{"title":"Prints, Postcards \u0026 Maps","description":"\u003cp\u003eOriginal prints, linocuts, drawings, postcards, maps, photographs and other non-book material.\u003c\/p\u003e","products":[{"product_id":"kozak-edvard-zahin-chervona-kalyna","title":"Cossack Edward. “Chervona Kalyna” Detachment: layered card. [Unpublished], [undated]","description":"\u003cp\u003eEdward Kozak. “Chervona Kalyna” Platoon, SVT: Plaatst card.\u003c\/p\u003e\u003cp\u003eNew York: Plast Unit Czervona Kalyna, [n.d.]. — Color postcard. — Printed by Kolorvue by Artvue Post Card Co., 160 Fifth Ave., New York.\u003c\/p\u003e\u003cp\u003eThe postcard is clean and unused: the corners are sharp, and there are no inscriptions or stamps on the back except for the printed ones. Condition: excellent.\u003c\/p\u003e\u003cp\u003eThe postcard has historical and cultural value and is of collector interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn the front is a caricatured group at a table under the inscription “META,” with a sun, bunches of viburnum berries on their hats, and animal imagery: the recognizable style of Edward Kozak (EKO, 1902–1992), a prominent Ukrainian emigré cartoonist and editor of the humorous “Lysa Mykyta.” In such items, the caricature serves as an inside joke within the community—the figures almost certainly have prototypes among the members of the platoon.\u003c\/p\u003e\u003cp\u003e“Chervona Kalyna” is one of the most famous senior Plaatst platoons, founded in 1925; after World War II, it resumed its activities in the United States, and the postcard dates from this American period; SVT in the caption stands for Sports-Training Camp. Printed Plaatst ephemera have rarely survived: they were bought, signed, and mailed, so clean, unused copies are rare.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":62561285046643,"sku":"SKU-00094","price":600.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/0021-7845788404743885165.jpg?v=1791060505"},{"product_id":"pochaivska-lavra-albom-vydiv-1920-1930","title":"[Почаївська лавра: альбом видів]. [Б. м.], [1920–1930-ті]","description":"\u003cp\u003e[Pochaiv Lavra: album of views].\u003c\/p\u003e\n\u003cp\u003e[Place of publication unknown: publisher unknown, 1920s–1930s]. — Illus. — Captions in Polish and Russian.\u003c\/p\u003e\n\u003cp\u003eWithout a separate cover: sheets of thick cardboard, stapled along the top edge like a pad of loose-leaf paper; each sheet contains one view with a caption, the back sheet is blank. Autotypy printing, mostly in two colors—purple and green; the view of the Holy Gates is printed in black. The spine edge is worn, with minor paper losses and rust marks from the staples. Water stains and foxing along the edges, most pronounced on the first and last sheets; on the last sheet—brown stains along the bottom edge. A thin crease runs across the sky in the view of the Holy Gates. The corners are rounded from use. On the reverse of the last sheet, the pencil inscription “2000”. Condition: good.\u003c\/p\u003e\n\u003cp\u003eThe publication has historical and cultural value and is of collector’s interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEach view of the Pochaiv Lavra in this album is captioned twice—in Polish and Russian, with the Russian text set in pre-reform orthography, using yat and the decimal “i”. This combination indicates the interwar years, when Pochaiv belonged to the Volyn Voivodeship of Poland, and the Lavra remained the principal Orthodox shrine of Volhynia.\u003c\/p\u003e\n\u003cp\u003eThe album follows the pilgrimage route: a general view of the monastery from the north, the Holy Gates with buildings for pilgrims and the Chapel of the Dormition, the central part and right side of the Dormition Cathedral, “The Foot of the Mother of God” with an image of the Virgin Mary’s apparition on Mount Pochaiv in 1240, the cave church and reliquary with the relics of Saint Job, the Holy Spirit Skete. Job of Pochaiv (Zalizne, c. 1551–1651), abbot of the Lavra in the first half of the 17th century, is the most revered saint of Pochaiv; the monastery’s flourishing and the establishment of the Lavra printing house are associated with his abbacy.\u003c\/p\u003e\n\u003cp\u003eMost of the views are autotypy printed in two colors: the overlay of purple and green halftones gives the images their characteristic shimmering tone. The view of the Holy Spirit Skete reproduces a drawing rather than a photograph. The publisher and printer are not indicated in the album.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"1","offer_id":64589833830771,"sku":"SKU-00299","price":1200.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15528945877363.jpg?v=1793989365"},{"product_id":"mateiko-ukrainskyi-kostium-lystivky-kyiv-1977","title":"Mateiko Kateryna (ed.). Ukrainian Costume: A Set of Postcards. Kyiv, 1977","description":"\u003cp\u003eMateiko Kateryna (ed.); text by V. Myronova; illustrations by A. Perepelytsia. Ukrainian Costume: postcard set, 20 pcs.\u003c\/p\u003e\u003cp\u003eKyiv: Mystetstvo, 1977. — album, 20 postcards.\u003c\/p\u003e\u003cp\u003eThe album is in good condition, the postcards are clean. The text is trilingual — Ukrainian, Russian, English. Condition is very good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003cbr\u003eThe postcard set features reconstructions of traditional costumes from various ethnographic regions of Ukraine, based on documentary sources. The author of the reconstructions is Kateryna Mateiko, a renowned researcher of traditional Ukrainian clothing.\u003c\/p\u003e\u003cp\u003eCompleteness (all 20 postcards, original album) is crucial for the condition and value of such publications.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64589843825011,"sku":"SKU-00396","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15528952004979.jpg?v=1793987633"},{"product_id":"kuleba-aloe-fox-lviv-br-tantsiuvalna-para","title":"Kuleba. Aloe-Fox: with a dancing couple on the cover. [Lviv], [n.d.]","description":"\u003cp\u003e\u003cem\u003e“There is a crisis, and life is hard these days…”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eKuleba. Aloe-Fox \/ words and music: Kuleba.\u003c\/p\u003e\n\u003cp\u003e[Lviv]: [n.d.], [n.r.].\u003c\/p\u003e\n\u003cp\u003ePublication without a separate binding: cover made of thin brown paper, printed in black ink. Illustration — a dancing couple on a round pedestal in the Art Deco style; the title is rendered in outlined letters, and at the bottom of the musical staff — “words and music by ku-le-ba.” On the reverse — the second and third stanzas, printed in a handwritten typeface, and an advertisement for the “Aloe” factory. The paper is tanned, darkened, and creased in the middle; at the top and on the left are stains from moisture and grease, ink splatters, and dark spots. The edges are worn, with tears in the upper right corner and at the bottom; the lower edge has small serrations, and the corners are battered. The text and illustration are fully legible. Condition: good.\u003c\/p\u003e\n\u003cp\u003eThe collectible interest lies in the Art Deco cover and the very idea of a promotional song for a Lviv cosmetic factory.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAloe-Fox — an advertisement in the form of a song: Kuleba’s words and music are dedicated to the products of the Lviv chemical-cosmetic factory “Aloe.” In the verses, the crisis and everyday troubles become an occasion to recommend “Aloe” to everyone — from gentlemen and young ladies to mothers, daughters, children, mothers-in-law, and sons-in-law.\u003c\/p\u003e\n\u003cp\u003eOn the reverse, the factory (Lviv, 16 Henin Street, tel. 6-24) lists its first-rate products: face powders, cream, dry cream, toothpaste and tooth powder, Vaseline, and shampoos. The announcement promises that perfumes and floral waters will soon be available. The publication combines two functions — a song for performance and a commercial announcement.\u003c\/p\u003e\n\u003cp\u003eA variant with a different cover — showing a price of 75 sot. and the mark “Published by Anatol Yamynskyi” — is offered as a separate lot.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64589854048627,"sku":"SKU-00542","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15528961606003.jpg?v=1793986012"},{"product_id":"kryslach-muzei-narodnoi-arkhitektury-ta-pobutu-u-lvovi-linohraviury","title":"Krysliach Ivan. Museum of Folk Architecture and Life in Lviv: portfolio of linocuts. [Lviv, n.d.]","description":"\u003cp\u003eMuseum of Folk Architecture and Life in Lviv: [linocut portfolio] \/ linocuts by I. Kryslach and O. Kryslach-Lavruk.\u003c\/p\u003e\n\n\u003cp\u003e[Lviv: n.d., n.p.]. — Linocut sheets in a publisher’s portfolio: ill. — The portfolio cover and index-map printed in two colors, black and brick-red; landscape prints — black.\u003c\/p\u003e\n\n\u003cp\u003eIn a publisher’s portfolio with cream-colored cardboard: on the front cover, a two-color linocut — the museum’s wrought-iron gate with shingled roofs and the name carved into a wooden board; on the back cover, a windmill and a handwritten title in brick-red ink with the artists’ surnames. Inside — an index-map “No. 1” with ten numbered regions: Polissia, Volyn, Boiko region, Transcarpathia, Lemko region, Hutsul region, Bukovina, Podillia, Lviv region, Pokuttya; at the end of the portfolio, a small brick-red endpaper with a floral motif. Prints on thick cream paper, clean, with even and rich printing; the reverse of one sheet has fine scattered ink marks. The portfolio pages are soiled and rubbed, the corners are creased, and there is a crease along the bottom edge of the front cover. At the top of the back cover, “2200 UAH” is written in pencil. Condition: good.\u003c\/p\u003e\n\n\u003cp\u003eLifetime edition. The original print graphics have independent artistic value.