{"title":"Nature \u0026 Landscapes: Alpine and Botanical Motifs","description":"\u003cp\u003eBefore photography, natural history was drawn by hand — every fern, every alpine summit, every cloud formation traced with a pen by someone who had been there. This collection reproduces that tradition on porcelain. Careful observation, made beautiful.\u003c\/p\u003e","products":[{"product_id":"harder-kulm-panorama-swiss-alps-1918","title":"Harder Kulm Panorama: Swiss Alps, 1918 – 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\u003eHarder Kulm Panorama\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSwiss Alps\u003c\/em\u003e, 1918\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\u003eHarder Kulm rises to 1,322 metres directly above Interlaken, and since the funicular opened in 1908 its terrace has offered the most efficient view in the Bernese Oberland: Eiger, Mönch and Jungfrau aligned across the valley, Lake Thun and Lake Brienz to either side. This card translates that view into the visual language of its period — a hand-coloured bird's-eye drawing rather than a photograph, with every summit, hamlet, glacier and railway station lettered onto the image itself.\u003c\/p\u003e\u003cp\u003eThe type belongs to a Swiss speciality: the panorama card, half landscape and half map, made for a tourism that expected its visitors to know what they were looking at. Altitudes stand beside each peak in the values then current — Jungfrau 4166, Mönch 4105, Eiger 3975 — and the valley is drawn with the Lauterbrunnen and Grindelwald branches clearly separated, so that a traveller could plan the next day's excursion from the card alone. Wengen, Mürren, Kleine Scheidegg and the Schynige Platte all appear by name. It is a document of how the Oberland wished to be seen, and it has aged into a portrait of the Alpine tourism that built 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\u003ePanorama card no. 3637, \u003cem\u003eBerner-Oberland mit Harderkulm (1325 m)\u003c\/em\u003e, 1918. Artist and publisher unrecorded. Scanned from an original card in the publisher's own collection. 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":57724211495243,"sku":"bcb66801-92d1-4a7b-9546-f7065e6df787","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/HarderKulm_Mug_front.jpg?v=1787052037"},{"product_id":"caspar-david-friedrich-moonlit-scene","title":"Caspar David Friedrich: Two Men Contemplating the Moon, 1825 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eCaspar David Friedrich\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTwo Men Contemplating the Moon\u003c\/em\u003e, 1825\u003cbr\u003eoil on canvas, 34.9 × 43.8 cm\u003cbr\u003eThe Metropolitan Museum of Art, New York, Wrightsman Fund, 2000, acc, inv. 2000.51\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eTwo figures, seen from behind, stand on a high path and look out at a vast, indeterminate space. The figures are small; the landscape is enormous. A moonlit path and a gnarled, half-uprooted oak frame the field into which they stare, and they carry with them the irreducible privacy of their own contemplation. Friedrich's figures never look back at us; they are absorbed in what lies before them, and we are left to imagine what they see.\u003c\/p\u003e\u003cp\u003eCaspar David Friedrich (1774–1840) is the central figure of German Romantic painting, and \u003cem\u003eTwo Men Contemplating the Moon\u003c\/em\u003e — a composition he returned to in several versions from about 1819 onward — is among the most recognisable images in the history of European landscape art. The two men are usually identified as the painter himself and his pupil August Heinrich, in the years when Friedrich stood closest to the philosophical and literary circles of German Romanticism — the world of Novalis, Schiller and Tieck. Their pose suggests the passing on of a sensibility from one generation to the next, nature approached as a form of spiritual attention. The oak at the right, leafless and ancient, is a recurring Friedrich symbol: endurance, the persistence of the living through adversity, the German forest as both physical fact and national imagination. The version on this mug hangs in the Metropolitan Museum of Art in New York.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eCaspar David Friedrich, \u003cem\u003eTwo Men Contemplating the Moon\u003c\/em\u003e, ca. 1825–30, oil on canvas, 34.9 × 43.8 cm. The Metropolitan Museum of Art, New York, Wrightsman Fund, 2000, acc. no. 2000.51. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211364171,"sku":"cc76d76d-ce0b-4bc3-9ebe-160b34488fa4","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Friedrich_Mug_front.jpg?v=1787054191"},{"product_id":"robert-zund-oak-forest","title":"Robert Zünd: Oak Forest, 1881 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRobert Zünd\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOak Forest\u003c\/em\u003e, 1881\u003cbr\u003eoil on canvas, 119 × 159 cm\u003cbr\u003eKunsthaus Zürich, inv. 437\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 interior of an oak forest at midday, the sun cutting through the canopy in shafts that light the undergrowth without dissolving the shadow around it. Each oak is rendered individually — bark texture, the exact distribution of leaves, the way each tree occupies its particular space — and the whole conveys that stillness which settles over dense forest in summer heat.