiac, twelve fields of cloud with their signs. Nothing here turns around the Earth except the moon.\u003c\/p\u003e\u003cp\u003eThe title is cut in half, exactly as on the Ptolemaic plate: two cartouches at the top, read left line then right line, and single words break across the gap. The engraver made the reader's eye travel the whole width of the heavens before the sentence closes.\u003c\/p\u003e\u003cp\u003eThis is plate four of the Harmonia Macrocosmica, Amsterdam 1661 — three leaves after the Ptolemaic system, in the same volume, drawn by the same hand with the same care. Cellarius set the competing models beside one another and let each make its case. Copernicus had been in print for 117 years; Galileo had been tried 27 years earlier; and the four small discs beside Jupiter are what Galileo saw through his glass in 1610, drawn into the sky fifty years later.\u003c\/p\u003e\u003cp\u003eAndreas Cellarius was not an astronomer. Born around 1596 at Neuhausen near Worms, he taught Latin in Amsterdam and The Hague, and from 1637 was rector of the Latin school at Hoorn, housed in a former convent. He died there in the first months of 1665. Where he is buried is not known.\u003c\/p\u003e\u003cp\u003eThe mug carries the plate whole — both cartouches, the two figures at the sides, and in the lower corners the astronomers: Ptolemy on the left with his globe, and on the right a younger man with an armillary sphere. The copy is the one kept in Zurich, coloured by hand.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at the size they are printed: the sun with its face, the cartouche where the title breaks off mid-word, Jupiter with its four moons, and the astronomer in the lower right corner.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/andreas-cellarius-planisphaerium-ptolemaicum-1661-porcelain-art-mug\"\u003ePlanisphaerium Ptolemaicum, 1661\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eAndreas Cellarius, Planisphaerium Copernicanum sive systema universi totius creati ex hypothesi Copernicana in plano exhibitum. Plate 4 of the Harmonia Macrocosmica, Amsterdam: Johannes Janssonius, 1661. Zentralbibliothek Zürich, T 12, doi.org\/10.3931\/e-rara-89076. Public Domain Mark.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58235031322955,"sku":"16affa2e-eaff-43e0-a3ca-dec3cadc90e7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Cellarius_Cop_1_front_3000.jpg?v=1787513078"},{"product_id":"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, TO VERIFY\u003cbr\u003eThe Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929, inv. JP1847\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 the Metropolitan Museum's, from the Havemeyer collection, left to the museum 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. The Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP1847). 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":"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\u003eThe Metropolitan Museum of Art, New York, Rogers Fund, 1914, inv. JP9\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 the Metropolitan Museum 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. The Metropolitan Museum of Art, New York, Rogers Fund, 1914 (JP9). 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":"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\u003eThe Art Institute of Chicago, Gift of Edgar Kaufmann, Jr\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. The Art Institute of Chicago, Gift of Edgar Kaufmann, Jr., 1957.307. 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\u003eThe Cleveland Museum of Art, Contemporary Collection, inv. 1967.215\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. The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1967.215. 