[1] Plundered and half-destroyed in 1944 by Soviet occupation forces and then seized by the communist Yugoslavian state, its garden became the site of the East German Embassy[2] while the house remained neglected for four decades, until renovation work begun by the family in 1991 was completed in 2007.

[5] The house's title deed shows that the first known owner of the property lot was Marko Čolić, who sold it in 1866 to the telegrapher Kosta Lazarević from Smederevo, although there is no data about the number and the appearance of its buildings at that time.

Upon Stojan's death in 1925, the house was inherited by his son Vojislav Veljković [sr] (1865-1931), the founder of the Serbian Literary Herald[2] and a former Minister of Finance (1919-20) of the Kingdom of Yugoslavia, known as "the father of the Yugoslav golden Dinar" and an avid art collector.

The Pope's approval was granted on the condition that Veljković would fashion a suitable space with a climate control system that would ensure the internal temperature would be kept within one degree Celsius throughout the year, to prevent deformation of the bronze over time.

The building was first given as an atelier to painter and politician Moše Pijade, who became president of the Federal Parliament in 1954, and then to the sculptor Sreten Stojanović, who became the first principal of the Art Academy in 1957, and eventually converted to a shoe and leather storage by the Municipality of Savski Venac.

Vojislav Veljković emigrated in 1953 with his wife Ljudmila and children Bogdan and Katarina[2] after refusing to join the Communist party, but the house remained under the custody of a relative who lived in the kitchen as his only dwelling.

In the house, there is also a photograph of the portrait of Čukun-grandfather Jovan Veljković, the son of the prince of the Nahija of Paračin, which was first stolen, and then bought by an antiquarian and sold to the National Museum, where it is still located today.

The works were completed in 2007.The house of the Veljković family is now considered an example of the development of 19th century urban architecture and the European stylistic models being adopted as part of the modernization of Serbian society at the time.