\u003c\/p\u003e\u003cp\u003eRobert Zünd (1827–1909) is the central figure in nineteenth-century Swiss landscape painting, and \u003cem\u003eEichenwald\u003c\/em\u003e is among his most celebrated works. He studied in Geneva and Paris before returning to his native Lucerne, where he spent the greater part of a long career painting the forests, meadows and lakeshores of central Switzerland with a precision rooted in the Barbizon tradition. He made dozens of preparatory studies for his major forest paintings, working directly from the motif before composing in the studio; the result is a combination of documentary accuracy and formal organisation that places him in a distinct position within the European landscape tradition, related to but not identical with either the German Romantic school or the French Naturalists.\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\u003eRobert Zünd, \u003cem\u003eEichenwald\u003c\/em\u003e (Oak Forest), 1881–82, oil on canvas, 119 × 159 cm. Kunsthaus Zürich, inv. 437. 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":57724211888459,"sku":"d97cd123-f5e6-4d19-9732-a311fe9c5467","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Zuend_Mug_front.jpg?v=1786980079"},{"product_id":"swiss-alps-calling-mug","title":"Hans Aeschbach: Swiss Alps Calling, 1951 – 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\u003eHans Aeschbach\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSwiss Alps Calling\u003c\/em\u003e, 1951\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA strong silhouette, a handful of colours handled at maximum contrast, a direct address that reads instantly at the scale of a railway concourse or a travel agency window. Hans Aeschbach's \u003cem\u003eSwiss Alps Calling\u003c\/em\u003e of 1951 belongs to the postwar moment when travel was resuming, when the Alps were being reconceived as a destination for an expanding tourist market, and when graphic design was the medium through which that invitation was issued.\u003c\/p\u003e\u003cp\u003eSwiss tourism poster design reached its classic period in the decades after the Second World War, when a generation of trained graphic artists were commissioned by the Swiss Federal Railways, cantonal tourism offices and the Swiss Tourist Board to draw visitors to a country that had emerged from the war years largely intact. Aeschbach worked in that tradition, in the bold, flat-colour idiom that Swiss graphic design had made internationally influential. The poster is now a historical document as well as a visual pleasure: a record of how Switzerland presented itself to the world at a specific moment in the twentieth century.\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\u003eHans Aeschbach (1911–1999), \u003cem\u003eSwiss Alps Calling\u003c\/em\u003e, 1951, tourism poster. Reproduced by permission of the Aeschbach family. Foto: Plakatsammlung, Museum für Gestaltung Zürich, ZHdK.\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":57723489845579,"sku":"64c1638d-636c-4b34-9abd-36ae5ec6d680","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/SwissAlps_Mug_front_v3.jpg?v=1787131446"},{"product_id":"ski-jumping-couple-mug","title":"Francisco Tamagno: Chamonix Ski Jumpers, 1900 – 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\u003eFrancisco Tamagno\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eChamonix Ski Jumpers\u003c\/em\u003e, 1900\u003cbr\u003echromolithographic poster for the P, 99.2 × 61.2 cm\u003cbr\u003einv. 000416-C\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 couple caught mid-jump, suspended above a snow slope in the posture of early ski jumping. The technique and the equipment of 1900 required a particular kind of courage: bindings were primitive and protective clothing nearly non-existent. Winter sport as exhilarating modernity, the mountain as playground rather than obstacle, the couple in flight as an emblem of the new century's optimism about what a body could do.\u003c\/p\u003e\u003cp\u003eThe image is the picture field of a chromolithographic poster, \u003cem\u003eChamonix — Mont-Blanc\u003c\/em\u003e, signed \u003cem\u003eTamagno\u003c\/em\u003e at the lower left and printed by Imp. Émile Pécaud \u0026amp; Cie in Paris. It was made for the \u003cstrong\u003eP.L.M.\u003c\/strong\u003e, the Paris–Lyon–Méditerranée railway — and this edition is in English. It announces \u003cem\u003eInternational Contests of Skis, Bobsleighs, Tobogans\u003c\/em\u003e, the \u003cem\u003eMt Blanc Challenge Cup\u003c\/em\u003e and \u003cem\u003eInternational Skating Competitions\u003c\/em\u003e, promises express trains with through carriages, and directs enquiries to the P.L.M. company's offices at 179–180 Piccadilly, London, or to the syndicate at Chamonix. The sheet was printed to sell the Alps to British travellers, and it says so in every line.