{"title":"People \u0026 Portraits","description":"\u003cp\u003eFaces, figures and the people around them: a milkmaid pouring, a girl turning towards us, women waiting on a bench in Tahiti, a man on a bicycle. These are mugs for anyone who looks at a picture first for the person in it.\u003c\/p\u003e\u003cp\u003eEvery work here is shown whole or as a composed detail, with its date, medium and collection on the label.\u003c\/p\u003e","products":[{"product_id":"henri-matisse-icarus","title":"Henri Matisse: Icarus, 1947 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIcarus\u003c\/em\u003e, 1947\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBetween 1943 and 1947, while recovering from major surgery and largely confined to his rooms in Vence, Henri Matisse worked almost entirely with scissors. Sheets of paper were painted in flat gouache to his instruction; he then cut into them directly, drawing with the blade rather than the pencil — \"cutting directly into colour,\" as he put it. \u003cem\u003eJazz\u003c\/em\u003e, published by Tériade in Paris in 1947, was the first public appearance of the method: twenty plates printed in pochoir, each colour brushed through a stencil in the same gouache tones Matisse had cut, interleaved with pages reproducing his own large handwriting.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eIcarus\u003c\/em\u003e is plate VIII. A dark figure falls against a field of deep blue, the heart a single red disc, yellow stars scattered around it — one of them cut so freely that it runs off the blue and onto the bare paper. The myth of the boy who flew too near the sun becomes, in Matisse's hands, not a warning but an image of flight itself. Facing the plate in the book, on page 54, Matisse asks in his own hand: \u003cem\u003e« Ne devrait-on pas faire accomplir un grand voyage en avion aux jeunes gens ayant terminé leurs études ? »\u003c\/em\u003e — \"Should not young people who have finished their studies be sent on a great journey by aeroplane?\" The mug carries the plate alone; the fourth product image shows the opening it comes from, handwriting and all.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eIcare\u003c\/em\u003e, plate VIII from \u003cem\u003eJazz\u003c\/em\u003e, Paris, Tériade, 1947; pochoir. Bibliothèque nationale de France, département Réserve des livres rares, RES G-Z-165. Source gallica.bnf.fr \/ Bibliothèque nationale de France. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211560779,"sku":"955b2c1a-14b4-47be-8687-09ca91b4cf2a","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/e2bbda85-da13-485c-8ccb-7a86da4f8a26.jpg?v=1787674995"},{"product_id":"henri-matisse-self-portrait","title":"Henri Matisse: Self-Portrait, 1930 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSelf-Portrait\u003c\/em\u003e, 1930\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBy 1930, Henri Matisse had earned the right to look back at himself with something approaching equanimity. The decade that followed the First World War had seen him move from the sensuous chaos of his Nice interiors — sunlit rooms, reclining figures, pattern layered on pattern — toward a leaner, more architecturally considered approach to form. His 1930 self-portrait belongs to this moment of consolidation. Reduced to essentials, it shows a man who has put aside decorative abundance in favour of something more penetrating: the direct confrontation of the artist with his own face, rendered in a few confident lines.\u003c\/p\u003e\u003cp\u003eThe self-portrait with Matisse's signature carries the authority of an artist at the height of his international reputation — the same year he travelled to Tahiti and began the commission that would lead to his murals for the Barnes Foundation in Merion, Pennsylvania. The minimalism is not simplicity but compression: everything that could be said with more has been said with less, which was the achievement of a lifetime.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, self-portrait with signature, 1930. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211659083,"sku":"b1132537-d4f2-4be4-a4e6-a791c3ce6122","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/MatisseSelfPortrait_Mug_front_v2.jpg?v=1787176501"},{"product_id":"paul-klee-portrait","title":"Paul Klee in His Studio, 1921 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003ePaul Klee in His Studio\u003c\/em\u003e, 1921\u003cbr\u003ePhotographic portrait (detail) of Paul Klee in the studio\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA photographic portrait of Paul Klee in his studio at Possenhofen, Germany, in 1921 — the year he joined the Bauhaus faculty. It catches him at the moment his theoretical and painterly powers were converging: composed, watchful, surrounded by the quiet intensity of the working studio. It is a portrait not of fame but of concentration.\u003c\/p\u003e\u003cp\u003eKlee (1879–1940) occupied a singular position in twentieth-century art — equally at home among the Expressionists, the Surrealists and the Bauhaus masters, yet finally reducible to none of them. Swiss-German by formation, he taught at the Bauhaus in Weimar and Dessau from 1921 to 1931, developing a body of theory — collected in the \u003cem\u003ePedagogical Sketchbook\u003c\/em\u003e and the Bauhaus courses — that remains among the most searching attempts to articulate how line, tone and colour generate meaning. His work runs to more than nine thousand pieces: small, luminous, and governed by an inner logic he described as „taking a line for a walk.“\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotographic portrait (detail) of Paul Klee in the studio, Possenhofen, Germany, 1921. Reproduced under licence. The artist's name is used to identify the historical figure depicted, not to suggest endorsement or official affiliation. All trademark rights are acknowledged and respected.