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eEach sheet in the portfolio represents a separate ethnographic region, the name of which is simply carved into the board: the Boiko region with wooden churches above a stream and a watermill; the Hutsul region with a shingled house on a slope; the Lemko region, Transcarpathia, Pokuttya, Podillia, Bukovina, Lviv region. These are not generic landscapes, but portraits of specific homesteads moved to the Lviv skansen: in two blocks at the top, the inscriptions “M. I. Kuznetsov” and “O. O. Borkanuk” are carved with a small emblem. The index-map at the beginning of the portfolio arranges these regions by number from Polissia to Pokuttya, and it too is executed as a linocut — a white handwritten inscription on a brick-red background.\u003c\/p\u003e\n\n\u003cp\u003eIvan Kryslach (1929–2017) was born in the village of Stany Myr in the Peremyshlivshchyna region; in 1953, he graduated from the Ukrainian Institute of Printing in Lviv, where his teachers were Volodymyr Bunov, Olena Kulchytska, and Volodymyr Forostetskyi. A member of the Union of Artists since 1970, he was an Honored Artist of Ukraine (2007). He collaborated with the Lviv publishing house “Kamyanar” for many years, designed Ivan Franko’s “Abu-Kasyma’s Slippers” and “Zakhar Berkut,” and is best known as a master of ex libris — he created over three hundred of them. He held solo exhibitions in Lviv in 1990 and 2009.\u003c\/p\u003e\n\n\u003cp\u003eThe portfolio was issued as a standalone set of prints: the title, authors, and index are presented by the linocuts themselves, without a typeset title page. The Museum of Folk Architecture and Life in Lviv — Shevchenkiv Hai — was founded in 1971, so the set dates from the time when the skansen was just beginning to assemble its collection of wooden architecture from Western Ukraine. Such portfolios were mostly distributed as museum editions and were complete, with a cover and index; they are uncommon.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64589856735603,"sku":"SKU-00568","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15528964063603.jpg?v=1793986025"},{"product_id":"obal-petro-karpatske-podviria","title":"Petro Obal. Carpathian Courtyard: Original Woodcarving","description":"\u003cp\u003eOBAL, Petro. Carpathian Courtyard: original graphic work.\u003c\/p\u003e\u003cp\u003eWoodcut (artist's proof), matting, under glass in a wooden frame. Artist's signature in pencil \"Obal\" in the lower left corner of the image.\u003c\/p\u003e\u003cp\u003eGood condition: the print is clean, the frame and matting are without significant damage.\u003c\/p\u003e\u003cp\u003eINFORMATION\u003c\/p\u003e\u003cp\u003ePetro Obal (1900–1987) was a Ukrainian graphic artist and painter, born in the Ternopil region. He studied at the Kraków Academy of Fine Arts under Teodor Aksentowicz, Władysław Jarocki, and Władysław Skoczylas, under whose influence he chose woodcut as his leading technique. He taught drawing in gymnasiums in the Pomeranian region, and later in Sanok and Stryi, documenting the architecture and everyday life of Lemko Land and the Carpathians through graphics. In 1950–1956, he was repressed and served imprisonment in a camp near Karaganda. Member of the Union of Ukrainian Artists since 1945. His works are kept in the Lviv National Museum and regional art and local history museums of Ukraine; a memorial museum of the artist operates in the city of Stryi.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64589864108403,"sku":"SKU-00687","price":6750.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15528971075955.jpg?v=1793985500"},{"product_id":"hebus-baranetska-stefaniia-kaplytsia-sered-smerek-1957","title":"Gebus-Baranetska Stefaniya. Chapel among the spruces: colored pencil drawing, 1957","description":"\u003cp\u003eGebus-Baranetska Stefania. Chapel Among Spruce Trees.\u003c\/p\u003e\u003cp\u003eColored pencil drawing on paper, 1957. Signature and date in the lower right: “Gebus-Baranetska 1957.”\u003c\/p\u003e\u003cp\u003eOriginal. The paper is slightly yellowed and has minor creases along the edges; the colors are well preserved. Condition: very good.\u003c\/p\u003e\u003cp\u003eArtist’s drawing with signature and date.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eVertical composition: an octagonal wooden chapel with a dome and cross stands between two tall spruce trees, with a meadow and wattle fence in front of it. The drawing is executed with quick colored pencil strokes, giving the impression of a plein-air study made in the Carpathians.\u003c\/p\u003e\u003cp\u003eStefania Gebus-Baranetska (1905–1985) was a Lviv-based graphic artist born in Przemyśl, a student at Oleks Novakovskyi’s art school, and a master of woodcuts and ex libris. She was an Honored Artist of the Ukrainian SSR (1972). The main theme of her work is the Hutsul village—its people, labor, and rituals.\u003c\/p\u003e\u003cp\u003eGebus-Baranetska’s drawings are rarer than her prints, so the sheet is of particular interest as evidence of the preparatory work of a graphic artist who always sought inspiration in nature.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666260339,"sku":"SKU-00796","price":13500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546091831667.jpg?v=1793985205"},{"product_id":"hebus-baranetska-stefaniia-pensionerky-1970","title":"Hebus-Baranetska Stefaniya. Pensioners: etching, 1970","description":"\u003cp\u003eGebus-Baranetska Stefaniya. The Pensioners.\u003c\/p\u003e\u003cp\u003ePrint (probably a woodcut) on paper, 1970. In the margin — the title “The Pensioners” and the date “1970” with a monogram; in the right margin — the signature “Gebus-Baranetska” in pencil, in the lower left margin — an inscription in pencil.\u003c\/p\u003e\u003cp\u003eArtist’s proof. Deep black print, with slight signs of storage on the margins. Condition: very good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTwo elderly Hutsul women in embroidered keptyars and zapaskas stand in front of a house, with a rooster and chickens beside them, and flowers and sunflowers above the roof. The work is executed in white lines on a black background, with fine ornamental detailing of the clothing — a characteristic feature of the artist’s late graphics. The title “The Pensioners” transplants the old Hutsul way of life into the Soviet vocabulary of 1970.\u003c\/p\u003e\u003cp\u003eStefaniya Gebus-Baranetska (1905–1985) — a Lviv-based graphic artist originally from Przemyśl, a student of Oleks Novakovskyi’s art school, a master of woodcuts and ex libris, and a Honored Artist of the Ukrainian SSR (1972). The main theme of her work is the Hutsul village, its people, labor, and rituals.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666293107,"sku":"SKU-00797","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546091864435.jpg?v=1793985485"},{"product_id":"kratokhvylia-yu-vidpochynok-hravtura","title":"Kratovkhvyl Yu. Rest: original engraving","description":"\u003cp\u003eY. Kratokhvyl. Rest.\u003c\/p\u003e\u003cp\u003eEtching on toned paper. Pencil inscription below the print: “Y. Kratokhvyl — Rest”; in the upper right corner of the sheet, pencil inscription — “68”.\u003c\/p\u003e\u003cp\u003eArtist’s proof on a sheet with wide margins. The paper is evenly darkened, with minor creases along the edges. Condition: good.\u003c\/p\u003e\u003cp\u003eArtist’s proof with signature and title.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eMountain scene: a Hutsul man in a sheepskin coat and hat sits on the grass with a musical instrument, a child beside him; behind them are a house, spruce trees, and mountain peaks under a cloudy sky. The print is rich in tone, with a grainy texture in the background that conveys the evening light.\u003c\/p\u003e\u003cp\u003eThe artist’s surname is given as it appears in the pencil inscription; we have no further information about the artist. The pencil “68” may be an inventory number or the year of execution.\u003c\/p\u003e\u003cp\u003eThe sheet makes an excellent addition to a collection of mid-20th-century Ukrainian graphic art on Carpathian themes and stands out even without a frame thanks to the toned paper.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666325875,"sku":"SKU-00798","price":13500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/IMG_4114.png?v=1793226106"},{"product_id":"hutsulskyi-tanets-hravtura","title":"Hutsul Dance: Original Print on Paper","description":"\u003cp\u003eHutsul Dance.\u003c\/p\u003e\u003cp\u003eEtching on cream paper, [mid-20th century]. The sheet is unsigned.\u003c\/p\u003e\u003cp\u003eImpression with wide margins. Thin traces of the plate edges are visible in the background of the impression; the paper is slightly yellowed. Condition: good.\u003c\/p\u003e\u003cp\u003eLarge multi-figure sheet on a Carpathian theme.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eMulti-figure composition in horizontal format: a group of musicians plays on a hill, while couples in Hutsul attire dance before them; behind them are spruce trees and the rolling ridges of the Carpathians. The artist carefully developed the ornaments of the captaris and shirts, while leaving the light expanse of the sky almost untouched, thus focusing attention on the rhythm of the dance.\u003c\/p\u003e\u003cp\u003eHutsul themes were among the leading ones in Lviv graphics of the 1950s–1970s; by its style, the sheet is close to the works of artists in this circle, who combined ethnographic accuracy with decorativeness.\u003c\/p\u003e\u003cp\u003eSuitable for a collection of Ukrainian ethnographic graphics; the large horizontal format looks good in a frame.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666358643,"sku":"SKU-00799","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546091929971.jpg?v=1793985485"},{"product_id":"patyk-volodymyr-zhinka-v-khusttsi-linohravtura-1960","title":"Volodymyr Padyk. Woman in a Headscarf: Linocut, 1960s","description":"\u003cp\u003eVolodymyr Padyk. Woman in a Headscarf.