\u003c\/p\u003e\u003cp\u003eFrancisco Nicolas Tamagno (1851–1933) was an Italian-born graphic artist who worked principally in France. His poster belongs to the golden age of French chromolithography, when the medium was being pushed to its limits of colour and graphic invention by artists including Mucha, Chéret and Toulouse-Lautrec. The mug carries the picture field alone, without the lettering; the fourth product image shows the whole sheet with the printed part marked, so the crop is visible for what it is.\u003c\/p\u003e\u003cp 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\u003eFrancisco Nicolas Tamagno, detail from \u003cem\u003eChamonix — Mont-Blanc\u003c\/em\u003e, chromolithographic poster for the P.L.M., printed by Imp. Émile Pécaud \u0026amp; Cie, Paris. Public domain. The complete sheet reproduced in the gallery is the copy in the Museu Nacional d'Art de Catalunya, Barcelona — colour lithograph, 99.2 × 61.2 cm, inv. 000416-C, gift of Joan Vidal Ventosa, 1927 — which the museum dates c. 1900–1910 and publishes as 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":57723540635979,"sku":"eeb41ec4-51f4-4378-a0fe-4c34222895ac","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/SkiJumping_Mug_front_v3.jpg?v=1787127734"},{"product_id":"kuesnachter-horn-arnold-heim-mug","title":"Arnold Heim: Küsnachter Horn, 1902 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eArnold Heim\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eKüsnachter Horn\u003c\/em\u003e, 1902\u003cbr\u003e7.9 × 10.9 cm\u003cbr\u003eETH-Bibliothek Zürich, Bildarchiv, Hs_0494b-0004-014-AL\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eTwo figures stand on the winter shingle at the Küsnachter Horn, the low promontory on the Küsnacht shore of Lake Zurich; behind them the screw steamer \u003cem\u003eGoldbach\u003c\/em\u003e crosses the lake under a plume of smoke. The date is 5 January 1902. The photographer was nineteen years old, and his caption in the archive is a single word: Küsnacht.\u003c\/p\u003e\u003cp\u003eArnold Heim (1882–1965) was a Swiss geologist who inherited both the discipline and the passion for Alpine fieldwork from his father, Albert Heim — one of the founders of modern Alpine geology. He studied at ETH Zurich and went on to make significant contributions to the understanding of tectonic structures in the Swiss Alps, later extending his research to geological surveys in China and to comparative studies of the Alps and the Himalayas. His family background was exceptional: his mother, Marie Heim-Vögtlin, was the first woman in Switzerland to practise medicine. The original of this picture is a collodion print, 7.9 × 10.9 cm, mounted on card — an early sheet from a photographic record he would go on keeping for six decades of fieldwork.\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\u003eArnold Heim, \u003cem\u003eAm Küsnachterhorn\u003c\/em\u003e, 5 January 1902, collodion print mounted on card, 7.9 × 10.9 cm. ETH-Bibliothek Zürich, Bildarchiv, Hs_0494b-0004-014-AL. Licensed under \u003ca href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\" rel=\"nofollow\"\u003eCC BY-SA 4.0\u003c\/a\u003e. \u003ca href=\"http:\/\/doi.org\/10.3932\/ethz-a-001200128\" rel=\"nofollow\"\u003edoi.org\/10.3932\/ethz-a-001200128\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723588444491,"sku":"5ff261c5-f870-471f-bf76-9ec222270892","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Heim_Mug_front_v4.jpg?v=1787201773"},{"product_id":"anna-atkins-cyanotype-botany-mug","title":"Anna Atkins: Cyanotype Ferns, 1840s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAnna Atkins\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCyanotype Ferns, 1840s\u003c\/em\u003e\u003cbr\u003eNational Gallery of Art, Washington, D\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA fern laid straight onto sensitised paper and left in the sun. No camera, no lens: white fronds standing against the deep Prussian blue of the cyanotype ground, each leaflet resolved with a clarity no hand-drawn illustration could match. The sheet is from the 1840s and is now in the National Gallery of Art, Washington, D.C.\u003c\/p\u003e\u003cp\u003eAnna Atkins (1799–1871) was a British botanist who in 1843 produced what is widely recognised as the first photographically illustrated book: \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, issued in self-published fascicles over the following decade. She had learned the cyanotype process — a photosensitive technique using iron salts — directly from its inventor, Sir John Herschel, who communicated it the previous year, and she applied it not as a novelty but as a scientific instrument: specimens placed directly onto coated paper and exposed to sunlight, yielding silhouettes of extraordinary precision. Atkins understood that photography and natural history were not in competition but in alliance, and her work stands at the intersection of Victorian science, botanical illustration and the new visual art of photography in its first decade.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAnna Atkins, \u003cem\u003eFerns. Specimen of Cyanotype\u003c\/em\u003e, 1840s. National Gallery of Art, Washington, D.C. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454267211,"sku":"cde77fa9-35cd-4bc6-883f-e805b326d281","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Atkins_Mug_front_v3.jpg?v=1787130693"},{"product_id":"simon-denis-cloud-study-at-sunset-mug","title":"Simon Denis: Cloud Study at Sunset, c. 1800 – 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\u003eSimon Denis\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCloud Study at Sunset\u003c\/em\u003e, c. 1800\u003cbr\u003eoil on paper, 33.8 × 39.4 cm\u003cbr\u003eJ. Paul Getty Museum, Los Angeles, 2005\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 sunset sky worked in oil on paper: the clouds massed and lit from below as the sun goes down, the colour moving through orange and rose into the cooler registers of dusk. It was not made for exhibition but for the painter's own use — a record of one specific atmospheric condition, observed at one specific moment near Rome. The brushwork is rapid and sure, and that directness is exactly what gives the sheet its authority.\u003c\/p\u003e\u003cp\u003eSimon Denis (1755–1813) was a Flemish painter who arrived in Rome in 1786 and stayed for nearly two decades, becoming one of the most accomplished practitioners of the \u003cem\u003eplein air\u003c\/em\u003e oil sketch in an era when that practice was transforming how European artists understood landscape. Working outside the studio, before the motif, he painted the skies and light of the Roman Campagna with an empirical immediacy that anticipates the cloud studies of Constable and the atmospheric experiments of the Barbizon painters by a generation. The sheet is now in the J. Paul Getty Museum, Los Angeles.\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\u003eSimon Alexandre Clément Denis, \u003cem\u003eStudy of Clouds with a Sunset near Rome\u003c\/em\u003e, 1786–1801; oil on paper, 33.8 × 39.4 cm. The J. Paul Getty Museum, Los Angeles, 2005.31. 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":56856454201675,"sku":"7d3cac4b-8e66-42ff-bdb7-efb66edb7c10","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/SimonDenis_Mug_front_v3.jpg?v=1787128823"},{"product_id":"victorian-robin-antique-botanical-mug","title":"Thomas Bewick: The Redbreast, 1797 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eThomas Bewick\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Redbreast\u003c\/em\u003e, 1797\u003cbr\u003ewood engraving\u003cbr\u003eWellcome Collection, London\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThomas Bewick cut this robin into the end grain of a block of boxwood, working the picture in white lines out of solid black — a way of engraving on wood he brought to a pitch nobody had reached before him. It was printed in 1797 in the first volume of \u003cem\u003eA History of British Birds\u003c\/em\u003e, the book Charlotte Brontë later put into Jane Eyre's hands on the opening page of the novel.\u003c\/p\u003e\u003cp\u003eThe bird stands on a snow-covered stone. Behind it: a paling fence, bare trees, a farmhouse under snow, the flat light of a winter afternoon. Bewick set his birds in the countryside he knew, the Tyne valley where he had grown up, and the robin is the one that stays through the winter — he drew it accordingly.\u003c\/p\u003e\u003cp\u003eThe block printed in black. Bewick himself washed watercolour over his own drawing for this cut, and that sheet survives in the British Museum; the colour here follows it — the flat orange of the breast, the olive of the back, the cold blue lying in the snow. To be clear about what this is: the lines are Bewick's, taken from a printed impression; the colouring was done for this edition and is ours, not his. It is not a historical hand-coloured print and is not offered as one.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eThomas Bewick, \u003cem\u003eThe Redbreast\u003c\/em\u003e, wood engraving, first published in \u003cem\u003eA History of British Birds\u003c\/em\u003e, vol. I, Newcastle 1797. The impression reproduced here is from the Newcastle edition of 1847, digitised by the Wellcome Collection, London. Public domain. Colouring added for this edition after Bewick's own watercolour drawing for the block, British Museum 1882,0311.1270.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724160311627,"sku":"6b7caefc-792b-4db6-b689-d0b1f5591dc6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/bewick_v2_front_3000.jpg?v=1787213622"},{"product_id":"r-rahl-auf-der-hohe","title":"R. Rahl: Auf der Höhe – Viennese Art Postcard – 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\u003eR. Rahl\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAuf der Höhe – Viennese Art Postcard\u003c\/em\u003e\u003cbr\u003eporcelain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cem\u003eAuf der Höhe\u003c\/em\u003e — \"At the summit\" — shows a woman mountaineer standing on a dome of snow, one hand on her alpenstock, a red cap and a red scarf against the wind, the ranges lying far below. She is dressed for climbing, not for looking at mountains: a belted jacket and knickerbockers, wool stockings, nailed boots.\u003c\/p\u003e\u003cp\u003eThe sheet is a Viennese art postcard, published by the Eckhart Verlag at Fuhrmanngasse 18 in the Josefstadt, Vienna's eighth district, as number 1563. It is signed \u003cem\u003eR. Rahl\u003c\/em\u003e at lower left and titled in Fraktur at lower right. Cards like it were the small change of Viennese graphic art before the First World War: watercolours reproduced in colour and sold by the sheet.