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211855691,"sku":"c3fbe336-8333-40fc-9f70-83b93fcf6077","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Klee_Mug_front.jpg?v=1786992806"},{"product_id":"henri-matisse-blue-nude-ii-mug","title":"Henri Matisse: Blue Nude II, 1952 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBlue Nude II\u003c\/em\u003e, 1952\u003cbr\u003elithograph published in Verve\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe four \u003cem\u003eBlue Nudes\u003c\/em\u003e (1952) are among the most commanding achievements of Matisse's final period, made when he was eighty-two years old and had been working almost exclusively in the cut-out technique for a decade. The figures are composed entirely from shapes cut from paper painted in a single shade of cerulean blue — the cutting and arranging serving simultaneously as drawing and painting, the process by which Matisse arrived at forms that could not have been achieved by any other means. The \u003cem\u003eBlue Nudes\u003c\/em\u003e were not made as a series but as independent explorations of the same problem: how to render the human figure through cut colour alone, stripping away everything that conventional representation would regard as necessary.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eBlue Nude II\u003c\/em\u003e shows a seated female figure in a pose that reconfigures bodily weight and volume into something simultaneously anatomical and abstract — the body understood as a set of planar relationships rather than as a described surface. The version reproduced here is the colour lithograph published in \u003cem\u003eVerve\u003c\/em\u003e, Volume IX, Numbers 35–36 (\u003cem\u003eDernières Oeuvres de Matisse 1950–54\u003c\/em\u003e), 1958, which disseminated the cut-outs to an international audience after Matisse's death. The lithograph measures 36.5 × 27 cm.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eBlue Nude II\u003c\/em\u003e, 1952; colour lithograph published in \u003cem\u003eVerve\u003c\/em\u003e, vol. IX, nos. 35–36, 1958. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723585331531,"sku":"af75be17-b584-44e6-8a30-2b4ea41c15b5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/a3582038-d81a-49b1-b491-f2e2200a5bba.jpg?v=1786718343"},{"product_id":"claude-monet-woman-with-a-parasol-mug","title":"Claude Monet: Woman with a Parasol, 1875 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eClaude Monet (1840-1926)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWoman with a Parasol - Madame Monet and Her Son\u003c\/em\u003e, 1875\u003cbr\u003eOil on canvas, 100 x 81 cm (framed 119.4 x 99.7 cm)\u003cbr\u003eNational Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, inv. 1983.1.29\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; the Gallery states that this object's media is free and in the public domain (NGA Open Access)\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eClaude Monet painted \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e in 1875, at a moment when Impressionism was still a contested proposition and the movement's founding figures were engaged in their most urgent experiment with light, colour, and the representation of outdoor experience. The painting shows Monet's wife Camille on a hillside, her son Jean slightly behind and below her; the viewpoint is low, so that the figures are seen against the sky rather than the landscape, the parasol casting its warm shadow across Camille's face and dress. The composition is built on the sensation of wind — the grass moves, the dress billows, the clouds shift — and on the way midday summer light bleaches and divides colour into its constituent sensations.\u003c\/p\u003e\u003cp\u003eThe work is now in the collection of the National Gallery of Art in Washington, DC, a gift of Mr and Mrs Paul Mellon. It was painted at Argenteuil, where Monet lived from 1871 to 1878, in the most productive period of his early career. Camille appears in many of his major works from this period; she died in 1879, aged thirty-two, and the paintings of her retain a particular quality of attention — she is always exactly herself, never a generalised figure, which is what separates Monet's best work from the merely Impressionist and places it in the category of portraiture, even when portraiture was not its stated purpose.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/monet-stacks-of-wheat-1891\"\u003eStacks of Wheat, 1890–91\u003c\/a\u003e · \u003ca href=\"\/products\/claude-monet-bed-of-chrysanthemums-1897-porcelain-art-mug\"\u003eBed of Chrysanthemums, 1897\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eClaude Monet, \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e, 1875; oil on canvas, 100 × 81 cm. National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1983.1.29. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723605221707,"sku":"24a00b96-b1ed-409f-a353-a60e1b4031e6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Monet_Mug_front_v3.jpg?v=1787126762"},{"product_id":"giotto-madonna-child-art-mug","title":"Giotto di Bondone: Madonna and Child, c. 1310 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eGiotto di Bondone\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eMadonna and Child\u003c\/em\u003e, c. 1310\u003cbr\u003etempera on poplar panel, 85.4 × 61.8 cm\u003cbr\u003eKress Collection, National 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\u003ePainted in the same years as the Scrovegni Chapel frescoes, this is the moment when Western painting broke with Byzantine convention: figures began to occupy space, faces began to hold emotion. The work passed through the collection of New York banker Henry Goldman before entering the Samuel H. Kress Collection — a trajectory that traces how Renaissance devotional painting migrated from Florentine altars to American museums.\u003c\/p\u003e\u003cp\u003eThe rose in Mary's hand is not decoration. It is a theological argument: she is identified with the Church as the bride of Christ. The Christ Child's gesture simultaneously signals divine mission and human attachment. This is not the most famous Giotto — it is the one that rewards looking.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eGiotto di Bondone, \u003cem\u003eMadonna and Child\u003c\/em\u003e, c. 1310–1315, tempera on poplar panel, 85.4 × 61.8 cm. Samuel H. Kress Collection, 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":50957461586251,"sku":"0fb589cb-a69b-4a03-af88-f9e99ef2a63e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Giotto_Mug_front_v3.jpg?v=1787129205"},{"product_id":"frank-dicksee-la-belle-dame-sans-merci-mug","title":"Frank Bernard Dicksee: La Belle Dame sans Merci, 1902 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrank Bernard Dicksee\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Belle Dame sans Merci\u003c\/em\u003e, 1902\u003cbr\u003eoil on canvas\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eJohn Keats's ballad \"La Belle Dame sans Merci\" (1819) is one of the defining texts of English Romanticism: a knight, pale and feverish, tells how he met a beautiful woman in the meadows — a fairy's child — who enthralled him, brought him to her elfin grot, and left him on the cold hillside when her spell had spent itself, where he remains, alone and desolate, dreaming of the other kings and warriors she has destroyed before him. The poem is concerned with enchantment, with the particular madness of erotic obsession, and with the condition of the artist or visionary who is consumed by his vision rather than sustained by it. Keats himself was twenty-four when he wrote it; he was dead within two years.