Null Lino Tagliapietra Nascita: 1934
L. Tagliapietra, Effetre, Murano 1987 A blo…
Description

Lino Tagliapietra Nascita: 1934 L. Tagliapietra, Effetre, Murano 1987 A blown glass vase from the La donna in jeans series with a polychrome cane decor. Engraved signature Lino Tagliapietra Effetre International Murano 1987 height cm 31

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Lino Tagliapietra Nascita: 1934 L. Tagliapietra, Effetre, Murano 1987 A blown glass vase from the La donna in jeans series with a polychrome cane decor. Engraved signature Lino Tagliapietra Effetre International Murano 1987 height cm 31

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Olympic Games/ Summer, 1934-1988-1992/ Original poster: "Badminton, A True Sport". On this fabulous lithograph signed by the great Maurice Lauro (1878-1934) in the late 1920s, the battle for Badminton's recognition is intense. At the time, Badminton enthusiasts were cunningly and artistically trying to fill the double gap left and opened by lawn tennis. Indeed, lawn-tennis disappeared from the Olympic program after the Paris Games, and this self-proclaimed "sporting" creation was an attempt to seize power - bad could well take over, couldn't it? The problem was that, in 1927, the Musketeers filled the gap by conquering and defending the Davis Cup. The opportunity for succession became less obvious, and the two disciplines remained in the Olympic shadows until the 1980s. Tennis demonstrated in 1984, and badminton in 1988, at home in Seoul. Neither would pass up the opportunity. With this iconic work, Lauro is the keystone of this long adventure for recognition, which had already borne fruit in 1934, the year of the artist's death, with the emergence of an International Federation for the discipline! This graphic construction is so accurate that we can reasonably assume that the artist must have been a practitioner, and that this cry from the heart: "Badminton is a real sport", was indeed his, and certainly not the fruit of chance or a commission, he could not have gone so far and "played" so accurately. In short, if badminton has been able to survive, develop and spread throughout the world, with now a staggering 400 million shuttlecock enthusiasts, it's because of its beauty and sporting dimension, of which Lauro is the dazzling interpreter here. As you know, this commando operation culminated in 1988 in Seoul, where the discipline is king, as it is throughout Asia. Only as a demonstration, it passed through the Olympic gates in Barcelona in 1992. Since then, it has not become indispensable, but essential to the Olympic program. And while Asia remains the driving force, Europe, with Spain and Denmark, is not giving its tongue to the dragon, as France's discreet but talented representative at the 1996 Games, Etienne Thobois, will tell us. All the more so as the French are now also flying aces, and have become at least as competitive as their tennis cousins. Please smile, Mr. Lauro, and for real...Lithograph, canvas, 64x44. Exceptionally fresh. Maurice Lauro (1878-1934) Badminton" poster Size: 64 x 44 cm Restoration. In this lithograph, the artist has managed to capture the lively soul of a sport that sometimes borders on dance. He had started out as a press cartoonist, making a name for himself before the Great War in "Le Rire", as well as "Le Journal", "Le Pêle-Mêle" and "l'Almanach Vermot" (1906-1919), his longest collaboration. Then came the Roaring Twenties, and his transition to fashion and posters was a success. His posters for Trouville, La Baule and Nice (Palais de la Méditerranée) were born, as was his work for Champigneules beer and Automoto bicycles. He died in 1934, the year the International Badminton Federation was founded. One specialist speculates that this 1925 image was intended for Dieppe, one of the sport's first strongholds from 1908. Badminton has been an Olympic sport since 1992.

ANDY WARHOL (Pittsburgh, USA,1928-New York, USA,1987). "Lana Turner," 1985. Polaroid photograph. Unique copy. Attached certificate of provenance, indicating that the work comes from "Estate of Andy Warhol", and the "Andy Warhol Foundation for the Visual Arts". Measurements: 10,8 x 8,6 cm. Lana Turner was an American actress. Throughout her nearly 50-year career, she achieved fame as a pin-up model and film actress, as well as for her highly publicized personal life. By the mid-1940s, she was one of the highest-paid actresses in the United States and one of Metro-Goldwyn-Mayer's (MGM) biggest stars. Turner is considered a popular culture icon of Hollywood glamour and a screen legend of classic Hollywood cinema. Andrew Warhola, commonly known as Andy Warhol, was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered in his time a guru of modernity, Warhol has been one of the most influential artists of the 20th century. The son of Slovakian immigrants, he began his art studies at the Carnegie Institute of Technology between 1945 and 1949. In the latter year, already established in New York, he began his career as an advertising cartoonist for various magazines such as Vogue, Harper's Bazaar, Seventeen and The New Yorker. At the same time he painted canvases whose subject matter was based on some element or image from the everyday environment, advertising or comics. Soon he began to exhibit in various galleries. He progressively eliminated from his works any expressionist trait until he reduced the work to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its maximum level of depersonalization in 1962, when he began to use a mechanical silkscreen printing process as a working method, by means of which he systematically reproduced myths of contemporary society, the most representative examples of which are the series dedicated to Marilyn Monroe, Elvis Presley, Elizabeth Taylor or Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. This appropriationism, a constant in the works of the proponents of pop art, extended to works of art of a universal nature. By means of mass reproduction, he managed to strip the media fetishes he used of their usual referents and turn them into stereotyped icons with a merely decorative purpose. In 1963 he created the Factory, a workshop in which numerous figures from New York's underground culture gathered around him. The frivolity and extravagance that marked his way of life eventually established a coherent line between his work and his life's trajectory. He is currently represented in the most important contemporary art museums in the world, such as the MoMA, the Metropolitan and the Guggenheim in New York, the Fukoka Museum in Japan, the Kunstmuseum in Basel, the National Art Museum of the 21st century in Rome, the MUMOK in Vienna, the SMAK in Ghent and the Tate Gallery in London, as well as in the museums that bear his name in Pittsburgh and Medzilaborce (Slovakia).