\u003c\/p\u003e\u003cp\u003eWhat the picture records, besides a view, is a change in dress. On the mountain the skirt had given way to the knickerbocker suit — practical, and still contentious enough to be worth drawing.\u003c\/p\u003e\u003cp\u003eFor the mug the paper ground has been taken out. Sky and snow are the white of the porcelain; only the figure, the blue shadow of the slope and the distant ranges remain. The original card is in the collection of Dr. Walther Fuchs, Küsnacht.\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":58245178917195,"sku":"1fd3acdf-526f-45fe-8eeb-a1918bf52620","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/22f7f4e1-239d-4354-8152-23d93e38fd8f.jpg?v=1787650756"},{"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 (End of Day, Autumn)\u003c\/em\u003e, 1890-91\u003cbr\u003eOil on canvas, 65.3 x 100.4 cm\u003cbr\u003eThe Art Institute of Chicago, Potter Palmer Collection, inv. 1922.431\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 the Galerie Durand-Ruel in Paris. 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. The Art Institute of Chicago, Potter Palmer Collection, 1922.431. 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\u003eThe Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, inv. 1937.696\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eWilliam Morris registered the design for \u003cem\u003eStrawberry Thief\u003c\/em\u003e in 1883. It came out of the kitchen garden at Kelmscott Manor, where song thrushes worked their way under the nets and carried off the fruit. Two birds face each other across a stem of acanthus with a strawberry between them; behind them an indigo ground carries oak leaves, dog-roses and the small four-petalled flowers Morris had studied in mediaeval herbals.\u003c\/p\u003e\u003cp\u003eIt was the most difficult thing his firm had yet attempted. To keep a true indigo ground and still print colour over it, Morris had to master the indigo-discharge process: the cotton was dyed blue in the vat, the pattern bleached back out of it, and the cleared areas then printed by hand from wood blocks. He worked at it for years, and the finished pattern carries more colours than any other of his printed textiles. This length was block-printed at Merton Abbey around 1936, from the original blocks.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a quarter of life size. The section follows the detail the museum itself publishes of this length: the pair of thrushes with the strawberry between them, set at the centre of the front so that neither bird is cut, and the acanthus stem carrying the eye on around the cup.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/william-morris-tulip-1875-porcelain-art-mug\"\u003eTulip, 1875\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-kennet-1883-porcelain-art-mug\"\u003eKennet, 1883\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eStrawberry Thief\u003c\/em\u003e, design registered 1883; indigo-discharged cotton, plain weave, block printed, c. 1936, Merton Abbey. 88.2 × 99 cm. The Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, 1937.696. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58251761221963,"sku":"7da3b549-183e-43ea-a9c2-67b977816181","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/c1e0118e-d091-4f50-88aa-58c098fca6eb.webp?v=1787678180"},{"product_id":"william-morris-tulip-1875-porcelain-art-mug","title":"William Morris: Tulip, 1875 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTulip\u003c\/em\u003e, 1875\u003cbr\u003eRoller-printed cotton, 76.1 x 95.3 cm\u003cbr\u003eThe Cleveland Museum of Art, Gift of Mrs. Philip White, inv. 1937.579\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMorris designed \u003cem\u003eTulip\u003c\/em\u003e in 1875, in the years when he was teaching himself to dye and print by hand but did not yet have a printworks of his own — that came with Merton Abbey in 1881, so this pattern was still produced for him by a commercial firm. It is one of the designs he built on an older source: the swaying symmetrical stems and the turned-over leaves come out of the Italian cut velvets he studied at the South Kensington Museum.\u003c\/p\u003e\u003cp\u003eIt is a roller print — the cloth drawn between engraved copper rollers, one for each colour — which is why it reads more finely than the wood-block prints Morris made later at Merton Abbey. The pattern was sold in several colourways and on more than one cloth; this length is the pale green on cream. Tulips rise between broad acanthus leaves, and behind them a fine scrolling stem fills the ground so that nothing is left empty.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a third of life size. \u003cem\u003eTulip\u003c\/em\u003e is a mirrored pattern, so the section was set by the flowers and not by the repeat: one whole tulip stands at the centre of the front — the opened bloom, the bud beside it and the long flower turning down out of the same stem — uncut, with the mirrored pair falling away to either side.