\u003c\/p\u003e\u003cp\u003eFrank Bernard Dicksee (1853–1928) was among the most accomplished painters of the late Victorian academic tradition, and his 1902 painting of Keats's subject translates the poem into the visual language of the Pre-Raphaelite movement — rich colour, meticulous detail, a combination of medieval imagery and frank sensuality that the Victorians found at once compelling and disturbing. The woman on horseback, in her flowing pink gown and elaborate red-and-gold tack, regards the knight with an expression that is simultaneously inviting and remote; he, horseless, looks up at her with the helpless absorption of a man already lost. The painting captures the poem's central paradox: that beauty and destruction are here inseparable.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrank Bernard Dicksee, \u003cem\u003eLa Belle Dame sans Merci\u003c\/em\u003e, 1902, oil on canvas. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723407925579,"sku":"45bcccb0-a18d-44c3-983d-16d018cad4df","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Dicksee_Mug_front_v3.jpg?v=1787127303"},{"product_id":"thomas-mann-in-kuesnacht-mug","title":"Thomas Mann in Küsnacht, 1930s – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eThomas Mann in Küsnacht, 1930s\u003c\/em\u003e\u003cbr\u003ePhotograph of Thomas Mann at Schiedhaldenstrasse 33\u003cbr\u003eETH Zürich, TMA_0316\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThomas Mann left Germany in February 1933 for a lecture tour and did not return. From September 1933 he rented the house at Schiedhaldenstrasse 33 in Küsnacht, on the eastern shore of Lake Zurich, and stayed five years. He was formally expatriated in December 1936; the University of Bonn withdrew his honorary doctorate in the same month.\u003c\/p\u003e\u003cp\u003eThe photograph shows him on the terrace of that house: wicker chair, flat cap, reading glasses, a manuscript box open on the marble table in front of him. It is not a portrait of the Nobel laureate — the prize was already four years behind him when he arrived — but of an ordinary working morning in exile. Volumes of the \u003cem\u003eJoseph\u003c\/em\u003e novels were written here, while the language he wrote in was being taken over by the state he had left.\u003c\/p\u003e\u003cp\u003eKüsnacht is also where this collection is curated, three streets from that terrace. That is the reason the photograph is in it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePhotograph of Thomas Mann at Schiedhaldenstrasse 33, Küsnacht, 1930s. Photographer unrecorded. Thomas-Mann-Archiv der ETH Zürich, TMA_0316. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211921227,"sku":"19513552-f471-408b-8684-ea05e7ec0fa5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/ThomasMann_Mug_front.jpg?v=1787042993"},{"product_id":"sherlock-holmes-the-reichenbach-falls-mug","title":"Frederic Dorr Steele: Sherlock Holmes, 1903 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eFrederic Dorr Steele\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSherlock Holmes\u003c\/em\u003e, 1903\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eWhen Arthur Conan Doyle brought Sherlock Holmes back from the dead in \"The Adventure of the Empty House\" — published in \u003cem\u003eCollier's Weekly\u003c\/em\u003e on 26 September 1903 after a ten-year absence, following Holmes's apparent death at the Reichenbach Falls — the magazine needed an illustration equal to the occasion. Frederic Dorr Steele (1873–1944) provided it. His cover image of Holmes, shown in deerstalker cap and Inverness cape, became one of the most recognisable portraits of a fictional character in the history of illustration. Steele would go on to illustrate the Holmes stories for American publications over several decades, and his visual interpretation of the detective — lean, intense, the pipe and cape inseparable from the figure — became the dominant American image of Holmes, influencing theatrical productions, film adaptations, and popular imagination well into the twentieth century.\u003c\/p\u003e\u003cp\u003eThe deerstalker and cape were not Doyle's invention: they came from Sidney Paget's earlier illustrations for \u003cem\u003eThe Strand Magazine\u003c\/em\u003e in London. But Steele refined and popularised the look for American readers, and his 1903 \u003cem\u003eCollier's\u003c\/em\u003e cover stands as the moment when Holmes's visual identity was fully consolidated on both sides of the Atlantic. The illustration combines the character's famous penetrating intelligence — evident in the posture, the slight forward lean — with the period atmosphere of the gaslit Edwardian thriller: fog, cape, the suggestion of a London street.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eFrederic Dorr Steele, cover illustration, \u003cem\u003eCollier's Weekly\u003c\/em\u003e, 26 September 1903. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723312210251,"sku":"2138a654-6047-468a-b004-a4f869a2d511","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Sherlock_Mug_front_v4_1262376d-2dd3-49bb-9268-7f49ff5cdd09.jpg?v=1787300584"},{"product_id":"girl-with-the-umbrella-mug","title":"Jessie Willcox Smith: Girl with the Umbrella, 1922 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJessie Willcox Smith\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGirl with the Umbrella\u003c\/em\u003e, 1922\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA child absorbed in her own world under a tilted umbrella, the composition simple and frontal, the colour warm despite the implied wet of the day. The umbrella's angle suggests movement and purpose; her expression is self-possessed. Jessie Willcox Smith understood that children in illustration need not perform cuteness — that the most affecting images are those in which the subject seems unaware of being observed.