\u003c\/p\u003e\u003cp\u003eLinocut on cream paper, 1960s. In the lower right, in pencil: “Linocut, 60s. Padyk.”\u003c\/p\u003e\u003cp\u003ePrint with wide margins. Slight signs of storage; a minor crease in the lower left corner. Condition: very good.\u003c\/p\u003e\u003cp\u003eVolodymyr Padyk’s graphic work from the 1960s.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA bust-length portrait of an elderly woman in a headscarf, set against a dark background: her face is defined by several bold lines, while wrinkles and shadows are rendered with broad white strokes. The expressive style, black-and-white contrast, and omission of fine detail are characteristic of Lviv graphic art in the 1960s.\u003c\/p\u003e\u003cp\u003eVolodymyr Padyk (1929–2016) was a People’s Artist of Ukraine and a recipient of the Shevchenko National Prize (1999). A student of Roman Sel’skyi at the Lviv Institute of Applied and Decorative Arts, he worked in easel and monumental painting and graphics.\u003c\/p\u003e\u003cp\u003eFor collectors, the sheet is of particular interest as an example of the graphic work of an artist best known for his vibrant, color-rich paintings.\u003c\/p\u003e\u003cp\u003eThe wide margins allow the sheet to be matted and framed without obscuring the image, while the understated black-and-white portrait holds its own on the wall even in a small interior.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666391411,"sku":"SKU-00800","price":13500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546091962739.jpg?v=1793985204"},{"product_id":"patyk-volodymyr-zhinka-v-interieri-linohravtura","title":"Patyk Volodymyr. Woman in an Interior: Linocut","description":"\u003cp\u003eVolodymyr Padyk. Woman in an Interior.\u003c\/p\u003e\u003cp\u003eLinocut on white paper, [1960s]. No signature on the sheet.\u003c\/p\u003e\u003cp\u003ePrint with wide margins; the sheet has slight creases, and there are small spots on the margins. Condition: good.\u003c\/p\u003e\u003cp\u003eLarge, high-contrast print by Volodymyr Padyk.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAn expressive composition of broad white and black planes: a female figure leans in a cramped room, with a window, shelves, and furniture behind her, while light falls in stark bands. Sharp diagonals, compressed space, and generalized forms reveal the influence of modernist graphics, which were well known to Lviv artists.\u003c\/p\u003e\u003cp\u003eVolodymyr Padyk (1929–2016) was a People's Artist of Ukraine and a laureate of the Shevchenko National Prize (1999). He studied under Roman Selsky at the Lviv Institute of Applied and Decorative Arts and worked in easel and monumental painting and graphics.\u003c\/p\u003e\u003cp\u003eThe sheet comes from the same collection as the linocut \"Woman in a Headscarf,\" which bears the pencil inscription \"Padyk.\" The large format of the print and its high-contrast printing are well suited to matting.\u003c\/p\u003e\u003cp\u003eThe work makes a fine addition to a collection of Ukrainian modernist linocuts and is particularly interesting alongside other sheets by Lviv graphic artists from the same period.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666653555,"sku":"SKU-00801","price":13500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092159347.jpg?v=1793985204"},{"product_id":"loboda-v-postat-pered-khrestom-rysunok-tushshiu","title":"Loboda V. Figure before the Cross: ink drawing","description":"\u003cp\u003eLoboda V. Figure Before the Cross.\u003c\/p\u003e\u003cp\u003eInk drawing on toned paper with pencil underdrawing. Bottom left — signature “V. Loboda”; top left — old pencil price mark.\u003c\/p\u003e\u003cp\u003eOriginal. Paper slightly yellowed, minor creases along the edges. Condition: very good.\u003c\/p\u003e\u003cp\u003eOriginal drawing signed by the artist.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe figure, kneeling and bowing its head to the ground before a tall cross, is outlined with several long, continuous ink lines; beneath them, pencil compositional studies remain visible, which the artist did not erase.\u003c\/p\u003e\u003cp\u003eThe signature “V. Loboda” most likely refers to Volodymyr Loboda (1943–2023), a painter, graphic artist, sculptor, and poet, and a representative of unofficial art who lived and worked in Lviv from 1981 and was highly active in linocut.\u003c\/p\u003eThe attribution is based on the signature, without an expert opinion.\u003cp\u003eThe concise drawing combines a sacred motif with the modernist plastic language characteristic of the Lviv underground: the gesture of submission and prayer is conveyed by the rhythm of the line itself.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666686323,"sku":"SKU-00802","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092192115.jpg?v=1793985485"},{"product_id":"loboda-v-sydiachyi-cholovik-rysunok-tushshiu-2000","title":"Loboda V. Sitting Man: ink drawing, 2000","description":"\u003cp\u003eLoboda V. Seated Man.\u003c\/p\u003e\u003cp\u003eInk drawing with a brush on paper, November 10, 2000. At the bottom in pencil — monogram and date “V. L. 10.XI.2000”.\u003c\/p\u003e\u003cp\u003eOriginal. The drawing was made on a sheet with printed text and ornament visible through the paper. Light creases. Condition: very good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA mustachioed man sits with one knee drawn up, resting his head on his hand. The figure is constructed with several broad brushstrokes; a dry brush conveys the texture of the clothing.\u003c\/p\u003e\u003cp\u003eThe monogram “V. L.” most likely corresponds to Volodymyr Loboda (1943–2023) — painter, graphic artist, sculptor, and poet, a representative of unofficial art who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is based on the signature, without an expert opinion. The sheet comes from a collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eThe drawing dates from the same day as “Female Face” from this collection; together, the sheets show how the artist moved from figure to portrait in a single session.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666719091,"sku":"SKU-00803","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092224883.jpg?v=1793985485"},{"product_id":"loboda-v-zhinoche-oblychchia-rysunok-tushshiu-2000","title":"Loboda V. Female Face: ink drawing, 2000","description":"\u003cp\u003eLoboda V. Female Face.\u003c\/p\u003e\u003cp\u003eInk drawing with a brush on toned paper, November 10, 2000. At the bottom in pencil — monogram and date “V. L. 10.XI.2000”.\u003c\/p\u003e\u003cp\u003eOriginal. The paper is yellowed, with small creases and tears along the edges. Condition: good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA large female face with almond-shaped eyes, framed by a wide arch of hair. With several confident strokes, the artist creates an almost iconic image that conveys the tradition of modernist portraiture.\u003c\/p\u003e\u003cp\u003eThe monogram “V. L.” most likely corresponds to Volodymyr Loboda (1943–2023) — painter, graphic artist, sculptor, and poet, a representative of unofficial art who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is based on the signature, without an expert opinion. The sheet comes from a collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eThe drawing dates from the same day as “Seated Man” from this collection; together, the sheets show how the artist moved from figure to portrait in a single session.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666751859,"sku":"SKU-00804","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092257651.jpg?v=1793985485"},{"product_id":"loboda-v-arkush-z-desiatma-linohravturamy","title":"Loboda V. Sheet with Ten Linocuts","description":"\u003cp\u003eV. Loboda. Sheet with ten linocuts.\u003c\/p\u003e\u003cp\u003eLinocuts on toned paper. The sheet is unsigned.\u003c\/p\u003e\u003cp\u003eArtist proofs. The paper is evenly toned, with slight creases. Condition: good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTen small linocuts: female torsos, figures, heads, and a circular ornament in the center. The motifs and style are the same as those on V. Loboda’s signed sheets from 1997 in this collection.\u003c\/p\u003e\u003cp\u003eThe prints are arranged on a single sheet as an artist’s “montage”—this is how the graphics were preserved and how the artist displayed trial prints of small formats.\u003c\/p\u003e\u003cp\u003eVolodymyr Loboda (1943–2023) was a painter, graphic artist, sculptor, and poet, and a representative of unofficial art who lived and worked in Lviv from 1981 and worked extensively in linocut.\u003c\/p\u003e\u003cp\u003eSuch sheets show the artist at work: several compositions, variants, and trial states of the blocks are collected on a single piece of paper.\u003c\/p\u003e\u003cp\u003eThe sheet can be conveniently matted so that all ten prints are visible together, in the order in which the artist arranged them.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651666784627,"sku":"SKU-00805","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092290419.jpg?v=1793985484"},{"product_id":"loboda-v-arkush-linohravtur-postati-1997","title":"Loboda V. Linocut sheet: figures, 1997","description":"\u003cp\u003eV. Loboda. Linocut sheet: figures.\u003c\/p\u003e\u003cp\u003eLinocuts on white paper, October 1997. Pencil signature and date \"V. Loboda X.1997\" at the bottom left.\u003c\/p\u003e\u003cp\u003eArtist's proofs. The sheet is creased and folded in the lower part, with light stains on the margins. Condition: satisfactory.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTen linocuts: vertical figures in long clothing, pairs, and at the bottom—a large composition with faces and cut-out letters. Several prints feature cut-out monograms and inscriptions.