GALERIJA

Ivan Kožarić Sferna površina, 1970. Olovka,akvarel, gvaš na papiru 60x78 cm Signed and dated

Gera Urkom Akril / ulje na papiru 40x30 cm Signed G.U Signed and dated at back H: Urkom 2015.

Goran Trbuljak Star i ćelav, tražim galeriju Old and bald, I search for gallery Zagreb, 1994. Silkprint 46x70 cm Signed at back: GT 1994.

Ivan Kožarić Zagreb, 1980. Olovka, akvarel, gvaš na papiru 50x70cm Signed and dated

Željko Jerman: Kemikalije na foto papiru photochemicals on photopaper Intervencija / rad fotokemikalijama na foto papiru.

Braco Dimitrijević: His Pencil's Voice / Njegove olovke glas Signed and dated. B/W photos Sven Stilinović & Fedor Vučemilović Galerija SC & Muzički salon Teatar ITD Zageb, 1973. Single. Jacket / wrap & "records". In very fine codition. Very very rare.

Mangelos - manifest; o društvu bez umjetnosti. 50x70cm, screenprint on paper. An active member of the Gorgona group in Zagreb from 1959 to 1966, Dimitrije Bašičević was a conceptual artist devoted to the idea of “anti-art” and a desire to mov

Jeff Koons Pink 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

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

Ivan Picelj: CM-15-MA Zagreb, 1967. Dimensions 70×70 cm Technique: Silkscreen

Goran Trbuljak Tendencije avangardi u hrvatskoj modernoj umjetnosti, 1919. – 1941. Plakat za izložbu Galerija suvremene umjetnosti, Zagreb, 1982. Tisak SC / Grafički servis Studentski centar, Zagreb

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

Željko Jerman Bez naziva 1990's Intervencija / rad kemikalijama na foto papiru 50x60 cm Non signed

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

Vlado Martek Mixed Media Nova umjetnička teorija Tekst grafitnom olovkom + gumica za brisanje Signed and dated Vlado Martek, 1979. 19x29 cm

Vlado Martek Mixed Media Ispraćaj klasnog Podrooma Tekst pastelom + gumica za brisanje Signed and dated Vlado Martek, 1979. 19x29 cm

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

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

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

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.

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

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

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

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.