\u003c\/p\u003e\u003cp\u003eThe picture first appeared on the cover of \u003cem\u003eGood Housekeeping\u003c\/em\u003e in April 1922. Smith (1863–1935) was the most celebrated American illustrator of childhood of her generation, on that magazine's covers for fifteen consecutive years and illustrating editions of \u003cem\u003eLittle Women\u003c\/em\u003e, \u003cem\u003eA Child's Garden of Verses\u003c\/em\u003e, \u003cem\u003eHeidi\u003c\/em\u003e and dozens of other canonical texts. She trained at the Pennsylvania Academy of the Fine Arts and under Howard Pyle at Drexel Institute, and her mature style — warm, richly coloured, with a gift for catching children in unself-conscious moments — was exactly attuned to the culture that bought the magazines. Her covers were collected, framed and treasured by the readers who found them.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJessie Willcox Smith, cover illustration, \u003cem\u003eGood Housekeeping\u003c\/em\u003e, April 1922. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723378860363,"sku":"3c79ced4-d54c-4aac-b437-e9901f8eae3e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/JWS_Mug_front_v3.jpg?v=1787129935"},{"product_id":"rogier-van-der-weyden-adoration-magi-mug","title":"Rogier van der Weyden: Adoration of the Magi, 1455 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eRogier van der Weyden\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAdoration of the Magi\u003c\/em\u003e, 1455\u003cbr\u003eoil on oak panel\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThree kings — one kneeling, his crown set down beside him, two standing — present their gifts to the Christ Child held by the Virgin. The figures are individuated, their costumes described with a jeweller's precision; the ruin in which the Nativity takes place opens onto a landscape behind, connecting the intimate foreground to a world of historical and cosmic depth. It is a composition that manages reverence and ceremony without stiffness.\u003c\/p\u003e\u003cp\u003eThis is the central panel of the \u003cem\u003eColumba Altarpiece\u003c\/em\u003e by Rogier van der Weyden (c. 1399–1464), the dominant painter of the Netherlandish school in the generation after Jan van Eyck. Named after the Church of St Columba in Cologne, for whose Marienkapelle it was commissioned between about 1455 and 1462, the triptych depicts the Annunciation, the Adoration of the Magi and the Presentation in the Temple across its three wings, each rendered with the psychological intensity and technical command that distinguish Van der Weyden from his contemporaries. The altarpiece is today one of the great treasures of the Alte Pinakothek in Munich.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eRogier van der Weyden, \u003cem\u003eColumba Altarpiece\u003c\/em\u003e (central panel: Adoration of the Magi), c. 1455–1462, oil on oak panel. Alte Pinakothek, Munich. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454627659,"sku":"5ea09cd5-5ecf-4992-ab10-683599b0c472","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Weyden_Mug_front_v3.jpg?v=1787125573"},{"product_id":"matisse-la-danse-mug","title":"Henri Matisse: La Danse, 1909 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Danse\u003c\/em\u003e, 1909\u003cbr\u003eoil on canvas\u003cbr\u003eMuseum of Modern Art, New York\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eHenri Matisse painted the first version of \u003cem\u003eLa Danse\u003c\/em\u003e in 1909 as a study for the monumental commission placed by the Russian collector Sergei Shchukin — a work that would hang at the top of the staircase in his Moscow mansion alongside a companion panel, \u003cem\u003eLa Musique\u003c\/em\u003e. The painting shows five figures in a ring, their bodies reduced to bare essentials: pink against green and blue, movement arrested at its most expressive point.\u003c\/p\u003e\u003cp\u003eThe composition has roots in Matisse's own earlier work — a background group of dancing figures appears in \u003cem\u003eLe Bonheur de vivre\u003c\/em\u003e (1906) — but in \u003cem\u003eLa Danse\u003c\/em\u003e everything peripheral has been stripped away. What remains is rhythm, colour, and the suggestion of an energy that predates individual consciousness. The painting entered the collection of the Museum of Modern Art, New York, in 1963.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-la-danse-graveur-mug\"\u003eLa Danse (Barnes Mural), 1933\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eLa Danse\u003c\/em\u003e (first version), 1909, oil on canvas. Museum of Modern Art, New York. Public domain in Switzerland, the EU and the United Kingdom; Matisse died in 1954. This mug is not sold into the United States. Matisse's name identifies the historical artwork; it does not suggest endorsement or affiliation.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57723308376395,"sku":"fce0c01c-dda1-4ca4-9a41-b7de773baf60","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/eb9eca7a-0104-46f4-a87e-28e7e52f502e.jpg?v=1786720238"},{"product_id":"henri-matisse-la-danse-graveur-mug","title":"Henri Matisse: La Danse (Barnes Mural), 1933 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eHenri Matisse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLa Danse (Barnes Mural)\u003c\/em\u003e, 1933\u003cbr\u003eBarnes Foundation mural, 1930–33\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain in Switzerland, the EU and the United Kingdom\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eBetween 1930 and 1933, Henri Matisse undertook his most ambitious single commission: three enormous panels for the Barnes Foundation in Merion, Pennsylvania, depicting dancing figures in a monumental architectural setting. Albert C. Barnes had commissioned the work to occupy the lunettes above the main hall of his museum — irregular arched spaces that forced Matisse to reinvent his approach entirely. The first version, now at the Musée d'Art Moderne de la Ville de Paris, was abandoned when Matisse discovered he had worked to the wrong dimensions; the final version, delivered to the Barnes Foundation in 1933 and installed in 1935, was the largest painting Matisse had ever made.