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Mixed Media. Artist's Book. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stoljeća Notes je kupljen u Los angelosu, i prvih par stranica je bilo korišteno

Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book iz 2009. godine. Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stol

Bakropis s likom i potpisom bana Jelačića. Muzejski primjerak. Bakropis je nastao negdje oko 1850. godine. Josip grof Jelačić Bužimski (Petrovaradin, 16. listopada 1801. - Zagreb, 20. svibnja 1859.), general i hrvatski ban od 1848. do 1859., član plemićke

The Corrections (TRUE FIRST - SIGNED.) Hardcover. First Edition (first printing). As new copy in like first-state dust jacket. Pages 430 and 431 reversed. Erratum slip laid in. Winner of National Book Award and fin Autor: Jonathan Franzen Izdavač: Farrar, Straus & Giroux, New York Izdanje: prvo / first Godina: 2010 Uvez: tvrdi + ovitak Format: 16x23.5 Stranica: 562 Jonathan Franzen: Freedom

Published between 1997 and 1998, seven issues in total. Publisher: Arkzin, Zagreb. Publishing manager: Vesna Janković. Editor-in-chief: Dejan Kršić. Arkzin was a periodical published in Zagreb, Croatia, from 1991 to 1998. It began as a political fanzin

The artist’s book “Ich habe keine Zeit” (“I don’t have time”) can be interpreted as a paradoxical call to practise this cherished laziness. The artist recommends to read the book line by line, from the beginning to the end, and in particular at a time whe

Skopje: Potres / EarthQuake 26.07.1963. Skopje: 26.07.1963. Potres. Luksuzno izdanje, napravljeno za državnike i diplomaciju. Mekana, fina koža.

Ja se zalažem za poeziju a vi je samo pišete. Artist's book. Samizdat Vlade Marteka iz 1982. godine. Sitotisak. Klamano. Dvije vrste papira. Vrlo rijetko. U odličnom stanju. Vlado Martek (Zagreb, 1951) is a poet, visual artist and writer. In the mid-sev

Putopis jednog od najvažnijih autora srpske moderne i avangarde. Prvo izdanje iz 1930. godine. Geca Kon, Beograd. Sa jednom putopisnom kartom od Aleksandra Deroka. U vrlo korektnom antikvarnom stanju, tragovi vremena. Ex Yugoslavia (1910-1945) avant -