\u003c\/p\u003e\u003cp\u003eThe prints are arranged on a single sheet as an artist's \"montage\"—this is how graphic artists preserved and displayed trial prints of small formats.\u003c\/p\u003e\u003cp\u003eThe signature \"V. Loboda\" most likely corresponds to Volodymyr Loboda (1943–2023)—painter, graphic artist, sculptor, and poet, a representative of unofficial art who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is based on the signature, without an expert opinion. The sheet comes from a collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eSuch sheets show the artist at work: several subjects, variants, and trial states of the blocks are collected on one piece of paper.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651667014003,"sku":"SKU-00806","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092519795.jpg?v=1793985484"},{"product_id":"loboda-v-arkush-linohravtur-postati-napysy-1997","title":"Loboda V. Linocut sheet: figures and inscriptions, 1997","description":"\u003cp\u003eV. Loboda. Linocut sheet: figures and inscriptions.\u003c\/p\u003e\u003cp\u003eLinocuts on white paper, October 1997. At the bottom in pencil — signature and date \"V. Loboda X.1997\".\u003c\/p\u003e\u003cp\u003eArtist's proofs. Slight creases and signs of storage. Condition: good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eNine linocuts: at the top — a composition with cut-out text, below — vertical figures in long clothing, resembling iconographic images of saints.\u003c\/p\u003e\u003cp\u003eThe prints are placed on a single sheet as an artist's \"montage\" — this is how graphics were preserved and test prints of small formats were displayed.\u003c\/p\u003e\u003cp\u003eThe signature \"V. Loboda\" most likely corresponds to Volodymyr Loboda (1943–2023) — painter, graphic artist, sculptor, and poet, a representative of unofficial art, who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is provided based on the signature, without an expert opinion. The sheet comes from a collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eSuch sheets show the artist at work: several subjects, variants, and test states of the blocks are collected on one piece of paper.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651667210611,"sku":"SKU-00807","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/0016-9154084095749432353.jpg?v=1791057764"},{"product_id":"loboda-v-arkush-linohravtur-z-kolom-1997","title":"Loboda V. Linocut sheet with an ornamental circle, 1997","description":"\u003cp\u003eV. Loboda. Linocut sheet with an ornamental circle.\u003c\/p\u003e\u003cp\u003eLinocuts on white paper, October 1997. In the lower left, in pencil — signature and date “V. Loboda X.1997”.\u003c\/p\u003e\u003cp\u003eArtist’s proofs. Slight creases; on the right margin — a small paint spot. Condition: good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTen linocuts: female torsos, heads, figures, and an ornamental circle in the center of the sheet. These same motifs are repeated on an unsigned sheet from this collection.\u003c\/p\u003e\u003cp\u003eThe prints are arranged on a single sheet as an artist’s “montage” — this is how graphic artists preserved and displayed trial proofs of small formats.\u003c\/p\u003e\u003cp\u003eThe signature “V. Loboda” most likely belongs to Volodymyr Loboda (1943–2023) — painter, graphic artist, sculptor, and poet, a representative of unofficial art who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is based on the signature, without an expert opinion. The sheet comes from a collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eSuch sheets show the artist at work: several subjects, variants, and trial states of the blocks are collected on a single piece of paper.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651667243379,"sku":"SKU-00808","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/0015-9154084095749432353.jpg?v=1791057763"},{"product_id":"loboda-v-arkush-linohravtur-sydiachi-postati-1997","title":"Loboda V. Linocut sheet: seated figures, 1997","description":"\u003cp\u003eV. Loboda. Linocut sheet: seated figures.\u003c\/p\u003e\u003cp\u003eLinocuts on white paper, October 1997. At the bottom in pencil — signature and date \"V. Loboda X.1997\".\u003c\/p\u003e\u003cp\u003eArtist's proofs. Light creases. Condition: very good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eSix linocuts: seated and reclining figures, unfolded into geometric planes, with monograms cut into the corners of the blocks.\u003c\/p\u003e\u003cp\u003eThe prints are placed on a single sheet as an artist's \"montage\" — thus the graphics were preserved and showed trial prints of small formats.\u003c\/p\u003e\u003cp\u003eThe signature \"V. Loboda\" most likely corresponds to Volodymyr Loboda (1943–2023) — painter, graphic artist, sculptor, and poet, a representative of unofficial art, who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is provided based on the signature, without an expert opinion. The sheet comes from one collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eSuch sheets show the artist at work: several subjects, variants, and trial states of the blocks are collected on one paper.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651667276147,"sku":"SKU-00809","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15546092618099.jpg?v=1793985484"},{"product_id":"loboda-v-arkush-linohravtur-z-napysamy-2000","title":"Loboda V. Linocut sheet with inscriptions, 2000","description":"\u003cp\u003eV. Loboda. Linocut sheet with inscriptions.\u003c\/p\u003e\u003cp\u003eLinocuts on white paper, November 2000. At the bottom, in pencil, are the signature and date \"V. Loboda XI.2000\".\u003c\/p\u003e\u003cp\u003eArtist's proofs. Slight creases. Condition: very good.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTen linocuts combining hand-carved inscriptions and figurative scenes, resembling the pages of a handmade book where the text becomes part of the image.\u003c\/p\u003e\u003cp\u003eThe prints are arranged on a single sheet as an artist's \"montage\"—this is how graphic artists preserved and displayed trial proofs of small formats.\u003c\/p\u003e\u003cp\u003eThe signature \"V. Loboda\" most likely refers to Volodymyr Loboda (1943–2023), a painter, graphic artist, sculptor, and poet, and a representative of unofficial art who lived and worked in Lviv from 1981 and worked extensively in linocut. The attribution is based on the signature, without an expert opinion. The sheet comes from a collection with other signed works by V. Loboda from 1997–2000.\u003c\/p\u003e\u003cp\u003eSuch sheets show the artist at work: several subjects, variations, and trial states of the blocks are collected on a single sheet of paper.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64651667308915,"sku":"SKU-00810","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/0013-9154084095749432353.jpg?v=1791057763"},{"product_id":"kyiv-andriivska-tserkva-lystivka-obshchyny-sv-yevhenii","title":"Kyiv. St. Andrew's Church: postcard. [Saint Petersburg], [after 1904]","description":"\u003cp\u003eKiev. Andreevskaya Church: an open postcard with a reproduction of a watercolor.\u003c\/p\u003e\n\n\u003cp\u003e[Saint Petersburg]: published for the benefit of the Community of St. Eugenia of the Red Cross, [after 1904]. — Color reproduction of a watercolor, one-color print on the reverse. — 14 × 9 cm.\u003c\/p\u003e\n\n\u003cp\u003eOne-sided color print: St. Andrew’s Church above a tree-covered slope, with the printed title “Kiev. Andreevskaya Church” below on the left; the artist’s signature is in the lower right corner of the image. The reverse is printed in green: an emblem featuring an imperial crown and a red cross, with the inscription “For the Benefit of the Community of St. Eugenia”; the headings “Open Postcard \/ Carte Postale”; a stamp frame; and separate spaces for the message and address. The cardstock is evenly darkened, with occasional reddish spots along the edges, slight soiling at the edges, and blunted corners; below the printed title on the front is a faint blue impression from another postcard. The postcard is clean: no writing, no stamp, and it has not passed through the mail. Condition: good.\u003c\/p\u003e\n\n\u003cp\u003eThe postcard has historical and cultural value and is of collector interest.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eSt. Andrew’s Church is the most recognizable silhouette of old Kiev: a church built between 1747 and 1762 to a design by Bartolomeo Rastrelli under the supervision of Ivan Michurin, situated at the edge of the slope so that it can be seen from anywhere above Podil. Here it is shown exactly as it would have appeared to someone looking up from below: the dome and four side roofs rise above the mass of greenery, while the roofs of estates to the right of the church are barely visible. The reproduction even preserves the uneven edge of the watercolor wash—the publisher deliberately presented the image as a drawing rather than a photograph.\u003c\/p\u003e\n\n\u003cp\u003eThe Community of St. Eugenia was a Red Cross charitable organization founded in 1893 in Saint Petersburg to support sisters of mercy. It began publishing in 1896 and, in the spring of 1898, issued its first artistic postcards featuring watercolors by Mykola Karazin. Later, artists from Mir Iskusstva also created designs for it—Alexander Benois, Evgeny Lancerre, Ivan Bilibin, Georgy Narbut, Mstislav Dobuzhinsky, Sergey Chekhonin, and the Kiev-based Stepan Yaremych; about three thousand views of more than two hundred locations across the empire were issued as postcards, and the sale of these cards supported the community’s shelters and hospitals.