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eBarnes Dance\u003c\/em\u003e — as it has come to be called informally — marks a decisive shift in Matisse's work toward a more austere, architectural style. The figures are simplified to the point of becoming near-geometric, the palette reduced to pink, blue, grey, and black. The three linked panels create a single continuous composition of extraordinary rhythm and power, designed to be experienced in relation to the architecture rather than as an easel painting encountered at close range.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/henri-matisse-la-gerbe\"\u003eLa Gerbe, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-icarus\"\u003eIcarus, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-self-portrait\"\u003eSelf-Portrait, 1930\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-the-snail\"\u003eThe Snail, 1953\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-blue-nude-ii-mug\"\u003eBlue Nude II, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-nuit-de-noel-christmas-night-mug\"\u003eNuit de Noël, 1952\u003c\/a\u003e · \u003ca href=\"\/products\/henri-matisse-les-velours-mug\"\u003eLes Velours, 1947\u003c\/a\u003e · \u003ca href=\"\/products\/matisse-la-danse-mug\"\u003eLa Danse, 1909\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eHenri Matisse, \u003cem\u003eThe Dance\u003c\/em\u003e, Barnes Foundation mural, 1930–33. 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":56856454529355,"sku":"d28aea51-6cfd-4c33-bfb8-9dcce302b3a2","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/0e441058-9170-46cb-bea6-c7652737d148.jpg?v=1786789455"},{"product_id":"the-swing-by-fragonard-mug","title":"Jean-Honoré Fragonard: The Swing, 1767 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJean-Honoré Fragonard\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Swing\u003c\/em\u003e, 1767\u003cbr\u003eoil on canvas\u003cbr\u003eThe Wallace Collection, London\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003ePink and gold light, a sculpted garden space, a flying shoe, and the momentary revelation of a petticoat as the swing rises. The commission behind it was as knowing as the picture: a member of the French court — by some accounts the Baron de Saint-Julien — asked for a scene of his mistress on a garden swing, pushed by a bishop, while he himself lay concealed in the shrubbery below to watch.\u003c\/p\u003e\u003cp\u003eJean-Honoré Fragonard (1732–1806) turned that request into one of the century's great paintings, carried off with a technique of extraordinary delicacy and assurance. The Wallace Collection in London, which has held \u003cem\u003eThe Swing\u003c\/em\u003e since the nineteenth century, describes it as among the most complete expressions of the Rococo spirit — a style devoted to pleasure, elegance and the aestheticisation of aristocratic leisure in the decades before the Revolution swept it away. Fragonard survived the Revolution, outlived his patrons and died in relative obscurity; his rehabilitation as a master came later. The painting, which treats its own frivolity with perfect seriousness, has never required rehabilitation.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eJean-Honoré Fragonard, \u003cem\u003eThe Swing\u003c\/em\u003e, c. 1767–1768, oil on canvas. The Wallace Collection, London. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856454365515,"sku":"665d5ccb-bdec-4624-b569-32f4380dd21c","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Fragonard_Mug_front_v3.jpg?v=1787130321"},{"product_id":"jan-luyken-dirk-willems","title":"Jan Luyken: Dirk Willems Saves His Pursuer, 1685 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJan Luyken\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eDirk Willems Saves His Pursuer\u003c\/em\u003e, 1685\u003cbr\u003eetching\u003cbr\u003eRijksmuseum, Amsterdam, RP-P-OB-78\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eIn the winter of 1569, a man fleeing for his faith turned back to save the very officer pursuing him. That man was Dirk Willems — an Anabaptist from Asperen whose act of mercy on a frozen Dutch river has become one of the most enduring images in the history of religious conscience.\u003c\/p\u003e\u003cp\u003eJan Luyken's etching, published in the \u003cem\u003eMartyrs Mirror\u003c\/em\u003e (1685), has carried this story across the centuries. It captures the exact moment Willems reaches back toward the man who has fallen through the ice — knowing that to save him means his own recapture. He was burned at the stake later that year.\u003c\/p\u003e\u003cp\u003eThis mug bears the complete engraving as it appears in the 1685 edition, cropped to the platemark and printed across the full porcelain surface.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/jan-luyken-workings-of-the-eye\"\u003eThe Workings of the Eye, 1682\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJan Luyken, \u003cem\u003eDirk Willemsz. redt zijn vervolger uit het ijs bij Asperen, 1569\u003c\/em\u003e, etching, in Thieleman J. van Braght, \u003cem\u003eHet Bloedig Tooneel of Martelaers Spiegel\u003c\/em\u003e, Amsterdam 1685. Rijksmuseum, Amsterdam, RP-P-OB-78.442. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":57724211724619,"sku":"976f4bc2-5a5e-4829-9af4-496767b88d22","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Luyken_Mug_front.jpg?v=1787040222"},{"product_id":"venus-de-milo-ideal-greek-beauty-art-mug","title":"Venus de Milo, c. 130 BCE – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eVenus de Milo, c. 130 BCE\u003c\/em\u003e\u003cbr\u003emarble\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe statue is in the public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eThe \u003cem\u003eVenus de Milo\u003c\/em\u003e was discovered in 1820 by a peasant farmer on the Aegean island of Milos, buried in the ruins of an ancient theatre. Within months it had been acquired by the French ambassador to the Ottoman court and presented to Louis XVIII, who donated it to the Louvre — where it has remained ever since, drawing more visitors than almost any other object in the museum. Created sometime between 130 and 100 BCE, the statue is carved from Parian marble in two main sections joined at the hips; its subject is almost certainly Aphrodite, the Greek goddess of love and beauty, though the missing arms have made certain identification impossible. That ambiguity has proved central to the work's long afterlife.