Formation of a collection was carried out during many decades, since the 1930s. Its basic significant part was completed in the 1970s – 1990s. The greatest amount of transfers of works from the Art Fund of the Ministry of Culture of the USSR, purchases by museum from authors, and gifts falls on the second half of the 1980s. The collection is characterized by integrity and at the same time variety of regions, schools, authors, genres, printed and original techniques, and also by a variety of purposes of graphic works (easel graphics, applied character graphics: book, theatrical - decorative, poster, ex-libris, etc.).

         We can single out three large sections.

         I. Works by masters of domestic art.

         This section numbers about 3500 exhibits and reflects development of graphic arts of the 20th century The “Golden fund” make works of the 1920s -1930s by such eminent artists as Y. Annenkov, M. Voloshin, A. Deyneka, A. Shevchenko, A. Labas, N. Simonovich-Efimova, A. Fonvizin, R. Falk, V. Favorsky, etc.

         Small by amount (about 40 units) collection of sketches of theatrical costumes and scenery includes works by of the biggest masters of the 20th century working in theatre: A. Golovin, M. Dobuzhinsky, B. Kustodiev, A. Ekster, etc.

         A significant part of the section (about 1500 units) makes the collection of the known Leningrad collector and gatherer E.M. Lavrenko, arrived in museum in the 1980s - beginning of the 1990s. It includes rare copies of albums of engravings by artists of the 1920s – 1930s (36 units), an integral collection of posters of the World War II period (168 units), graphic works by artists of the Leningrad school of the 1920s – 1930s, and a full collection of graphic artists of the sixties and seventies from Moscow and Leningrad.

         The said section also includes the collection of book illustration with names of graphic artists which defined development of art of book design during the whole 20th century: V. Favorsky, N. Dmitrevsky, A. Goncharov, L. Khizhinsky, E. Kibrik, V. Konashevich, E. Budogosky, M. Pikov, A. Kaplan, K. Rudakov, and others.

         Another large part of the given section - ex-librises, they make about 2000 units of storage, some of them belonged earlier to the leading collector S. Ivensky.

         II. The graphic works by masters of national schools from republics of the former USSR.

         This section numbers about 200 units of storage, by more than 60 authors, practically from all republics and autonomous regions. The biggest names of Latvia (M. Rikmane, G. Sietinsh), Lithuania (B. Leonavichyus, A. Skirutite, I. Kuzminkis), Estonia (V. Tolli, K. Puustak), Ukraine (O. Lysenko, V. Lopata), republics of Central Asia (M. Aslamazyan, B. Mesropyan, M. Mamedov, M. Rahman-Zade) represent the graphic arts collection which in today's conditions, because of the disintegration of the uniform state, is practically impossible to complete.

         III. The graphic works by masters of Omsk.

This section numbers about 2000 units of storage and fully reflects the art processes which took place in Omsk during the 20th century.

         A valuable source for studying the culture of Omsk of the 1910-1920s is A. Sorokin's archive, including graphic works by artists of avant-garde turn of mind (V. Ufimtsev, N. Mamontov, etc.), who defined the artistic situation in the city. A striking illustration of a seething art life of the given period is D. Burlyuk’s arrival to Omsk. He has painted portraits of the Sorokins couple (stored now in the museum collection). Works of students of the M.A. Vrubel Artistic - Industrial Technical School (sketches for graphic arts industry - posters, labels, brochures, etc.) characterize the art processes that took place in Omsk at the turn of the 1920-1930s.

         The period of the World War II is represented by not numerous works by I. Sivokhin, which are his front-line sketches.

         Collections of graphic works by “the patriarch of the Siberian painting” K. Belov, and master of pastel A. Liberov are rather significant.

         Becoming of art of the “Omsk” engraving in the 1960s is reflected in the landmark works by the leading Omsk engravers, who took part in the All-Union exhibitions: B. Nikolaev, A. Chermoshentsev, I. Zheliostov, etc. Original graphic works of this period is marked by names, which defined the next decades of development of the Omsk art (V. Kukuytsev, V. Belan, N. Berezhnoy, etc.).

         Selection of works by a key figure of the Siberian artistic space N. Tretyakov is extensive by the structure. In the 1990s his works started the formation of the fund of printing plates. The collection of the last three decades of the 20th century represents a whole bunch of names, a variety of creative approaches, technical experiments, including emergence of “author's” techniques.