\u003c\/p\u003e\n\n\u003cp\u003eThe reverse of this copy already has separate spaces for the message and address: writing on the address side was permitted in the Russian Empire in 1904, so the postcard cannot have been printed earlier. The Community’s Kiev views are rarer than its Saint Petersburg and Moscow views, and unwritten copies with a clean reverse are even rarer: most such cards were bought to be mailed immediately.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64679489896819,"sku":"SKU-00853","price":1500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15554175140211.jpg?v=1793988342"},{"product_id":"perfetskyi-leonid-voiaky-na-marshi-akvarel","title":"Leonid Perfettsky. On the Road: original watercolor.","description":"\u003cp\u003eLeonid Perfettsky. In the March: watercolor, ink and pencil on paper. Artist's signature at the bottom right.\u003c\/p\u003e\n\u003cp\u003e[Unpublished, undated]. — Sheet 21 × 14.5 cm. — Mounted in a silver-colored profile frame with dark green matting and gold fillet, under glass.\u003c\/p\u003e\n\u003cp\u003eSheet of cream textured paper with uniform light yellowing. In the upper right part of the sky — a cluster of small reddish fox-like spots, with occasional spots scattered along the edges. In the upper left corner, there is a fold mark with slight darkening of the paper. The paint layer is intact, the drawing is clear. Condition: good.\u003c\/p\u003e\n\u003cp\u003eOriginal artist's work with signature. The work has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe scene is built on a diagonal into the sheet: along a broken field road, beside a stick fence, moves a column of soldiers in protective tunics, with cavalrymen in green uniforms with red sashes and carbines over their shoulders on either side and behind it. The first rider rides directly toward the viewer. The hills, copse and road are outlined with several transparent washes, while the figures and horses are rendered with dense, almost corporeal brushstrokes reinforced with ink — a typical Perfettsky method of composing from a light landscape background to a detailed military group.\u003c\/p\u003e\n\u003cp\u003eLeonid Perfettsky (1901–1977) — battle artist and graphic artist, centurion of the UNR Army. Born in the village of Ladyzhynka in the Uman region, between 1917 and 1921 he commanded a horse centurion of the 8th Black Sea Regiment of the 3rd Iron Division, participant in the First Winter Campaign. After the defeat of the Liberation Struggle, he studied at the Kraków Academy of Fine Arts, worked in Paris in the studio of André Lhote, and in 1942 became a member of the Union of Ukrainian Fine Artists. He spent the post-war years in displaced persons camps, moved to Montreal in 1954, where he painted murals in the Holy Spirit Church; he died there in 1977.\u003c\/p\u003e\n\u003cp\u003ePerfettsky painted his battle sheets from memory — as a participant in the events who knew the anatomy of the horse and the practice of cavalry marches of that time from the inside. The core of his legacy consists precisely of watercolors and drawings on the themes of the Ukrainian-Russian and Ukrainian-Polish wars; a significant part of the pre-war works perished, and what survived is scattered among diaspora families in Canada and the USA. Original signed sheets by the master are extremely rare on the antique market.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":64686043398515,"sku":"SKU-00859","price":82000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/FullSizeRender.jpg?v=1791152282"},{"product_id":"kulchytska-olena-komplekt-lystivok-kyiv-1969","title":"Kulchytska Olena: postcard set. Kyiv, 1969","description":"\u003cp\u003e\u003cem\u003e“...She wished for freedom for the shackled, for a better fate for the unfortunate, and for equal justice for all...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eO. L. Kulchytska: set of postcards \/ editors O. H. Oleshkevych and V. H. Pohrebniak; technical editor Ye. I. Aristov.\u003c\/p\u003e\n\u003cp\u003eKyiv: Mystetstvo, 1969. — Folder, 13 postcards, insert with text and list of postcards. — Text in Ukrainian, Russian, and English. — Color printing factory of the Press Committee under the Council of Ministers of the Ukrainian SSR, Kyiv. Print run 5000 copies. Price 39 kop.\u003c\/p\u003e\n\u003cp\u003eThe folder is made of laid paper: on the front cover — a reproduction of the woodcut ex-libris by the artist “The Little Bee” with the inscription “This book belongs to Olena Kulchytska.” The folder has slight wear at the edges, small dark spots at the top right on the front cover, a horizontal crease and a worn edge near the fold on the back cover; the paper has darkened evenly. The set is complete — all 13 postcards, the postcards are clean, without inscriptions and postal marks. Condition: very good.\u003c\/p\u003e\n\u003cp\u003eThe publication has historical and cultural value and is of collector interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe thirteen postcards cover various areas of Olena Kulchytska’s work — from the watercolor “Willows” (1907) and the landscape “Stryi Park” to black-and-white graphics: “Birch Trees,” “The Root of Eternity,” “Yaroslav the Wise,” and the triptych “Hutsul Celebration.” Also included are genre scenes “Sister in White,” “Girl in a Kaptar,” “Shepherdess with Geese,” “Dancing Hutsul,” the decorative composition “Art,” and a portrait of Ivan Franko with the date of his death, 28.5.1916, and lines of text placed below the image.\u003c\/p\u003e\n\u003cp\u003eOlena Kulchytska (1877–1967) — painter, graphic artist, illustrator, and master of decorative art. Born in Berezhan, she studied in Lviv (1901–1903) and Vienna (1903–1907), and exhibited for the first time in Lviv in 1909. From 1948, she was a professor in the Department of Book Graphics at the Ukrainian Polytechnic Institute in Lviv; in 1967, she received the Shevchenko Award. She considered the postcard one of the most convenient means of popularizing art and herself worked extensively in this genre.\u003c\/p\u003e\n\u003cp\u003eThe set was published in 1969, two years after the artist’s death — the same year as her album by the same publisher. The introductory text on the insert is written in the language of its time and presents the artist as a “realist artist” who “embraced the October Revolution.” Complete sets with a folder and insert are considerably rarer than individual postcards.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67037469344115,"sku":"SKU-00896","price":950.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15582297522547.jpg?v=1793989376"},{"product_id":"hordynskyi-sviatoslav-3-lystivky-polissia-zhuravno-ikona","title":"Hordynskyi, Sviatoslav. Ukrainian Types and Icon of Christ: 3 Postcards. Regensburg; New York, [n.d.]; 1986","description":"\u003cp\u003eS. Hordynsky: Ukrainian types from Polissja; S. Hordynsky: Ukrainian types from Shuravno; Icon pictured on front by S. Hordynsky.\u003c\/p\u003e\u003cp\u003eRegensburg: “Hoverla,” [n. d.]. — 2 color postcards; on the front of “Ukrainian types from Polissja,” signature in the “Hordynsky 39” cliché. — New York: Ukrainian Institute of America, 1986. — Invitation postcard, lithographed; on the back, text of an invitation to the celebration of Sviatoslav Hordynsky’s 80th birthday on December 28, 1986.\u003c\/p\u003e\u003cp\u003eBoth Regensburg postcards are color prints on textured cardboard with rounded corners; backs have postal markings and are otherwise clean, without writing. Edges are rubbed; “Ukrainian types from Polissja” has a small tear and paper loss along the top edge, and a light stain near the left edge of the front; “Ukrainian types from Shuravno” has small losses along the right edge. At the bottom of the backs of both postcards are brown glue marks with paper residue; on the back of “Ukrainian types from Shuravno,” a light rubbed area near the left edge makes the Ukrainian signature only partially legible. The invitation postcard has been through the mail: U.S. 14-cent “Iceboat 1880s” stamp, New York machine cancellation from December 19, 1986, and an address label for the recipient, Orest Dutka, Flushing, N. Y. On the top of the front is a mirrored postal cancellation transferred from another mailing; on the back are several small reddish stains near the Institute’s address. Condition: good.\u003c\/p\u003e\u003cp\u003eLifetime editions of the artist’s works. The set has historical and cultural value and is of collectible interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe two postcards from the “Ukrainian types” series were published in Regensburg by the “Hoverla” firm—in the city that after the war was home to one of the largest Ukrainian displaced persons communities in Germany. Hordynsky depicts the traditional dress of two different regions. The Polissja couple is dancing: he is in a gray svita and a woven patterned hat, with postol boots and onuchi; she is in white with a red woven ornament and a namitka. The couple from Shuravno on the Dnister River: the woman is in a yellow svita with a floral scarf over her shoulders, and the man is in a bryli, with a lyulka and tall boots. The Polissja postcard is dated 1939 in the cliché itself, meaning the image was produced before the war.\u003c\/p\u003e\u003cp\u003eSviatoslav Hordynsky (1906–1993) was a painter, graphic artist, art historian, poet, and translator originally from Kolomyia. In Lviv, he was a co-founder of the Association of Independent Ukrainian Artists and editor of the journals Mystetstvo, Nashi dni, and Nazustrich. After the war, he ended up in Germany and later in the U.S., where he became one of the leading icon painters of the diaspora; he is also the author of a poetic retelling of The Lay of Igor’s Campaign.