\u003c\/p\u003e\u003cp\u003eBy the nineteenth century the \u003cem\u003eVenus de Milo\u003c\/em\u003e had become the exemplar of classical Greek beauty — the standard against which all other representations of the female form were measured. Its influence on Western aesthetics was enormous, and the discovery of its missing arms has been the subject of speculation and fantasy for two centuries. What is beyond dispute is the statue's formal intelligence: the slight rotation of the torso against the lower body, the barely suggested spiral of the composition, the way the drapery pools at the hips to anchor an otherwise floating figure. It is both ideal and specific, remote and intensely present.\u003c\/p\u003e\u003cp\u003eThe mug takes her in profile, head bowed, against a dark ground — the view from her right side, which is the one the Louvre lets you have when the room is full and you cannot stand in front of her.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eVenus de Milo\u003c\/em\u003e (Aphrodite of Milos), c. 130–100 BCE, Parian marble, H. 2.02 m. Musée du Louvre, Paris, Ma 399 (LL 299). The statue is in the public domain; the photograph reproduced here was made by Marie-Lan Nguyen in 2007 and released by her into the public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856453480779,"sku":"b1fedfc2-2a8f-465d-9ede-d768640036c6","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/fe49f899-bfea-417b-abcf-3acd0225cf88.webp?v=1788028778"},{"product_id":"melli-beese-aviatress-mug","title":"Melli Beese, Germany's First Aviatress, 1911 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eMelli Beese, Germany's First Aviatress\u003c\/em\u003e, 1911\u003cbr\u003ePhotographer unrecorded\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eOn 13 September 1911, her twenty-fifth birthday, Amelie \"Melli\" Beese passed her pilot's examination at the Johannisthal airfield near Berlin and became the first woman to hold a German aviator's licence, number 115. The achievement had not come easily: her male colleagues at the flight school sabotaged her aircraft on the day of her first attempt, and she was forced to repeat the test. She passed anyway, flying the required figure-eights and altitude trials with the composure that would mark her whole career. Within months she had founded her own flying school at Johannisthal and was training other pilots.\u003c\/p\u003e\u003cp\u003eThe photograph on this mug is a real-photo postcard from that airfield — printed from the negative onto photographic paper, not reproduced in ink. Two captions are scratched into the negative itself: \u003cem\u003eFlugplatz Johannisthal\u003c\/em\u003e across the top, and at the foot, in quotation marks, \u003cem\u003e„Frl. Beese auf Rumpler-Taube“\u003c\/em\u003e. The „Frl.“ dates the card. Beese married Charles Boutard on 25 January 1913, so the picture was made in 1911 or 1912, in the months around the licence she had taken on a machine of exactly this type. She sits at the wheel in flying helmet and light coat, one hand on the rim, looking straight out of the frame.\u003c\/p\u003e\u003cp\u003eThe same negative also went to the illustrated press. A second sheet in this collection, shown in the gallery, has it as a printed plate: a wider frame that keeps the whole leading edge of the wing and the distant hangar, set in a ruled border, captioned in Fraktur \u003cem\u003e„Fräulein Beese, die erste deutsche Flugzeugpilotin.“\u003c\/em\u003e and credited at the right to the \u003cem\u003eInternationale Illustrations-Agentur in Berlin\u003c\/em\u003e. Two things follow. The picture was agency work — syndicated, not made for one client — which is why the same frame appears both as a postcard and on a printed page. And the two captions on the card are no part of the photograph: the press plate carries neither of them. They were scratched in for the postcard edition, and the wider frame was trimmed away at the same time.\u003c\/p\u003e\u003cp\u003eThe card had been in circulation and shows it: foxing in the sky, a soft crease along the upper edge, the small marks that a century of pockets and albums leaves behind. Those have been taken out for this edition. The tone, the photographic grain and both captions are as they are on the card.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eReal-photo postcard, \u003cem\u003e„Frl. Beese auf Rumpler-Taube“\u003c\/em\u003e, Flugplatz Johannisthal, Berlin, 1911–12. Photographer unrecorded; the negative was distributed by the Internationale Illustrations-Agentur in Berlin, whose credit stands under the press reproduction of the same frame. Both sheets from the collection of Dr. Walther Fuchs; the card scanned from the original at 600 dpi. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":56856453415243,"sku":"f51f572f-c70d-4f40-978b-9cf1ebaabfc5","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Beese_Mug_front_v2_388af291-436b-48e8-81f9-343fb8ae6599.jpg?v=1787307761"},{"product_id":"attributed-to-felix-thiollier-lady-and-horse-in-the-snow-1899-art-mug","title":"Attributed to Félix Thiollier: Lady and Horse in the Snow, 1899 – Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eAttributed to Félix Thiollier\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLady and Horse in the Snow\u003c\/em\u003e, 1899\u003cbr\u003ephotograph in March 2025\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eWhat is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA woman in a long dark coat walks away from us across a snow-covered paddock, a thin whip trailing from her right hand. Behind her a dark horse breaks into a gallop along the rail. Bare trees stand in the falling snow, and the light is so flat that everything except the two dark shapes dissolves into grey. It is an ordinary working moment — a horse being exercised on a winter morning — held with the compositional care of a painting.\u003c\/p\u003e\u003cp\u003eThe photograph is generally published as the work of Félix Thiollier (1842–1914) and dated 1899. Thiollier was a Saint-Étienne industrialist who left business early for art and archaeology, taught himself photography, and spent more than twenty years photographing the Forez — its monuments, its ruins, its people and above all its weather — leaving some three to four thousand negatives. He composed like a painter: deliberate framing, subdued light, deep texture. His descendants gave the surviving archive to the Musée d'art moderne et contemporain de Saint-Étienne Métropole in 2024.