Stjepan Planić: Problemi savremene arhitekture Zagreb, 1932. 23x31 cm 240pp Tvrdi uvez In Planiæ's practice of building detached houses on hills and green slopes of woodlands of the Sljeme, the regulation defining that living spaces should be looking on the street, opening the possibility of a representative façade, and the utility spaces at the back of a house, proved to be senseless and unreasonable. One of his earliest projects, a house in Jabukovac, will from that time on serve as an example of an architect's victory in his endeavours to create architecture "intended for the better life of man". Planiæ's belief in humanistic principles of the modern architecture, his persistence in the struggle to realise them and the strength of his argumentation, with considerable quantity of his personal charm, won him the triumph in confronting the regulations. It would "in the future be the aim of progress, not an obstacle." He spoke of this optimistic delusion of his, from that time, on the occasion of receiving the Life Achievements Award "Vladimir Nazor" in 1968. "The struggle for the modern is not yet won." The drawings accompanying Planiæ's projects during the interwar period witness of his personal friendship with a distinctive and a great painter Ernest Tomaševiæ, who graphically designed a number of Planiæ's articles, exhibitions and competition works. Planiæ's opus, with 700 projects and realisations, as far as we know, belongs to the most numerous and is also one where family houses prevailed around which he designed gardens. In the most individual and authentic manner he applied the vocabulary of the two idioms of the contemporary architecture - the international functional and the regionally organic. Combining the two on a structural level he created works (the stereometrically pure Round Villa in Gornje Prekrižje, the Tomislav Mountaineers Home of an Y- layout from the thirties and the cube-house from the fifties), which are anthology examples of the 20th century art memorials, as well as of the entire Croatian architecture. My assumption is that the Zagreb School of modern architecture managed to realise syntheses hard to find elsewhere, primarily in the works of Drago Ibler and Stjepan Planiæ. I believe that when explaining the Zagreb school of modern architecture, as we call it, it would be proper to apply a thesis of Ljubo Karaman, our local art historian of "creating the freedom of a peripheral environment", instead of inappropriately importing hypotheses pertaining to literature and ideology. It can explain the specificity of Ibler's and Planiæ's opuses in an infinitely more objective and convincing manner, even of the Zagreb school of modern architecture as a whole. As distinguished from a provincial milieu adopting norms and imitating solutions of great centres, Karaman believes a peripheral milieu to be the one sufficiently distanced from more powerful cultural centres (and norms and dogmas dominating them) and according to him Croatia is a typical country suited to this notion. It offers an artist greater freedom of creation, without respect for the sometimes-rigid criteria ruling great centres and power-focuses, gives him a chance to draw from two or more sources and to make creative synthesis in auspicious moments. In the earlier mentioned Stjepan Planiæ's book just about every published example is of a building ending with a living terrace and a flat roof, it is almost a manifesto. These were the common qualities of the represented projects and works. Perhaps at the time they displayed the most expressive mark of distinction from the historical, particularly the historicism architecture of roofs and metal domes of Zagreb. Stjepan Planiæ, speaking in a documentary from 1978, standing on a terrace of a multi-storey building in the Petriæ's Street 5, on the so-called “Zakladni blok” in the heart of Zagreb, designed by himself, alluded to the continuity of forms and to the significance of a terrace in the architecture of ancient civilisations and not to the paragons of contemporary building. Gesturing towards the tin dome of the First Croatian Savings Bank building, the popular Octagon, he said: "All these roofs, all these domes were the composition equipment of the preceding generation, which was then called great architecture. Driven by an aspiration to bring gardens into the centre of the city, to offer a man in urban environment a commodity of a meadow, brook, or a forest, we realised them on terraces where they blossom even today. The hanging gardens of the Queen Semiramis are not a dream, this terrace realised 40 years ago proves that, it literally realises a connection between a man and the juices of nature." "To organise life…" as Planiæ often repeated, did not mean to impose solutions, but to creatively answer the demands of life and harmoniously resolve human needs within the architectonic space. Besides writing (to begin with a book for adults "Problems of Contemporary Architecture," from 1932, to "Culture of Living," from 1985, intended for children) Planiæ wanted to effect immediate influence on individuals and small family communities. For that, he would always find time. "Three Letters on Housing" were just an example and a pattern, a drop in the ocean of talks and interpretations that Planiæ had led with the people he built houses for or with those who wanted him to design a home for them. During the seventies I often drove Planiæ on his tours of construction sites and the adaptation of my terrace apartment was taking place at that time, too. I observed a relationship of true respect and absolute obedience on the part of his craftsmen, regardless of whether they worked with him for forty years or had been engaged only recently. It was rather unusual, since in his designs and in his demands on craftsmen Planiæ always went further, often demanding new, bold and uncommon procedures. Construction carriers designed by Planiæ would, as a rule, be more slender than others were, his windows were bigger (not to mention that they were of better proportions) than those in the neighbourhood. He often "broke" the regulations of dimensioning (excessive, as a rule, due to safety precautions). He defined them according to proportions, according to the formative criteria of the whole. For example, a board of reinforced concrete of a balcony usually appears thickset and in the Round Villa (1936), the round balcony board girding three quarters of the cylindrical body of the villa is deeply protruded into space, boldly thin, elegantly elevated in space. "It even vibrates a little," commented Planiæ. That was the earliest example I can recall. In his inexhaustible creativity he always made room for something new, ranging from the use of building materials and construction to the formation. It was particularly evident in the organisation of space, which he kept returning to in his later projects, most often dealing with a dynamic play in connecting of different levels within a flat.

Aki darazsakról álmodik (Who is Dreaming About Wasps) | LP | recording of the radio play "Furcsa, aki darazsakról álmodik" (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 A –Ladik Katalin* Aki Darazsakról Álmodik Music By, Performer [Zenéjét Szerezte És Előadta] – Király Ernő* Performer [Közreműködött] – Biszák Júlia, Fischer Károly, Ladik Katalin* Technician [Technikai Munkatárs] – Doru Barbulov Fülöp Gábor Bomba-Effektus Le És Föl Music Consultant [A "Kék Duna Keringő" Változatait Adta Elő] – Kovács Ferenc* Music Consultant [Zenei Szerkesztő] – Varga Éva Performer [Közreműködött] – Balázs-Piri Zoltán, Daróczi Zsuzsa, Fejes György, Ferenci Jenő, Fischer Károly, Horváth József (2), Sinkó István Recorded By [Hangfelvevő] – Iván Fece* Technician [Technikai Munkatárs] – Morvai Ferenc*, Slavko Stojanov