\u003c\/p\u003e\u003cp\u003eThe third postcard is an invitation from the Ukrainian Institute of America (2 East 79th Street, New York) to the celebration of the 80th birthday of the “artist—painter, art historian, and poet” on Sunday, December 28, 1986; on the front, as noted on the back, is an icon of Christ by Hordynsky himself. This copy was mailed on December 19 to one of the invitees. Together, the three postcards form a circle: prewar graphics published in the DP camps and a document of the artist’s late American recognition.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67045432328563,"sku":"SKU-00908","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15584643809651.jpg?v=1793986021"},{"product_id":"hordynskyi-sviatoslav-ikona-khrysta-zaproshennia-niu-york-1986","title":"Hordynskyi Sviatoslav. Icon of Christ: invitation to the artist's 80th birthday. New York, 1986 — with a dedicatory inscription","description":"\u003cp\u003eThe Ukrainian Institute of America has the honor of inviting you to the holiday celebration of the 80th birthday of Maestro Sviatoslav Hordynsky, artist—painter, art historian, and poet \/ icon pictured on front by S. Hordynsky.\u003c\/p\u003e\u003cp\u003eNew York: Ukrainian Institute of America, 1986. — Invitation card: on the front, an icon of Christ, tone print; on the back, printed invitation text.\u003c\/p\u003e\u003cp\u003eThick cream cardboard. On the front—the face of Christ in a halo with a cross, filling the entire sheet with narrow margins. The back is divided by a vertical line: on the left, the invitation text; on the right, an inscription made with a ballpoint pen, “Sviatoslav Hordynsky N. Y. 28\/12 1986 for Rysia,” dated the day of the celebration itself; along the line, in small print, “Icon pictured on front by S. Hordynsky.” The card was not sent by mail. The cardboard is clean, the corners are sharp, with no creases or stains. Condition: very good.\u003c\/p\u003e\u003cp\u003eA lifetime edition of the artist’s work with an inscription dated the day of the anniversary. The card has historical and cultural value and is of collector’s interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThis copy was signed on December 28, 1986—the very day the Ukrainian Institute of America invited guests to celebrate Sviatoslav Hordynsky’s 80th birthday: on Sunday, at three in the afternoon, at the Institute’s premises at 2 East 79th Street in New York; guests were asked to reserve their places by December 23. Thus, the inscription was most likely made at the celebration itself.\u003c\/p\u003e\u003cp\u003eOn the front—the anniversary celebrant’s icon of Christ: a frontal face with large almond-shaped eyes, in a cruciform halo, executed in the Byzantine style that Hordynsky consistently upheld in Ukrainian church art overseas. The invitation is simultaneously a reproduction of his icon and a document of the artist’s late recognition.\u003c\/p\u003e\u003cp\u003eSviatoslav Hordynsky (1906–1993) was a painter, graphic artist, art historian, poet, and translator originally from Kolomyia. In Lviv, he was a co-founder of the Association of Independent Ukrainian Artists and an editor of art journals. After the war, he ended up in Germany, and later in the United States, where he became one of the leading icon painters of the diaspora, decorating churches and creating iconostases; he was also the author of a poetic retelling of “The Tale of Igor’s Campaign.”\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107074244979,"sku":"SKU-00928","price":5500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597232161139.jpg?v=1793985762"},{"product_id":"hordynskyi-sviatoslav-krasa-zhuravenshchyny-lystivka-regensburg","title":"Hordynskyi Sviatoslav. The Beauty of Zhuravlivshchyna = Ukrainian types from Shuravno: postcard. Regensburg, [n.d.]","description":"\u003cp\u003eS. Hordynsky: Beauty of Shuravno = S. Hordynsky: Ukrainian types from Shuravno.\u003c\/p\u003e\u003cp\u003eRegensburg: “Hoverla”, [n. d.]. — Color postcard; on the reverse, postal markings, bilingual inscription, and publisher’s mark “Published by “Hoverla” Regensburg”.\u003c\/p\u003e\u003cp\u003eColor print on textured cardboard, corners rounded. Reverse clean, without inscriptions or stamps. Edges rubbed, small loss of paper on the upper edge near the right corner, several small spots on the left edge of the front side; reverse evenly darkened. Condition: good.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist’s work. The postcard has historical and cultural value and is of collector’s interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA couple from Shuravno on the Dnister in festive attire stands on a patch of grass, as if cut out of paper. The woman is turned with her back to the viewer—so that everything is visible: a yellow embroidered shirt with flowers embroidered on the field, a green scarf with roses on the shoulders, a white sash, and a striped skirt with red pleats. The man is in a suit, with a pipe, in a brown embroidered shirt with red-and-white trim, an embroidered shirt, a woven belt, and tall boots. Hordynsky conveys the attire with the precision of an ethnographer, but with flat decorative planes, like a graphic print.\u003c\/p\u003e\u003cp\u003eThe postcard belongs to the “Ukrainian types” series, which was published in Regensburg after the war by the “Hoverla” firm. Regensburg then had one of the largest Ukrainian refugee communities in Germany, and the bilingual inscription on the reverse addressed the postcard to both its own and foreign people. In another postcard of the series, “Our Polissia”, the date 1939 is in the cliché—meaning the artist made at least part of the drawings before the war.\u003c\/p\u003e\u003cp\u003eSvyatoslav Hordynsky (1906–1993) was a painter, graphic artist, art historian, poet, and translator originally from Kolomyia; in the 1930s, he was a co-founder of the Association of Independent Ukrainian Artists in Lviv, and later in Germany and the USA, where he became one of the leading icon painters of the diaspora.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107074277747,"sku":"SKU-00929","price":3600.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597232193907.jpg?v=1793986575"},{"product_id":"hordynskyi-todi-zletily-z-neba-anhely-rizdviana-lystivka-lviv","title":"Hordynskyi, Sviatoslav. Then Angels Flew Down from Heaven: A Christmas Card. Lviv, [n.d.]","description":"\u003cp\u003e“Then angels flew down from heaven and told the shepherds in the field…” \/ illus. S. Hordynsky. — (Ukrainian Christmas Carols; Part 4).\u003c\/p\u003e\u003cp\u003eLviv: “Sojuznyj Bazar”; reproduced by “Unia,” [n.d.]. — Color postcard with gold paint. — Printed title on the reverse: “Merry Christmas!”\u003c\/p\u003e\u003cp\u003eColor print on thick cardboard with a white border around the image; “Hordynsky” signature in the plate at the bottom of the frame. The postcard was mailed: Polish 30-gr stamp with the dates “6.VIII 1914 1934,” round postmark partially blurred; address in ink — “Rev. Leo Chapelsky, 415 Front Street, Minersville PA, U. S. America,” short Christmas greeting in Ukrainian on the left with a signature. Edges and corners rubbed, lower corners rounded from use; small dark spot and indentation on the right margin of the front side; reverse toned, brown spot in the upper left corner of the reverse. Condition: good.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist’s works. The postcard has historical and cultural value and is of collector’s interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eChristmas, transposed to the Carpathians: two angels in golden halos fly over the snow-covered peaks and a house among the fir trees, and one of them points down—where the shepherds are to hear the news. The scene is set within a hexagon, surrounded by a frame of Hutsul crosses, eight-pointed stars, and pysanka motifs, with a line of Christmas carol at the bottom on a gold background. An iconographic style is combined here with the language of folk ornament—a search that runs through all of Hordynsky’s 1930s work.\u003c\/p\u003e\u003cp\u003eSvyatoslav Hordynsky (1906–1993) was a painter, graphic artist, poet, and art historian from Kolomyia. He studied at Oleks Novakovsky’s school in Lviv, and later in Berlin and Paris; in 1931, he became one of the founders of the Association of Independent Ukrainian Artists. Alongside easel painting, he worked extensively in applied graphics—book covers, posters, ex libris, and postcards.\u003c\/p\u003e\u003cp\u003eThe postcard is the fourth number in the “Ukrainian Christmas Carols” series by the Lviv firm “Sojuznyj Bazar,” with the reproduction done by “Unia.” The 1914–1934 jubilee stamp means it was sent no earlier than 1934—to Minersville, Pennsylvania: at 415 Front Street, a Ukrainian Catholic Church of St. Nicholas still stands today. The addressee was Father Chapelsky (Rev. Leo Chapelsky); two other Hordynsky postcards come from the same family correspondence, which we offer separately.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107084861811,"sku":"SKU-00930","price":5500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597233832307.jpg?v=1793985759"},{"product_id":"hordynskyi-hutsulka-na-koni-lystivka-nova-khata-lviv","title":"Hordynskyi Sviatoslav. Hutsul Woman on Horseback: Greeting Card. Lviv, [n.d.]","description":"\u003cp\u003eUkrainian Types. S. Hordynsky: Huzul's Woman on Horseback.\u003c\/p\u003e\u003cp\u003eLviv: Nova Khata Publishing House, [n.d.]. — (Series 3\/2). — Color postcard. — Captions in Ukrainian and English.\u003c\/p\u003e\u003cp\u003eColor print on white cardboard; printer's mark at the bottom right. On the reverse, a Christmas and New Year greeting in blue ink reads, \"Most Respected Sirs! Please accept our heartfelt wishes on the occasion of Christmas and the New Year,\" with senders' signatures and the address \"Most Respected Sirs ... Chapelsky, Elizabeth, N.J.