Giuseppe Armani Topolino (Mickey Mouse) Hand Signed Sculpture 109A
Status: In Stock | Condition: New | Edition:n/a Sculpture | Edition Size: Open Edition | Dim:4 1/2 | Giuseppe Armani| Item #: 109A
Price: $ 399.00 USD..
9/18/2025 $133.00 1st payment
10/18/2025 $133.00 2nd payment
11/17/2025 $133.00 3rd & final payment
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Art Terminologies
Giclée - A computerized reproduction technique in which the image and topography are generated from a digital file and printed by a special ink jet printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques
Lithography - Printing technique using a planographic process in which prints are pulled on a special press from a flat stone or metal surface that has been chemically sensitized so that ink sticks only to the design areas and is repelled by the non-image areas. Lithography was invented in 1798 in Germany by Alois Senefelder.
Serigraphy (Silk-screen) - A printing technique that makes use of a squeegee to force ink directly onto a piece of paper or canvas through a stencil creating an image on a screen of silk or other fine fabric with an impermeable substance. Serigraphy differs from most other printing in that its color areas are paint films rather than printing ink stains.
Remarque – Additional enhancements by the artist on some or all of the final prints within an edition
Artist's Proof (AP) - Print intended for the artist's personal use. It is common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by its French épreuve d'artist (abbreviation E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left of the work.
“Gallery wrapped” is a way of finishing a canvas artwork so it’s ready to hang without needing an additional frame. The canvas is stretched tightly over thick wooden stretcher bars, and the edges of the canvas are wrapped around the sides and stapled on the back.
Stretched - When a canvas is described as stretched, it means the artwork has been pulled tightly over a wooden frame (called stretcher bars) and secured on the back. This process keeps the canvas flat and smooth, ready to hang on the wall or to be placed inside an outer frame.
Hand Embellished - When an artwork is hand embellished, the artist (or a skilled studio artisan) personally adds paint, texture, or other details by hand on top of the printed or finished piece. This gives each artwork unique highlights and depth, making no two pieces exactly alike — even within the same edition.
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Status: In Stock
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Giuseppe Armani Topolino (Mickey Mouse) Hand Signed Sculpture is eligible for 3 equal layaway payments in store, with a credit card of $133.00 made every 30 days over a period of three months. US & Canada orders only.
Topolino (Mickey Mouse) Disneyana Convention - 109A
NOTES: History of Topolino: Jasmine and Rajah was the 1996 Disneyana Armani Limited Edition. Awaiting Disney approval for sculpts created tremendous time constraints. When Jasmine and Rajah shipped from Italy, the wood bases were not completely dry. Those who purchased the sculpture at the Convention could choose to wait to receive their newest treasure while the bases were redone. Topolino was sculpted to reward those patient enough to wait for their Jasmine and Rajah..
Topolino (Mickey Mouse) Hand Signed 109A Sculpture by Giuseppe Armani
comes in the original Armani packaging.
image Copyright © 2025 by Giuseppe Armani
***Armani Sculptures sold by the The Collection Shop are all the original, genuine Armani Figurines made in Florence Italy.***
Giuseppe Armani bio
Giuseppe Armani was born in Calci, Italy, in 1935. From the moment young 'Bebe' could pick up a pencil, he drew. He drew everything he saw. He drew everyone he knew. He drew all day long. Armani's parents were amazed at Giuseppe's prodigious output and they recognized that their little boy's sketches were more than just the whimsical drawings of most children. Uncanny realism and attention to detail revealed Giuseppe's true talent. He had The Gift. Giuseppe's teachers decided that Armani should attend the Academy of Fine Arts in Florence. Unfortunately, as the arrangements were being made, his father died unexpectedly. The family needed Giuseppe now. Art school was forgotten. But the Art was not. Giuseppe Armani's natural talent was finally recognized when a local priest organized an exhibition of young artists; Giuseppe entered a sculpture of a classically inspired male torso. The work was greatly admired for its extraordinary anatomical precision. When the torso was taken to the Art Gallery in Pisa -- located across the street from the famous Leaning Tower -- Giuseppe Armani's talent was rewarded with the offer of a permanent job there. In Pisa, Armani's dream of studying art was finally realized. He immersed himself in the great masterpieces of the Renaissance that he had only read about in books. He travelled to Siena and Florence and began to hone his personal style; Giuseppe drew heavily on the style of 16th Century Florentine Renaissance. Sculpture, Armani realized, allowed him to work in three dimensions. He infused life, character and even soul into his works. Giuseppe experimented in wood, clay, alabaster and marble and his reputation grew with each breathtaking creation. Art admirers soon started flocking to the gallery to see Armani's latest efforts. In 1975, the Florence Sculture d'Arte, recognizing Armani's genius, offered him the opportunity to work exclusively for them. He would be encouraged to give free rein to his artistic muse. Giuseppe Armani accepted. For more than 20 years Armani has created masterpieces ranging from traditional Capodimonte style to more daring, contemporary, sometimes whimsical sculptures. Always, Giuseppe infused his figurines with breathtaking realism -- with a spark of life. This continues to amaze even his many admirers the world over. Giuseppe Armani describes his credo this way: "Although I consider myself a direct descendant of the Renaissance heritage, I believe that an artist has to follow his own evolution and not solely be a ruminant of the past, as glorious as it may have been. An artist conducts a search that may lead him far out in exploring new areas of interest. I continually search to discover new and better means of expression.