\u003c\/p\u003e\u003cp\u003eThe attribution is traditional rather than documented, and this edition says so. Asked about this photograph in March 2025, the museum's Collections service replied that it could not confirm the attribution from its records. The title and the year travel with the picture wherever it is reproduced; neither has a museum source behind it. What is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAttributed to Félix Thiollier (1842–1914), \u003cem\u003eLady and Her Horse on a Snowy Day\u003c\/em\u003e, 1899. Private collection. Public domain. Printed from the best reproduction traced; the motif is set at the size its true resolution supports rather than enlarged beyond it.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58214931530059,"sku":"8eba5719-51b6-4513-9694-53865d55aa24","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Thiollier_Snow_front_3000.jpg?v=1787316287"},{"product_id":"albert-einstein-on-a-bicycle-1933-porcelain-art-mug","title":"Albert Einstein on a Bicycle, 1933 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cem\u003eAlbert Einstein on a Bicycle\u003c\/em\u003e, 1933\u003cbr\u003ePhotographer unrecorded\u003cbr\u003eLeo Baeck Institute, New York, Albert Einstein Collection AR 136, call number F 5314A\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eA driveway in Santa Barbara, February 1933. A man of fifty-three rides towards the camera with both hands on the bars and his whole face laughing. Behind him a white house, a second bicycle propped against the shrubs, shutters open to the winter sun. In front of him, thrown long across the asphalt, the shadow of a bicycle and its rider.\u003c\/p\u003e\u003cp\u003eEinstein had come to California at the beginning of January for his third winter at Caltech. On 30 January, while he was here, Hitler became Chancellor. In the middle of March he decided to go back to Europe and wrote his resignation to the Prussian Academy of Sciences during the crossing; by the time the ship reached Antwerp he had resolved never to set foot on German soil again, and he never did. On 7 October 1933 he sailed for America and stayed. This photograph belongs to the weeks in between — a Berlin professor on a Californian driveway, laughing, with everything about to change.\u003c\/p\u003e\u003cp\u003eThe print is a small snapshot with a deckled edge, its emulsion gone warm over ninety years. It is held at the Leo Baeck Institute in New York, in the Albert Einstein Collection, under the call number F 5314A. The record names the place — in front of Ben Meyer's house in Santa Barbara — but not the photographer.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows the print as the archive holds it, with the part printed on the mug marked. The white border and the staining along the lower edge fall outside the mark; the crease across the upper left corner runs into it and has been retouched, as has a small loss at the corner itself. The mug carries the photograph alone — straightened, cleaned of specks, with the warm tone of the paper kept.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003eAlbert Einstein riding a bicycle, in front of Ben Meyer's house in Santa Barbara, California, February 1933. Photographer unrecorded. Leo Baeck Institute, New York, Albert Einstein Collection AR 136, call number F 5314A. Reproduced by permission of the Institute.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58220226576715,"sku":"b3885e98-62a3-4cd7-8b0c-402651df5bb7","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Einstein_Mug_1_front_3000.jpg?v=1787349412"},{"product_id":"vermeer-the-milkmaid-porcelain-art-mug","title":"Johannes Vermeer: The Milkmaid, c. 1660 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJohannes Vermeer (1632-1675)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Milkmaid\u003c\/em\u003e, c. 1660\u003cbr\u003eOil on canvas, 45.5 x 41 cm\u003cbr\u003eRijksmuseum, Amsterdam; purchased with the support of the Vereniging Rembrandt, inv. SK-A-2344\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; Rijksmuseum open data\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eMilk falls in a thin stream from the jug into an earthenware bowl. It is the only thing in the picture that moves. The maid holds the jug with both hands and looks down at what she is doing; on the table in front of her, broken bread, a basket, a blue cloth. On the wall behind, a nail and the hole where another one was. The room is a back kitchen and the light comes from one window with a broken pane.\u003c\/p\u003e\u003cp\u003eVermeer painted it in Delft around 1660, on a canvas of 45.5 by 41 centimetres — small, and built like a monument. She stands in the light like a statue. The surfaces are made of countless small dots of paint: the crust of the bread, the rim of the basket, the wicker, the highlights along her sleeve.\u003c\/p\u003e\u003cp\u003eIn 2022 the Rijksmuseum scanned the canvas with macro-XRF and short-wave infrared and found two things Vermeer took out. A wooden rack for hanging jugs, sketched in black on the wall behind her head, never carried further. And a fire basket in the lower right — willow, for glowing coals, used to warm an infant or dry linen — painted over with the foot stove, the tiles and the floor. Beneath her left arm runs a thick black line laid in fast. He began roughly, in light and dark, and refined afterwards. The painter famous for his precision did not start with it.\u003c\/p\u003e\u003cp\u003eWhat stayed is at her feet: the foot stove, and beside it on the skirting a row of blue-and-white tiles, one of them carrying a small figure. It sits in the darkest part of the picture, and nobody in the room is looking at it.\u003c\/p\u003e\u003cp\u003eThe painting is upright, so it does not run round the mug as a band. It sits on the front like a picture on a wall — the whole canvas, edge to edge, at the proportions of the original, with the porcelain left white to either side.\u003c\/p\u003e\u003cp\u003eThe fourth product image shows four details at close range: the stream of milk, the bread and the basket, the nail on the empty wall, and the foot stove with its tiles.