UMJETNOST

Jeff Koons Black Balloon Dog Editions Studio Cold cast resin Comes with its original box Limited edition 999 number engraved under the foot of the dog Edtions Studio 30x30x12cm

Josip Vaništa Portrait by Gorgona photographer Branko Balić Zagreb, 1959. In the first days of Gorgona group Dated by Josip Vaništa on back Stamped by Branko Balić Originalna vintage (silver gelatin print) fotografija. 18x24cm

Braco Dimitrijević: His Pencil's Voice / Njegove olovke glas B/W photos Sven Stilinović & Fedor Vučemilović Galerija SC & Muzički salon Teatar ITD, Zageb, 1973. In very fine codition. Very very rare. Ursula Block’s seminal catalog of art records and anti-records, entitled Broken Music, includes several artifacts that today are coveted by collectors of unusual records. One seminal item in that catalog Njeqove Olovke Glas, a.k.a. His Pencil’s Voice, a “record” produced by the conceptual artist Braco Dimitrijević: he piece is an LP jacket with a piece of cardboard inside; the “record” is a piece of cardboard inside the jacket. Dimitrijević used a pencil to draw a spiral on the cardboard record, meant to represent the its grooves. The title, His Pencil’s Voice, is no doubt a reference to the early record label, His Master’s Voice: Little is known about His Pencil’s Voice, so I emailed Braco Dimitrijević to learn more. He is a man of few words, always keeping things to the point when conversing via email. He explained that His Pencil’s Voice was created for a solo exhibition in London’s Situation Gallery, which was a linchpin of the modern art scene in the seventies. “What bothered me always was the process of realization from the idea, the sketch to the final art work,” he explains. “This was not only in visual arts, but in music too. So I wanted to create a record with no score performed, but what is written is drawn to be played.” In essence, Dimitrijević saw His Pencil’s Voice as a more direct way of producing a final art product, cutting out the laborious production process. “I drew by hand the spiral on the paper and brought it to printers to make a zinc plate to emboss and print the label,” he recalls Source: Anomaly Index.

Boris Bućan Art Original poster for Bućan Art Galerija Studentskog centra Zagreb, 1973. Silkprint 43x59,5 cm Signed

Dalibor Martinis: Sanja Iveković Plakat izložbe Sanja Iveković; Dokumenti 1949 - 1976. Galerija suvremene umjetnosti, Zagreb 10.-30.12.1976. High Quality Screen Print / visokokvalitetan sitotisak Atelier Brane Horvat / Studio S 97,5 x 67,5 cm

Josip Vaništa: Gorgonska crna Noir de Gorgona Gorgona's Black Karta Silkprint / svilotisak 9,5x5,5 cm Zagreb, 1961. godine

Juraj Dobrović: SK 1-3 64x49 cm Signed and numbered Atelijer Brane Horvata (Horetzky) Zagreb, 2002. High-quality Sitotisak / Silkscreen

Vlado Martek Mixed Media Tekst grafitnom olovkom + gumica za brisanje Signed and dated Vlado Martek, 1982. 43 x 52 cm (19x29 cm)

Dean Jokanović Toumin Linija kao dimenzija prostora The Line as a Dimension of Space Multiple - X Zagreb, 2017. Signed and numbered Edition 10 Aluminium / Steel 38 cm

Mangelos: Fenomen Picasso Novi Sad, Tribina mladih 17.-30.04.1972. Sitotisak / Silkprint Plakat: 29,6x39,6 cm

Nove tendencije 1-5 (komplet) Komplet kataloga za Nove tendencije / Nova tendencija / Tendencije Zagreb, 1961/1973 Design Ivan Picelj Format 20x21 cm Iznimno rijetko u kompletu.

Ivan Picelj: Knifer High Quality Screen Print / visokokvalitetan sitotisak 50x70 cm Galerija suvremene umjetnosti zagreb katarinin trg 2 24.11-13.12.1970. Bijela podloga, crni meandar. Gore tekst u tisku plave.

Plakat za izložbu Tendencije 5, Zagreb 1973. Design Ivan Picelj Silkprint / Sitotisak Tendencije 5 (Konstruktivna vizuelna istraživanja; Kompjuterska vizuelna istraživanja; Konceptualna umjetnost) - Tendencies 5 (Constructive Visual Research, Computer Visual Research, Conceptual Art). Exhibition, organized by the Galerija suvremene umjetnosti [Gallery of Contemporary Art], Zagreb. Tehnički muzej [Technical Museum], Zagreb, 1 June – 1 July 1973.