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/william-morris-strawberry-thief-1883-porcelain-art-mug\"\u003eStrawberry Thief, 1883\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-kennet-1883-porcelain-art-mug\"\u003eKennet, 1883\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eTulip\u003c\/em\u003e, 1875; roller-printed cotton. 76.1 × 95.3 cm. The Cleveland Museum of Art, Gift of Mrs. Philip White, 1937.579. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58251793334603,"sku":"6fc457e8-c63f-49c2-bfd1-c1de943c8ddb","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/389be884-b37a-4edf-ba33-c50e29b825dc.webp?v=1787683369"},{"product_id":"william-morris-kennet-1883-porcelain-art-mug","title":"William Morris: Kennet, 1883 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eWilliam Morris (1834-1896)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eKennet\u003c\/em\u003e, designed 1883; this length c. 1920\u003cbr\u003ePlain weave cotton, printed, 90.2 x 97.8 cm\u003cbr\u003eThe Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, inv. 1937.698\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain (CC0)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMorris designed \u003cem\u003eKennet\u003c\/em\u003e in 1883 and named it, like the other chintzes of those years, after a river that runs into the Thames. He had moved his printworks to Merton Abbey on the Wandle in 1881, and it was the water there that let him dye with indigo and wash the printed cloth properly. The rivers gave the patterns their names because the rivers made the patterns possible. \u003cem\u003eKennet\u003c\/em\u003e is the one that looks most like water: the stems sway on a long diagonal and the leaves lie over as weed lies in a current.\u003c\/p\u003e\u003cp\u003eThe pattern carries two kinds of flower. One is a small open rosette seen straight on. The other is large, furled and seen from the side — and it is not an English flower at all. It is the pomegranate of Italian cut velvet, the motif Morris had studied at the South Kensington Museum, now the Victoria and Albert; the museum record for this length names those velvets as the source of his strongly diagonal patterns. At the centre of a design named after an English chalk stream sits a Mediterranean flower brought home from a museum case.\u003c\/p\u003e\u003cp\u003eThe mug carries the pattern as a frieze, at roughly a quarter of life size, set so that one whole pomegranate bloom stands uncut at the centre of the front, its stem sweeping away to either side. A flower seen straight on flattens as the cylinder turns; one seen in profile does not, and it leads the eye around the cup.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/william-morris-strawberry-thief-1883-porcelain-art-mug\"\u003eStrawberry Thief, 1883\u003c\/a\u003e · \u003ca href=\"\/products\/william-morris-tulip-1875-porcelain-art-mug\"\u003eTulip, 1875\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eWilliam Morris, \u003cem\u003eKennet\u003c\/em\u003e, designed 1883; plain weave cotton, printed; this length c. 1920. 90.2 × 97.8 cm. The Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, 1937.698. Public domain (CC0).\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58252212797771,"sku":"68d3f09a-d723-4f0d-b9c6-1ab353f12905","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ec41937d-2a8e-4fcf-8ef3-c2390d4e3fa9.webp?v=1787681652"},{"product_id":"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\u003eThe Cleveland Museum of Art, John L\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. The Cleveland Museum of Art, John L. Severance Fund, 2002.45. 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\u003eThe Cleveland Museum of Art, Hinman B\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum under CC0\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the summer of 1929 Georgia O'Keeffe went to New Mexico for the first time, and the desert kept her for the rest of her life. This flower was painted that year and shown the following February in New York as \u003cem\u003eWhite Flower, N.M.\u003c\/em\u003e — number nine in an exhibition Alfred Stieglitz called simply \u003cem\u003e27 New Paintings\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eShe framed flowers the way a photographer would: close, magnified, the blossom running past the edges of the canvas so that there is no stem, no vase, no room, nothing to give the scale. What is left is the thing itself — white petals turning in and out of one another, a ring of orange stamens at the centre, a few blades of dark green pushing in from the corners.\u003c\/p\u003e\u003cp\u003eCritics of the day insisted on reading her flowers as images of the female body. O'Keeffe rejected that reading for the rest of her life, and resisted just as firmly being called a woman artist rather than simply an artist.\u003c\/p\u003e\u003cp\u003eThe Cleveland Museum of Art bought the painting in 1930, within a year of its making, and has kept it ever since.\u003c\/p\u003e\u003cp\u003eThe mug carries the painting whole and uncropped, at the centre of the front — its white against the white of the porcelain.