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/johannes-vermeer-girl-with-a-pearl-earring-c-1665-porcelain-art-mug\"\u003eGirl with a Pearl Earring, c. 1665\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJohannes Vermeer, The Milkmaid, c. 1660. Oil on canvas, 45.5 × 41 cm. Rijksmuseum, Amsterdam, SK-A-2344, purchased with the support of the Vereniging Rembrandt, 1908. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58235430797643,"sku":"555fff51-acbe-4155-b1ca-2a7e5d4a4a6e","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/Vermeer_Mug_1_front_3000_6867e7fe-0511-4189-bcb1-5a634a899e19.jpg?v=1787519083"},{"product_id":"johannes-vermeer-girl-with-a-pearl-earring-c-1665-porcelain-art-mug","title":"Johannes Vermeer: Girl with a Pearl Earring, c. 1665 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003eJohannes Vermeer\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGirl with a Pearl Earring\u003c\/em\u003e, c. 1665\u003cbr\u003eOil on canvas, 44.5 × 39 cm\u003cbr\u003eMauritshuis, The Hague, inv. 670\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003eThe museum publishes this image as public domain through Europeana\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eShe is turning towards you, and the turn is the whole picture. The head is caught mid-movement, the mouth just open, the eyes already fixed — Vermeer painted the instant before someone speaks.\u003c\/p\u003e\u003cp\u003eIt is not a portrait. It is a \u003cem\u003etronie\u003c\/em\u003e, a study of a type rather than a person: an anonymous head in imagined dress, the kind of picture a seventeenth-century painter made to show what he could do. Nobody knows who sat for it, or whether anyone sat at all.\u003c\/p\u003e\u003cp\u003eThe pearl is the demonstration. Look closely and there is no pearl there — two strokes of white lead, one soft and broad for the reflected light of the collar, one sharp on the upper edge, over a ground so thin the canvas shows through. It reads as a pearl only at a distance, which is precisely the trick.\u003c\/p\u003e\u003cp\u003eRecent examination has changed the background. What looks like empty black was once a green curtain, painted in a glaze of indigo and weld that has faded and darkened over three and a half centuries. The girl was never floating in the dark; she stood in a room.\u003c\/p\u003e\u003cp\u003eThe mug carries the whole painting, at the proportions of the canvas, not a detail.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp class=\"tz-series\"\u003e\u003cstrong\u003eFrom the same series:\u003c\/strong\u003e \u003ca href=\"\/products\/vermeer-the-milkmaid-porcelain-art-mug\"\u003eThe Milkmaid, c. 1660\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eJohannes Vermeer, \u003cem\u003eGirl with a Pearl Earring\u003c\/em\u003e, c. 1665. Oil on canvas, 44.5 × 39 cm. Mauritshuis, The Hague, inv. 670. The museum publishes this image as public domain through Europeana.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Default Title","offer_id":58368986186059,"sku":"1df5d52a-2a0b-45ed-976f-0235a59e7908","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/2c429153-deb5-48b8-8e76-10461408c7b4.webp?v=1789021195"},{"product_id":"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"},{"product_id":"paul-gauguin-ta-matete-the-market-1892-porcelain-art-mug","title":"Paul Gauguin: Ta matete (The Market), 1892 – Porcelain Art Mug","description":"\u003cdiv class=\"tz-label\" style=\"border-top:1px solid currentColor;border-bottom:1px solid currentColor;padding:0.9em 0;margin:0 0 1.4em;\"\u003e\n\u003cdiv style=\"font-size:0.72em;letter-spacing:0.16em;text-transform:uppercase;opacity:0.65;margin-bottom:0.5em;\"\u003eThe work on this mug\u003c\/div\u003e\n\u003cdiv style=\"line-height:1.55;\"\u003e\n\u003cstrong\u003ePaul Gauguin (1848–1903)\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eTa matete (The Market)\u003c\/em\u003e, 1892\u003cbr\u003eOil on jute, 73.2 x 91.5 cm\u003cbr\u003eKunstmuseum Basel, gift of Dr. h.c. Robert von Hirsch, inv. 1849\u003c\/div\u003e\n\u003cdiv style=\"font-size:0.8em;opacity:0.7;margin-top:0.6em;\"\u003ePublic domain; image data released by the Kunstmuseum Basel as public domain\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003eFive women sit side by side on a green bench, turned in strict profile, their hands raised in small, deliberate gestures. Nobody looks at anybody. Behind them, under blue tree trunks, figures cross a pale square, and a sixth woman in a red-and-yellow pareu closes the row at the right like a curtain.\u003c\/p\u003e\u003cp\u003eThe stiff, frieze-like order is borrowed. Gauguin kept a photograph of an Egyptian wall painting from a tomb at Thebes, made some 3,300 years earlier, and lifted its seated figures and their raised hands into a Tahitian scene. The title is the Tahitian form of the English word \"market\"; it probably points to the market in Papeete, a place with an ambiguous reputation in colonial Tahiti. Gauguin painted the picture in 1892, during his first stay on the island.\u003c\/p\u003e\u003cp\u003eIts later path is a small history of modern collecting. The Paris dealer Ambroise Vollard set it aside for Karl Ernst Osthaus, founder of the Folkwang Museum; in 1917 and 1918 it changed hands at auction and among dealers in Berlin and Munich. In 1941 the collector Robert von Hirsch, who had left Frankfurt for Basel, gave it to the city as thanks for his Swiss citizenship.\u003c\/p\u003e\u003cp\u003eLook at the lower left corner of the mug: Gauguin lettered the title, TA MATETE, straight into the paint; his signature and the date \"92\" sit at the lower right.\u003c\/p\u003e\u003cp class=\"tz-material\"\u003eFine porcelain, 10 oz — 104 mm high, 75 mm across the base. The image runs around the body; handle and rim stay white. Dishwasher and microwave safe.\u003c\/p\u003e\u003cp\u003ePaul Gauguin, \u003cem\u003eTa matete (The Market)\u003c\/em\u003e, 1892; oil on jute, 73.2 × 91.5 cm. Kunstmuseum Basel, gift of Dr. h.c. Robert von Hirsch, 1849. Public domain.\u003c\/p\u003e\u003cp\u003eSelected by Dr. Walther Fuchs for the Tazzarte collection.\u003c\/p\u003e","brand":"Tazzarte","offers":[{"title":"Fine Porcelain — 10 oz","offer_id":58685799596363,"sku":"5776e7bb-9b6d-4ef8-8558-8e452ce99b28","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0816\/8475\/8859\/files\/d7de12b9-d67d-4cf1-93af-17cd521725c8.jpg?v=1791006329"}],"url":"https:\/\/tazzarte.com\/collections\/people-portraits.oembed","provider":"Tazzarte","version":"1.0","type":"link"}