Javier Calleja

Javier Calleja x Disney Mickey Mouse Now & Future Sofubi Figure

2021

Sold in 'as new' condition.

Javier Calleja x Mira Mikati Basketball Standard size (size 7: 29.5 cm). Sold in mint, unused condition.

Javier Calleja x Mira Mikati Basketball Standard size (size 7: 29.5 cm). Sold in mint, unused condition.

Javier Calleja Parco Hooks Mr. Gunther Figure

Painted cast vinyl 10.5 X 4.5 X 2.5 inches (16.7 X 11.4 X 6.4 cm) Sold in mint condition, unused and as issued.

Complete set of 3 of the highly collectable Kaws Holiday set. Sold in mint condition, unused.

Table top and of a diminutive size, signature stamped on underside of top. Margery worked during the mid-20th century at the Met in NYC.

The giraluna is a spectral plant entity from Leo Lionni's Classic alternate universe  textbook Parallel Botany.  About the Sculpture: The Giraluna This elusive and capricious plant is the Dream Queen of parallel botany. Hydendorp, quite rightly, does not hesitate to define it as the "most parallel of plants, most plantlike of the parallels," and in so doing he stresses not so much its physiognomic oddnesses as the disconcerting normality of its shape. "If we were in the jungle," he writes, "and we found one blocking our way, we would not for an instant hesitate to hack it down with our machetes."1 But it will not be our good fortune to encounter it. If in reconstructions the Giraluna displays considerable plantness of form and an exact and convincing solidity, in its natural environment it can be perceived only as a nebulous interplay of glimmerings and empty spaces which alternate in the darkness and vaguely suggest where its outlines might be. (pl. XXIV) Its nocturnal presence, in fact, is manifested almost entirely in terms of the equivocal O'-factor of the moonbeams, which was discovered and measured a few years ago by Dennis Dobkin of the Point Paradise Observatory. This factor changes the light-shade ratio which normally defines volumes into a subtle interplay of lucencies and opacities, so that our perceptions, our basic sensorial habits conditioned by thousands of years of daytime life in the "solar key," would need complete readjustment and indeed reversal in order to come to terms with it. Daylight isolates objects, bestowing a noisy Meaning on all the odds and ends in the world. But night takes everything away except the very soul of things: a black light, a transparent darkness, a secret we cannot grasp. During the long night of the Erocene era man caught a glimpse of the Giraluna rising mysteriously in its barren landscape. Presolar man imagined himself the child of the Moon. In her lap he had known the comfort of the life, silent torpor of the night, and by her light he had seen silver pearls lie weightlessly upon the coronas of the first great flowers. But he left us only a few enigmatic signs of all this: the Feisenburg cave, the petrified bones in the Ahmenstadt tumulus, the Boergen Cup. Paradoxically enough, all that we do in fact know of his presence in that landscape comes to us from our study of his nocturnal vegetation, Around the middle of the Erocene era, when the flowers of night were fading away in the light of a new dawn, man saw that outlines and colors were slowly hardening. Thus he discovered the stone-hard world of day, and learned to be the child of both Sun and Moon, of Amnes and Ra, of Disarm and Karak, of Nemsa and Taor. The "crawling stones" of Yorkshire, the stele of Tapur, the graffiti of Klagenstadt, these have preserved for us the nearly obliterated images of the two divinities who from the center of their temples drew the design of the universe. But the Sun was not long in attaining absolute power over everything in the world. "O Ra, o Amno Ra our benefactor, glowing and flaming! Gods and men bow down before you, for you are their creator and their only Lord." Such was the prayer of Amresh, High Priest of Egypt. And a new vegetation, outspoken and exuberant, appeared on the earth, and made the bright leaves dance in the morning breeze. Night soon became no more than a dark corridor joining one day to another, a place of visions and memories, a storehouse of words and images. It became a secret refuge where the vanished flowers could once more flaunt their coronas to the Moon. And thousands of years later the black flowers of that distant night-Giraluna, Lunaspora, Solea argentea-were born from seeds hidden deep in a soil rich with legends and stories. If our knowledge of the Giraluna is today reasonably complete and detailed this is due to the industry and scholarship of Professor Johannes Hydendorp of the University of Honingen, who has collected and collated all known facts and kept his records abreast of the latest developments. Our historical and geographical information comes from the most varied sources: legends and folk tales handed down from generation to generation, accounts given by explorers, anthropologists, and paleontologists, and of course the more recent testimony of botanists such as Heinz Hornemann and Pierre Maessens. Source: Sivatherium. narod .edu About Sculpture: Leo Lionni is best known today for his children's books: Little Blue and Little Yellow; Frederick—the one about the mouse who gathers poems while his family is harvesting seeds for the winter—Swimmy the Fish. Of course the children don't remember his name, but to parents and grandparents, the ones who actually do the reading, he is something of a celebrity. Most people don't realize that Lionni is also one of the 20th-century's most influential graphic designers. Within that field, he is a legend. In fact, he didn't start doing children's books until he had left the world of advertising, teaching, and design to allow more time for contemplation and for art. Little Blue and Little Yellow (1959) began as an improvised entertainment for bored grandchildren. What can you do with a few scraps of colored paper and a lot of imagination ? Make the first best-selling children's book illustrated with abstract art. Before that his work as design director for Olivetti Corporation of America and the art director of Fortune magazine, the co-founder of the Aspen...