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eGeorgia O'Keeffe, \u003cem\u003eWhite Flower\u003c\/em\u003e, 1929; oil on canvas, 76.2 × 91.5 cm. The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1930.2162. Open-access image released by the museum under CC0. A copyright notice printed in 1930 without a name is the reason this mug is sold here and not in Switzerland: \u003ca href=\"\/blogs\/stories\/the-notice-that-was-missing-a-name\"\u003eread how we checked the rights on this image\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58253842022731,"sku":"43d0e6f1-0e34-426a-b9a6-1800013222c7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/f4ac9a5c-1156-4030-94c1-d874ebe75cf2.webp?v=1787696006"},{"product_id":"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\u003eJ. Paul Getty Museum, Los Angeles, 84\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. The J. Paul Getty Museum, Los Angeles, 84.PA.681. 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\u003eThe J. Paul Getty Museum, Los Angeles, inv. 90.PA.20\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen-access image released by the museum\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe white iris stands alone. Van Gogh set it just left of centre, one pale flower in a bed of blue, turned away from the rest. Every account of the painting comes back to it.\u003c\/p\u003e\u003cp\u003eHe painted \u003cem\u003eIrises\u003c\/em\u003e in May 1889, in his first week at the asylum of Saint-Paul-de-Mausole outside Saint-Rémy-de-Provence, working in the walled garden before he was allowed beyond it. There is no drawing underneath: he began straight onto the canvas with the brush, and the leaves were laid in first, cutting across everything that came after.\u003c\/p\u003e\u003cp\u003eThe colour is argued rather than described. Blue against the orange marigolds behind, and between them a green that belongs to neither — the lesson he had taken from Japanese prints, which he had been collecting and copying for two years. The blue has shifted since 1889: the flowers were painted a warmer violet, and the red lake pigment in them has faded.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole canvas: the white iris, the marigolds above it, and the blue flowers closing in from both sides. The complete painting is shown in the last product image. The printable field on a mug is about nine centimetres high; a canvas almost a metre wide would shrink to a stamp on it, so the honest way to put this picture on a mug is to take a part of it that Van Gogh composed as a whole.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/van-gogh-sunflowers-1887-porcelain-art-mug\"\u003eSunflowers, 1887\u003c\/a\u003e · \u003ca href=\"\/products\/van-gogh-the-bedroom-1889\"\u003eThe Bedroom, 1889\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eVincent van Gogh, \u003cem\u003eIrises\u003c\/em\u003e, 1889. Oil on canvas, 74.3 × 94.3 cm. The J. Paul Getty Museum, Los Angeles, 90.PA.20. Open-access image released by the museum.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368361464139,"sku":"a2a97614-05b9-43b3-953c-5c4b8eae3785","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/27a35c29-7269-4540-acc9-d6fdfed00975.webp?v=1789026125"},{"product_id":"rembrandt-van-rijn-the-three-trees-detail-1643-porcelain-art-mug","title":"Rembrandt van Rijn: The Three Trees (Detail), 1643 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRembrandt van Rijn\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Three Trees (Detail)\u003c\/em\u003e, 1643\u003cbr\u003eEtching with drypoint and engraving on laid paper, 21.4 × 28 cm\u003cbr\u003eNational Gallery of Art, Washington, Rosenwald Collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThree trees on a rise, and above them a sky that took most of the work. Rembrandt drew the clouds with the etching needle, then went back into the plate with drypoint and the burin, and the diagonal rain falling across the top left corner was ruled in with a straightedge — the only ruled lines in the sheet.\u003c\/p\u003e\u003cp\u003eIt is his largest landscape print and the only one with weather in it. The storm is moving off to the left; the light is already back on the fields, where a herd is grazing and a town stands on the horizon. Small things are hidden in the plate: an artist sketching on the hillside at the right, a fisherman and his wife at the water's edge, a cart on the skyline, a pair of lovers in the bushes below the trees.\u003c\/p\u003e\u003cp\u003eThere is no title on the plate and no story attached to it. Rembrandt made it in 1643, the year after Saskia died, and it has been read as an allegory ever since; nothing in the sheet supports that, and nothing rules it out.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole plate: the three trees themselves, the ruled sky behind them, and the thicket below. The complete etching is shown in the last product image. A mug offers about nine centimetres of printable height — a wide landscape would shrink to a stamp on it, so what is printed here is the group that gives the plate its name.