Na Drini ćuprija. S potpisom dobitnika Nobelove nagrade za književnost. Prosveta, Beograd - Mladost, Zagreb - Svjetlost, Sarajevo 1963. Ćirilica. Potpis je na latinici, datiran godinom - 1964. Lijepo, luksuznije izdanje, tvrdi uvez - koža, iz edicije Sabranih djela, 1963. godine. Stanje - odlično. Autor: Ivo Andrić Izdavač: Prosveta - Mladost - Svjetlost Izdanje: posebno Godina: 1963 Uvez: tvrdi - koža“ Format: 14x20

Predrag Matvejević: Razgovori s Miroslavom Krležom S potpisom Miroslava Krleže Prvo izdanje. Naprijed, Zagreb, 1969. godine. 13x20cm 178pp meki uvez s ovitkom Likovna oprema Slavo Marig. Tekstovi djelimično potcrtavani. U vrlo dobrom antikvarnom stanju,

Goran Trbuljak Zapisi jednog umjetnika 1970-1977 Les Ecrits d'un Artiste 1970-1977 Artist Book Galerija Nova, Zagreb, 1978. 12x17 cm

Vladimir Dodig Trokut Knjiga od 1 do 10 Artist Book Studentski kulturni centar, Beograd, 1978. 15x21cm

Prvo izdanje kultnog antiromana jednog od glavnih protagonista srpskog nadrealizma Marka Ristića. Rijetko. Ukrašeno kabalističkim figurama i talismanima. SOVA maksa Ernsta koja stoji u ovom drugom izdanju reprodukovana je direktno sa originala, rađenog na

S potpisom dobitnika Nobelove nagrade za književnost. Ivo Andrić: Staze, lica, predeli. Prosveta, Beograd - Mladost, Zagreb - Svjetlost , Sarajevo 1963. Ćirilica. Potpis je na latinici, datiran godinom - 1964. Lijepo, luksuznije izdanje, tvrdi uvez - koža

Znakovi. S potpisom dobitnika Nobelove nagrade za književnost. Prosveta, Beograd - Mladost, Zagreb - Svjetlost , Sarajevo 1963. Ćirilica. Potpis je na latinici, datiran godinom - 1964. Lijepo, luksuznije izdanje, tvrdi uvez - koža, iz edicije Sabranih dje

Bora Ćosić: Mixed Media print on paper 26 × 26,2 cm Belgrade, 1970. Original edition 104 pages Dizajn Branko Vučičević Bora Ćosić’s book, both about and based on the principle of mixed media, is an extraordinary example of a collaged structure of visual and written material: essays, reproductions, quotations, newspaper clippings, photocopies, etc. that bring together the art history of the 20th century in a multi-layered way: conceptual art, film theory, philosophy, social criticism, and sociological research combine to result in a specific index/encyclopedia of concepts. “Mixed Media” looks at topics including the artistic practices of the time, the international neo-avant-garde movement of the 1960s (and later), and movements and practices such as Fluxus, Neo-Dada, Neo-Constructivism, visual poetry, conceptual art, etc., which have the principle of “mixed media” as their main feature. W.S.

Goran Trbuljak: Monografija gt (2013.) Izrađeno na osnovi izdanja: Edition Vladimir Macura / Museum Macura, 2011. - ručno dorađeno izdanje iz 2013. godine. Intervencije umjetnika na sstranicama 6/7/16/17/26 i na zadnjoj stranici izmijenjen datum, plus potpis umjetnika. Artist book Text in Croatian and English Text: Anonymous Artist 30 pages 16,5x16,5 cm

S potpisom Franje Tuđmana, prvog hrvatskog predsjednika i utemeljitelja moderne hrvatske države. Franjo Tuđman: Bespuća povijesne zbiljnosti - rasprava o povijesti i filozofiji zlosilja.

Ezra Pound in Italy: From the Pisan Cantos. By Gianfranco Ivancich (Editor), Vittorugo Contino (Photographer). Copertina rigida stampata e laminata. Spots and Dots. Ezra Pound in Italy from the Pisan Cantos. Annotated by Olga Rudge. Venice: Grafiche Le.

Lažna poezija - predpjesme. Samizdat Vlade Marteka iz 1985. godine. Artist's book. Sitotisak. Intervencije u tisku i različiti papiri. Vrlo rijetko u ponudi. Vlado Martek (Zagreb, 1951) is a poet, visual artist and writer. In the mid-seventies in Zagreb,

Nadkomunistički crteži, samizdat Vlade Marteka iz 1983. godine. Artist's book. Sitotisak. Tiskano na tvrđem papiru, sa spojenim stranicama. Vrlo rijetko u ponudi. Vlado Martek (Zagreb, 1951) is a poet, visual artist and writer. In the mid-seventies in Z