\"; no stamps or postmarks. The front is clean, with occasional small dots on the white field; along the top edge of the reverse, there are light stains and wear to the textured layer, and the corners are slightly rubbed. Condition: good.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist's works. The postcard has historical and cultural value and is of collector interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA Hutsul woman rides along a mountain path: in a yellow skirt with embroidered ends, an embroidered shirt and striped apron, with a bundle slung over the horse, and two swallows fly above her. Hordynsky composes the image from several flat areas of color on a white background, almost without shadow—so the postcard resembles a 1930s poster more than an ethnographic illustration.\u003c\/p\u003e\u003cp\u003eThe \"Ukrainian Types\" series was published by Lviv's Nova Khata—the same firm that published the eponymous magazine for women about home life, fashion, and folk art; Hordynsky also painted covers for this magazine. The parallel English captions show that such postcards were also intended for the overseas community.\u003c\/p\u003e\u003cp\u003eSviatoslav Hordynsky (1906–1993) was a painter, graphic artist, and art historian, co-founder of the Association of Independent Ukrainian Artists in Lviv, and after the war, one of the leading artists of the Ukrainian diaspora in the United States. The postcard is addressed to the Chapelsky family in Elizabeth; among the senders' signatures is Volodymyr Pushkar.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107085091187,"sku":"SKU-00931","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597233897843.jpg?v=1793985214"},{"product_id":"hordynskyi-veselykh-sviat-velykodnia-lystivka-lviv-1939","title":"Hordynskyi, Sviatoslav. Merry Holidays: Easter postcard. Lviv, [n.d.]","description":"\u003cp\u003eHappy Holidays! \/ illus. S. Hordynsky.\u003c\/p\u003e\u003cp\u003eLviv: Soyuznyi Bazar Publishing House, 20 Ruska St., [no year]. — Color postcard. — Printed in Poland.\u003c\/p\u003e\u003cp\u003eColor print on thick cardboard; monogram “S. H.” in the lower corners of the frame. Postally used: two Polish stamps of 15 gr each, two round postmarks; address written in ink — “Rev. Leo Chapelsky, 22 East 17 Street, New York, N. Y., U. S. America”; on the reverse, a nine-line Easter greeting in Ukrainian, dated “Lviv 23\/3 1939,” with signatures. Front clean, edges slightly worn; on the reverse near the signature, minor loss of the paper’s surface layer, corners rubbed. Condition: good.\u003c\/p\u003e\u003cp\u003ePublication of the artist’s work during his lifetime. The postcard has historical and cultural value and is of collector interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eEaster postcard sent from Lviv to New York on March 23, 1939—six months before the city was occupied by the Red Army. The senders offer Easter greetings, thank the recipient for the letter, and promise to write back soon; shortly thereafter, correspondence between Galicia and America became almost impossible.\u003c\/p\u003e\u003cp\u003eOn the front—an Easter morning in a Hutsul home: a girl in a red serdak and yellow kerchief places a carved table plate with pysanky on a table covered with an embroidered rush cloth; nearby are pitchers with floral designs, a ring-handled jug, and a bowl, with “Happy Holidays!” written above in a handwritten script. The entire scene is framed by an ornament of birds and flowers in an octagonal border: carving, ceramics, embroidery, and pysanky together embody the “Ukrainian style” that Hordynsky and his circle sought in the 1930s.\u003c\/p\u003e\u003cp\u003eSviatoslav Hordynsky (1906–1993) during these years was one of the central figures of Lviv’s art scene: co-founder of the Association of Independent Ukrainian Artists, author of numerous book covers and postcards. The postcard was published by Soyuznyi Bazar, based at 20 Ruska St.—the same firm also issued the “Ukrainian Christmas Carols” series based on his designs. The recipient is the same as in the Christmas postcard from this collection—Reverend Chapelsky (Rev. Leo Chapelsky), this time at a New York address.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107086303603,"sku":"SKU-00932","price":5500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597233930611.jpg?v=1793985759"},{"product_id":"hordynskyi-zelena-bukovyna-lystivka-hoverla-regensburg","title":"Hordynskyi, Sviatoslav. Bukovyna in Green: postcard. Regensburg, [n.d.]","description":"\u003cp\u003eS. Hordynsky: Green Bukovyna = S. Hordynsky: Ukrainian Types from Bukovyna.\u003c\/p\u003e\u003cp\u003eRegensburg: “Hoverla,” [n.d.]. — Color postcard. — Signature in the plate: “Hordynsky 39.”\u003c\/p\u003e\u003cp\u003eColor print on textured cardboard; reverse side with postal markings, no inscriptions. Three corners diagonally trimmed; small notch in the center of the top edge; loss of the surface paper layer along the right edge of the front side; field with slight yellowing and isolated foxing; trimmed edges rubbed. Brown stain at the bottom of the reverse side; rubbing of the paper near the left edge. Condition: fair.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist’s works. The postcard is of collectible interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA Bukovynian couple in festive attire—one of the most colorful sheets in the series. The woman wears a wreath of flowers and multicolored ribbons, strands of coral beads, embroidered sleeves, a sheepskin vest, a red striped shawl, and green boots; the man wears a hat with a peacock feather, an embroidered sheepskin vest, a sheepskin coat over his shoulders, and a walking stick with a curved handle. The signature “Hordynsky 39” indicates that the drawing was made in Lviv in 1939; it was published as a postcard after the war.\u003c\/p\u003e\u003cp\u003eIt was published by the “Hoverla” company in Regensburg—one of the main centers of the Ukrainian emigration in postwar Germany. The series depicts the borderlands of Ukraine—Bukovyna, Podillia, Polissia, and the Zhuravlenka region—and for the camp community, such a postcard was a piece of the map of the home they had just been forced to leave.\u003c\/p\u003e\u003cp\u003eSvyatoslav Hordynsky (1906–1993) was a painter, graphic artist, poet, and art historian from Kolomyia, a student of Oleksii Novakovskyi and co-founder of the Association of Independent Ukrainian Artists. He knew folk costume not from books: Kolomyia lies on the border of Pokuttya and Hutsulshchyna, and ethnographic motifs run through all his graphic work of the 1930s.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107086401907,"sku":"SKU-00933","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597234028915.jpg?v=1793986016"},{"product_id":"hordynskyi-zolote-podillia-lystivka-hoverla-regensburg","title":"Hordynskyi Sviatoslav. Golden Podillia: postcard. Regensburg, [n.d.]","description":"\u003cp\u003eS. Hordynsky: Golden Podillia = S. Hordynsky: Ukrainian types from Podilla.\u003c\/p\u003e\u003cp\u003eRegensburg: “Hoverla”, [n.d.]. — Color postcard.\u003c\/p\u003e\u003cp\u003eColor print on textured cardboard; signature in the lower right of the plate; reverse with postal markings, no inscriptions. Upper right and lower left corners diagonally trimmed; several brown spots above the brim, light paint abrasion near the girl’s feet; yellowed margins, trimmed edges worn. On the reverse, a brown spot at the bottom, minor paper abrasion at the top. Condition: fair.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist’s works. The postcard is of collector’s interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA Podillian couple is rushing into a dance: the boy in a tall straw brim with a feather, a brown embroidered shirt with cord trim, white trousers, and boots; the girl in a multicolored headscarf, with coral beads, a purple embroidered shirt, and an embroidered apron beneath which a striped skirt is visible. The figures lean toward one another, and from this lean arises a movement that is absent from the static “types” of ethnographic albums.\u003c\/p\u003e\u003cp\u003eThe postcard belongs to a post-war series issued in Regensburg by the “Hoverla” company: alongside Podillia, it features Bukovina, Polissia, and Zhuravlenka, and some of the drawings are dated 1939 in the plate—they were created back in Lviv.\u003c\/p\u003e\u003cp\u003eSvyatoslav Hordynsky (1906–1993) was a painter, graphic artist, poet, and art historian. After studying in Lviv, Berlin, and Paris, where he worked at the Académie Moderne under Fernand Léger, he returned to Galicia and became one of the founders of the Association of Independent Ukrainian Artists. He lived in the United States from 1947, painted over thirty Ukrainian churches, and wrote the seminal work “Ukrainian Icon 12–18 centuries.”\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107086434675,"sku":"SKU-00934","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597234061683.jpg?v=1793986016"},{"product_id":"hordynskyi-nashe-polissia-lystivka-hoverla-regensburg","title":"Hordynskyi Sviatoslav. Our Polissia: postcard. Regensburg, [n.d.]","description":"\u003cp\u003eS. Hordynsky: Our Polissya = S. Hordynsky: Ukrainian Types from Polissya.\u003c\/p\u003e\u003cp\u003eRegensburg: “Hoverla,” [n.d.]. — Color postcard. — Signature in the plate: “Hordynsky 39.”\u003c\/p\u003e\u003cp\u003eColor print on textured cardboard, rounded corners; reverse side with postal markings, no inscriptions. Crease in the lower right corner of the front side, small dot at the top, edges slightly worn, field with slight yellowing. Condition: good.