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":"karl-walser-kokyu-player-1908","title":"Karl Walser: Japanese Musician with Kokyū, 1908 — Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:12px 0;margin:0 0 16px;line-height:1.55\"\u003e\n\u003cdiv style=\"letter-spacing:.14em;text-transform:uppercase;font-size:.78em;margin-bottom:8px\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eKarl Walser\u003c\/strong\u003e (1877-1943)\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eJapanese Musician with Kokyu\u003c\/em\u003e, 1908\u003c\/div\u003e\n\u003cdiv lang=\"ja\"\u003eカール・ヴァルザー（1877–1943）／胡弓を弾く女性、1908年\u003c\/div\u003e\n\u003cdiv\u003eWatercolour over pencil, reproduced in collotype\u003c\/div\u003e\n\u003cdiv\u003eSigned and dated lower right: karl walser 1908\u003c\/div\u003e\n\u003cdiv\u003eFrom Bernhard Kellermann, \u003cem\u003eSassa yo Yassa. Japanische Taenze\u003c\/em\u003e, Paul Cassirer, Berlin 1920\u003c\/div\u003e\n\u003cdiv style=\"font-size:.85em;margin-top:8px\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA woman kneels with the kokyu, the small bowed instrument of the Japanese stage, held upright on her knee. Karl Walser drew the pose in pencil and let the colour fall in afterwards, in patches that never quite fill the outline - which is why the kimono still moves.\u003c\/p\u003e\u003cp\u003eHe was in Japan for half a year in 1908, in Yokohama, Tokyo, Kyoto, Ise and Miyazu, and filled sketchbooks with dancers and musicians, watching them from the floor of the room rather than from a seat in a theatre.\u003c\/p\u003e\u003cp\u003eWalser is being rediscovered in Japan right now: a retrospective of some 150 works opened at the Tokyo Station Gallery in April 2026 and runs at the Nakanoshima Museum of Art, Osaka, until 27 September 2026.\u003c\/p\u003e\u003cp\u003eFine porcelain, 10 oz - 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eKarl Walser (1877-1943), Japanese Musician with Kokyu, 1908. Collotype plate from Bernhard Kellermann, Sassa yo Yassa. Japanische Taenze, Paul Cassirer, Berlin 1920. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58432726499659,"sku":"731401a8-880f-4393-bf6b-2391ad210a1f","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/024abc68-a336-4851-88bb-70517c498239.webp?v=1789019237"},{"product_id":"toshusai-sharaku-kabuki-actor-ichikawa-omezo-i-detail-1794-porcelain-art-mug","title":"Tōshūsai Sharaku: Kabuki Actor Ichikawa Omezō I (Detail), 1794 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:12px 0;margin:0 0 16px;line-height:1.55\"\u003e\n\u003cdiv style=\"letter-spacing:.14em;text-transform:uppercase;font-size:.78em;margin-bottom:8px\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eTōshūsai Sharaku\u003c\/strong\u003e (active 1794–95)\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eThe Kabuki Actor Ichikawa Omezō I as the Footman Ippei\u003c\/em\u003e, 1794\u003c\/div\u003e\n\u003cdiv lang=\"ja\"\u003e東洲斎写楽　初代市川男女蔵の奴一平、1794年\u003c\/div\u003e\n\u003cdiv\u003eColour woodblock print with mica ground, 37.8 × 25.1 cm — detail\u003c\/div\u003e\n\u003cdiv\u003eThe Metropolitan Museum of Art, New York, Rogers Fund, 1914, JP196\u003c\/div\u003e\n\u003cdiv style=\"font-size:.85em;margin-top:8px\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA kabuki actor at the moment of the scowl: brows drawn hard, eyes cut to one side, mouth pulled down. Sharaku was active for less than a year, in 1794 and 1795, and his half-length portraits of actors on dark mica grounds are counted among the high points of the Japanese woodblock print.\u003c\/p\u003e\u003cp\u003eThe mug carries a band across the middle of the sheet — the face, the swept-back hair, and on the left Sharaku's signature and the seals below it — taken from the Metropolitan Museum's impression, where the violet-grey ground and the skin tones have kept their colour.\u003c\/p\u003e\u003cp\u003eFine porcelain, 10 oz - 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eTōshūsai Sharaku, \u003cem\u003eThe Kabuki Actor Ichikawa Omezō I as the Footman Ippei\u003c\/em\u003e, 1794; colour woodblock print with mica ground, 37.8 × 25.1 cm. The Metropolitan Museum of Art, New York, Rogers Fund, 1914, JP196. Detail. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58532356096331,"sku":"f7b5d11d-7fc8-4a57-b46a-857f8496e9b2","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/8129a1ee-fb8e-4609-8908-ef563d0fbb8b.webp?v=1789849668"}],"url":"https:\/\/tazzarte.com\/collections\/mugs-for-the-office.oembed","provider":"Tazzarte","version":"1.0","type":"link"}