Marijan Jevšovar: Gorgona 3 Zagreb, 1962. Stanje: odlićno. Condition: very good. Periodical with screenprinted cover and screenprinted insert. page (each): 8 1/4 x 7 9/16" 21 x 19.2 cm Marijan Jevšovar was born in Zagreb in 1922. Besides his painting, he was an accomplished graphic designer, specialized in books and posters. He died in 1998 in Zagreb. The art of Marijan Jevšovar is punctuated by his association with Gorgona (1959 -1966).

Periodical with screenprinted cover and relief half-tone plate Dimensions page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) Zagreb, 1961. The Gorgona Group was a Croatian avant-garde art group which consisted of artists and art historians: Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa, operated along the lines of anti-art in Zagreb between 1959 and 1966. Beside individual works linked to traditional techniques, the members proposed different concepts and forms of artistic communication and published the anti-magazine Gorgona - 11 issues.

Nuova Tendenza 2 Design Ivan Picelj Plakat za talijansku izložbu Novih tendencija 2 Venecija / Venice 1963/64. Print: stamparia di Venezia

Knjigarad = Bookwork. Artist Book. Limited and Rare. Galerija Studentskog centra, Zagreb 1980. This book is stapled in the center, creating space for a catalogue for two artists. The left side contains Martek's work and the right side contains Stilinović'

Maj 75, broj A; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Ivan Picelj - originalni plakat iz 1969. godine. High-quality Sitotisak / Silkscreen 50x70cm Aleksandar Srnec - Galerija suvremene umjetnosti, Zagreb, Katarinin trg 2 10.1-2.2.1969. Crna podloga, gore prezime autora zelenim. Raster od 8 sivih kružnicas upisanim ružičastim okomito i dijagonalno postavljenim nizovima koje čini5 međusobno spojenih kružnica. Između njih tekst bijelim. Autor: Ivan Picelj

Goran Trbuljak: Zapisi jednog umjetnika Les ecrits d'un artiste Silkprint / Sitotisak 48,9 x 68,8 cm Motovunski susreti, 1978 Signed and numbered 37/50

Sanja Iveković: Ljubica Gerovac (Linda Evangelista) Gen XX, oglasi u časopisima i novinama, 1997 – 2001. Plakat 68x98 cm Gen XX,” 1997–2001, presents posters of famous supermodels emblazoned with the names of female Yugoslav World War II heroes Iveković equipped the photos of professional models with the names and brief stories of women who were celebrated under socialism as “national heroines,” who are today erased from the public consciousness. The space of common knowledge or familiarity from the socialist past was evacuated in favor of popular mass culture and commercial icons. Iveković utilizes these vehicles of everyday contemporary popular literacy and invests in them content with (generally absent, and to contemporary standards unattractive) historical knowledge.

Rok 1-4 Rok 1 - Beograd 1969. godine. 22x22cm Rok 2 - Beograd 1969. godine. 22x22cm Rok 3 - Beograd, 1969. Oprema Branko Vučičević (ZMKS) 14x20cm Rok 4a - Beograd, 1970. 21x20,5cm In prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen

EXAT 51: Manifest EXAT 51: Manifest Zagreb, 1953. A4 obostran + Proglas ONIMA, povodom zagrebačke izložbe, pisan na pisaćem stroju. Zagreb, Dvorana Društva arhitekata Hrvatske, 18.02.-04.03.1953. + EXAT 51: Zagreb 1953. Iznimno rijetko. Zagreb, Dvorana Društva arhitekata Hrvatske, 18.02.-04.03.1953. Pozivnica za izložbu Exat 51: Kristl / Picelj / Rašica / Srnec Design Ivan Picelj Jednobojni tisak (tamnosiva) na bijelom papiru. 25x11cm Stanje - odlično.

A (Edition a) 4. Serigraphie Brano Horvat. Ivan Picelj, vlastita naklada, Zagreb 1964. Founded by the painter Ivan Picelj edition a represented the aesthetic and ideological positions of the international art momevent New Tendencies, which took root in Za Anti gravi graphitron