Alexander Kosolapov (Russian/American, b. 1943) "Mickey Lenin Malevich" Bronze sculpture and wood base ( inspired by Malevich Arkhitektons) Provenance : Galerie Vallois Expo sept/oct. 2010 Model Presented at the exhibition 'Alexander Kosolapov: Lenin and Coca-Cola' at the Moscow Museum of Modern Art. (29 Nov 2017?—?11 Feb 2018 Bronze with a golden brown patina, height 39 cm,H with “Malevich base” 132 cm Signed "A. KOSOLAPOV" and numbered ? on the bronze base on the reverse, title provided by the artist Condition: Bronze perfect, small dirt on the base (certificate of authenticity provided) N.B. Alexander Kosolapov's sculptures, paintings, and prints provoke harsh criticism, sometimes censorship, and often humor. His jokes are not partisan—they poke at both Russia and the United States. He appropriates imagery from Soviet history, pop culture, religion, and art history that he combines in often subversive ways. Taking a cue from Andy Warhol, Kosolapov delights in iconic symbols of American consumerist culture. For Kosolapov, these include Mickey Mouse, Marlboro, and Coca-Cola, images of which he links with political and religious figures central to Russian culture, including Stalin, Lenin, and Christ. He never forgets his place in the continuum of art history, often including some nod to artists who preceded him. In Mickey-Lenin, the major players are obvious: Mickey Mouse and Vladimir Lenin, and the connotations come easily: East-West, Russia-United States, communism-capitalism, good-evil, and high-low. Kosolapov modeled the figure's body after statues of Lenin by the Soviet sculptor Nikolai Tomsky, and its pose is that of a classical Roman figure sculpted in the traditional medium of bronze. Kosolapov developed the idea for Mickey-Lenin shortly after immigrating to the United States in 1975. He found the discarded plastic head of a Mickey Mouse toy, took it home, and placed it atop a small sculpture of Lenin that he kept on his desk. Kosolapov identifies with a movement known as Sots Art. Developed in Moscow in the 1970s by the art duo Komar and Melamid, Sots Art (an abbreviation of "socialist pop art") reacted against the conformist...

George Tinworth for Doulton Lambeth “The Playgoers” A group of 3 mice watching a “Punch and Judy” show flanked by a Musician playing the Drum...

Pair of brass mouse form decorative objects. Etched design detail. Signed made in India. Dimensions are of each individual item.

Burmese wooden mouse. Age: Burma, 20th century Size: Height 11.5 C.M. / Width 7 C.M. / Length 12.4 C.M. Condition: Nice condition overall (some expect...

Adorable Solid Bronze Mouse sculpture jewelry ring holder or paperweight by Richard Rohac. Austria 1940s Art Deco. Artist signed R.R Richard Rohac ma...

Richard rohac Mouse ( signed ) vienna around 1950s Original condition.

Urban Minerva designed by Elena Salmistraro for Bosa is a sculpture made of ceramic, with handmade multicolored decorations. The sculpture was born from a collaboration between Bosa ...

Unusual, fun, pair of art deco, marble and bronze, mouse, sculpture bookends. One mouse is absorbed acquiring knowledge reading a book and the other is curiously looking towards the...

Javier Calleja LITTLE MICKEY GREY Date of creation: 2023 Medium: Polyvinyl chloride & crystal glass Edition: 350 Size: 30 × 26 × 21 cm Condition: Brand new, inside its custom package...

In conjunction with The Walt Disney Company (Japan) Ltd., NANZUKA has curated an exhibition titled “Mickey Mouse Now and Future.” The show brings together an international cast of a...

Plastic Open edition Unsigned and unnumbered New, as issued. Minor imperfections may appear due to the nature of the materials

Vinyl, PVC and crystal glass sculpture Unknown edition 30 x 11.6 x 12 cm (11.8 x 4.6 x 4.7 in) Not signed or numbered New, as issued. Minor imperfections may appear due to the nature...

Set of 5 hooks in PVC, crystal glass, aluminum alloy and zinc alloy Unknown edition 6.4 x 6.6 x 6.7 cm (1) 6.4 x 7.1 x 7.3 cm (2) 7.2 x 8.1 x 7.3 cm (3) 7.6 x 9 x 7.9 cm (4) 9 x 10.8...

Ceramic vase, crystal green eyes Edition of 500 Signature, edition, date with publishers embossed on bottom New, as issued. Minor imperfections may appear due to the nature of the ma...