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn, \u003cem\u003eThe Three Trees\u003c\/em\u003e, 1643. Etching with drypoint and engraving on laid paper, plate 21.4 × 28 cm, sheet 21.8 × 28.7 cm. National Gallery of Art, Washington, Rosenwald Collection. Open access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368403374411,"sku":"046e959a-3701-406e-8de7-6d6e3efeaed7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/5db07916-fd0b-43a1-b053-da402775ed94.webp?v=1789025140"},{"product_id":"henri-rousseau-tropical-forest-with-monkeys-detail-1910-porcelain-art-mug","title":"Henri Rousseau: Tropical Forest with Monkeys (Detail), 1910 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Rousseau\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTropical Forest with Monkeys (Detail)\u003c\/em\u003e, 1910\u003cbr\u003eOil on canvas, 129.5 × 162.5 cm\u003cbr\u003eNational Gallery of Art, Washington, John Hay Whitney Collection\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eOpen access, public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eRousseau never left France. The jungle he painted for forty years was assembled in Paris — from the hothouses of the Jardin des Plantes, from the zoo next door, from a picture book of wild animals, and from the plants on his own windowsill, enlarged until a houseplant became a tree.\u003c\/p\u003e\u003cp\u003eThis is one of the last canvases he finished; he died in the autumn of 1910. The leaves are laid on in flat overlapping planes, each one drawn with its own edge, and the greens are counted rather than blended — contemporaries said he mixed more than fifty of them.\u003c\/p\u003e\u003cp\u003eThe picture is not a scene so much as a wall of foliage with animals set into it: a grey langur in the middle, orange monkeys swinging at the right, a bird, and a fishing rod that one of them is holding, which nobody has ever satisfactorily explained.\u003c\/p\u003e\u003cp\u003eThis mug carries a detail, not the whole canvas: the langur among the white blossoms, with the red-leaved plants closing the picture at the bottom. The complete painting is shown in the last product image. The printable field on a mug is about nine centimetres high; a canvas of 129 by 162 centimetres would shrink to a stamp, so the mug takes the group the painting is built around.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eHenri Rousseau, \u003cem\u003eTropical Forest with Monkeys\u003c\/em\u003e, 1910. Oil on canvas, 129.5 × 162.5 cm. National Gallery of Art, Washington, John Hay Whitney Collection. Open access, public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368453935435,"sku":"dcc892c7-4243-4378-8f37-8ac316d057da","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/616c109f-96bc-4841-a8ba-8ca1438c1a06.webp?v=1789023581"},{"product_id":"claude-monet-bed-of-chrysanthemums-1897-porcelain-art-mug","title":"Claude Monet: Bed of Chrysanthemums, 1897 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eClaude Monet (1840-1926)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBed of Chrysanthemums (Massif de chrysanthèmes)\u003c\/em\u003e, 1897\u003cbr\u003eOil on canvas, 81.7 x 100.5 cm\u003cbr\u003eKunstmuseum Basel, deposit of the Dr. h.c. Emile Dreyfus Foundation, inv. G 1970.11\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; image data released by the Kunstmuseum Basel as public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eNo sky, no path, no edge of the garden: Monet looks straight down into a bed of chrysanthemums and lets it fill the whole canvas. Pink and white heads crowd against deep red and ragged yellow ones, and between them the leaves turn into dark pools of green and blue. The picture has no single point to rest on; the eye wanders across it the way it wanders across a carpet.\u003c\/p\u003e\u003cp\u003eIt is one of four chrysanthemum paintings Monet made in the autumn of 1897, probably in his own garden at Giverny, and showed the following June at the Galerie Georges Petit in Paris. The critic Gustave Geffroy, reviewing that exhibition, spoke of an \"effet de tapisserie\" — a tapestry effect. The flat, all-over surface points ahead to the water lilies, which Monet would paint in the same close-up way for the rest of his life.\u003c\/p\u003e\u003cp\u003eLook at the lower left corner of the mug: the orange strokes there hold Monet's signature and the date, \"Claude Monet 97\", exactly as he painted them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/claude-monet-woman-with-a-parasol-mug\"\u003eWoman with a Parasol, 1875\u003c\/a\u003e · \u003ca href=\"\/products\/monet-stacks-of-wheat-1891\"\u003eStacks of Wheat, 1890–91\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eClaude Monet, \u003cem\u003eBed of Chrysanthemums (Massif de chrysanthèmes)\u003c\/em\u003e, 1897; oil on canvas, 81.7 × 100.5 cm. Kunstmuseum Basel, deposit of the Dr. h.c. Emile Dreyfus Foundation, G 1970.11. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58598458425675,"sku":"abbfa643-3c33-4a5a-8698-ca75ee11e80d","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/126581ed-d7ec-4d58-a4ab-edd6ecd65ad5.jpg?v=1790357514"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/collections\/b49e3dd7-1327-4ef0-ba8d-59020cb5e872.png?v=1783879028","url":"https:\/\/tazzarte.com\/collections\/nature-landscapes.oembed?page=2","provider":"Tazzarte","version":"1.0","type":"link"}