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist’s works. The postcard has historical and cultural value and is of collector interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe most understated in color of the series: a Polissian couple dancing. He is in a gray svita with an embroidered collar and a tall hat with a woven pattern, wearing postoly with onuchi; she is in white with a red woven ornament, wearing a namitka and korali, with one arm slightly raised. The white canvas, gray sukno, and postoly—a world more modest than the Hutsul one—and Hordynsky conveys it without embellishment, through the very rhythm of the ornament.\u003c\/p\u003e\u003cp\u003eThe Latin signature in the plate “Hordynsky 39” means that the drawing was made back in Lviv in 1939; it was printed after the war by the Regensburg firm “Hoverla,” which worked for the Ukrainian camp community. The series also includes Bukovyna, Podillia, and Zhuravlenka.\u003c\/p\u003e\u003cp\u003eSvyatoslav Hordynsky (1906–1993) was a painter, graphic artist, poet, and art historian, and co-founder of the Association of Independent Ukrainian Artists in Lviv. After the war, he settled in the United States and bequeathed his art collection to the Andrey Sheptytskyi National Museum in Lviv.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107086467443,"sku":"SKU-00935","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597234094451.jpg?v=1793986016"},{"product_id":"hordynskyi-krasa-zhuravenshchyny-lystivka-hoverla-regensburg","title":"Hordynskyi Sviatoslav. The Beauty of Zhuravnytsia: postcard. Regensburg, [n.d.]","description":"\u003cp\u003eS. Hordynsky: Beauty of Zhuravnytsia = S. Hordynsky: Ukrainian types from Shuravno.\u003c\/p\u003e\u003cp\u003eRegensburg: “Hoverla”, [n. d.]. — Color postcard.\u003c\/p\u003e\u003cp\u003eColor print on textured cardboard, rounded corners; signature in the lower right corner; reverse with postal markings, no inscriptions. Edges slightly rubbed, a few small dots on the top margin; a faint crease mark near the right edge on the reverse. Condition: very good.\u003c\/p\u003e\u003cp\u003eLifetime edition of the artist’s works. The postcard has historical and cultural value and is of collector’s interest.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eHordynsky depicted a couple from Zhuravno on the Dnister from an unusual angle: the woman is seen from behind, so that the viewer sees the main elements—a white namitka, a green scarf with flowers on her shoulders, and a yellow svita with an embroidered floral motif at the bottom. The man, wearing a birel and a brocade svita with trim, smokes a pipe, holds a red krayka in his hand, and wears tall boots. Among the sheets in the series, this is the most genre-like scene: not posing for the viewer, but a conversation between two people.\u003c\/p\u003e\u003cp\u003eZhuravno is an ancient town on the Dnister in the Lviv region, known in history for the peace treaty of 1676 between Poland and the Ottoman Empire. The postcard was published by the “Hoverla” company in Regensburg for the Ukrainian camp community; the series also covers Bukovyna, Podillia, and Polissia.\u003c\/p\u003e\u003cp\u003eSvyatoslav Hordynsky (1906–1993) was a painter, graphic artist, poet, and art historian, co-founder of the Association of Independent Ukrainian Artists in Lviv, and from 1947, in the USA.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107086500211,"sku":"SKU-00936","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597234127219.jpg?v=1793986017"},{"product_id":"pryiniattia-4-liutoho-1978-oryhinalna-fotohrafiia","title":"Original photograph of Ya. Hnizdovskyi with S. Hordynskyi. February 4, 1978","description":"\u003cp\u003eOriginal black-and-white photograph, February 4, 1978.\u003c\/p\u003e\n\u003cp\u003e[Unpublished], 1978. — Black-and-white photographic print on paper with white borders. — Printed date stamp “FEBRUARY 4, 1978” on the reverse.\u003c\/p\u003e\n\u003cp\u003eHorizontal photograph with wide borders. The paper is flat, without creases or tears; the borders are clean, with slight rippling of the sheet; the number “7” is written in pencil in the center of the reverse. Condition: very good.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67107086598515,"sku":"SKU-00937","price":9000.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15597234192755.jpg?v=1793985214"},{"product_id":"hordynskyi-sviatoslav-muzykanty-reproduktsiia","title":"Hordynskyi Sviatoslav. Musicians: color reproduction of the painting","description":"\u003cp\u003eSviatoslav Hordynskyi. Musicians = Musicians = Les musiciens = Musikanten.\u003c\/p\u003e\n\u003cp\u003eColor reproduction on white paper, mounted on a sheet of gray-beige cardboard. Printed inscription on the cardboard below the image: “Sviatoslav Hordynskyi: Musicians — Swjatoslaw Hordynskyj: Musicians. — Les musiciens. — Musikanten.” The artist’s signature “hordynsky” appears in the lower right corner of the image itself.\u003c\/p\u003e\n\u003cp\u003eThe cardboard shows even yellowing and occasional dark spots, slight soiling near the lower left corner, and a small dark mark on the left edge of the sheet. The reproduction is clean, without tears, and the colors are bright. Condition: very good.\u003c\/p\u003e\n\u003cp\u003eThe sheet has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFour Hutsul musicians play in the yard in front of a wooden house against a backdrop of blue mountains: a mustachioed violinist in a red serdak and fur hat; behind him, a trembita player; to the right, a sopilka player in a keptar; and in the center, seated, a cymbal player. A black dog circles at their feet, while a barrel with a bottle and a round ceramic jug stand nearby, and in the background, people are already dancing. The color planes and bold dark outlines make the scene both traditional and modern—the very combination sought by Lviv artists in the 1930s.\u003c\/p\u003e\n\u003cp\u003eSviatoslav Hordynskyi (1906–1993) was a painter, graphic artist, poet, translator, and art historian. He studied at Oleks Novakovskyi’s art school in Lviv, and later in Berlin and Paris, notably under Fernand Léger. In Lviv, he co-founded the Association of Independent Ukrainian Artists and edited its journal, Mystetstvo. From 1947, he lived in the United States, where he painted approximately fifty churches.\u003c\/p\u003e\n\u003cp\u003eThe inscription in four languages, with the German transliteration of his name, is characteristic of post-war Munich art publications. Illustrations in the almanac Ukrainian Art (Munich, 1947) were signed in the same way; Hordynskyi edited the publication together with Mykhailo Dmytrenko, Edvard Kozak, and Stepan Lutsyk.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67282985550195,"sku":"SKU-01056","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15632511074675.jpg?v=1793987310"},{"product_id":"krychevskyi-vasyl-lavrskyi-monastyr-u-kyievi-reproduktsiia","title":"Krychevskyi, Vasyl. Lavra Monastery in Kyiv = The Cloister of Kiew: color reproduction. [n.p.], [n.d.]","description":"\u003cp\u003eVasyl Krychevskyj. Lavra Monastery in Kyiv = The Cloister of Kiew = Le Cloître de Kiew = Kloster Lawra in Kiew.\u003c\/p\u003e\n\u003cp\u003e[N.D.: n.d., n.d.]. — 1 sheet: color reproduction of a 1943 watercolor, mounted on cardboard. — Inscription below the image in four languages: Ukrainian, English, French, and German.\u003c\/p\u003e\n\u003cp\u003eThe color reproduction with a narrow white border is mounted on gray cardboard matting; the title of the work and the artist's name are printed on the cardboard below the image. The artist's signature is reproduced in the lower left corner of the reproduction, and the date \"1943\" in the lower right. A diagonal fold in the paper with a crack in the paint layer runs through the lower right corner of the image. The cardboard has small dark spots and slight soiling; the corners are slightly rubbed. Condition: good.\u003c\/p\u003e\n\u003cp\u003eThe sheet has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Kyiv-Pechersk Lavra beyond the Dnipro: green slopes with trees rise above the wide stretch of water and sandy shore, and above them stand the Great Lavra Bell Tower and the golden domes of the monastery churches. The watercolor is painted freely, with transparent washes, in a light summer palette. The work is dated 1943—the same year the artist left Kyiv forever; in the list of his works, the Encyclopedia of Contemporary Ukraine refers to the landscape \"Lavra. Kyiv\" as being from this very year.\u003c\/p\u003e\n\u003cp\u003eVasyl Krychevskyj (1873–1952) was a painter, architect, graphic artist, and art historian, one of the creators of Ukrainian Art Nouveau. He designed the Poltava Provincial Zemstvo building, the state coat of arms, seals, and currency of the Ukrainian People's Republic of 1918, and served as the art consultant for Oleksandr Dovzhenko's film \"Zvenyhora\". In 1943, he left for Lviv, where he headed the Higher Art Studio, later traveling through Slovakia and Germany to Paris, and eventually to Venezuela, where he died in Caracas.\u003c\/p\u003e\n\u003cp\u003eThe inscription below the reproduction in four languages, with the Latin spelling of the artist's name \"Wasyl Kryczewskyj,\" addressed to a foreign-language audience—this is how the Ukrainian emigration presented its artists to the world. The Kyiv landscape, painted in the year of his forced departure, thus becomes an image of the abandoned city.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67283013435763,"sku":"SKU-01057","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15632536011123.jpg?v=1793987312"},{"product_id":"lutsyk-stepan-zamok-v-noiboern-reproduktsiia","title":"Stepan Lutsyk. Castle in Neuborn: color reproduction of the painting","description":"\u003cp\u003eStepan Lucyk. Castle in Neubeuern = The Castle of Neubeuern = Le château de Neubeuern = Schloß in Neubeuern.\u003c\/p\u003e\n\u003cp\u003eColor reproduction on white paper, mounted on a horizontal sheet of grey-beige cardboard. Below the image on the cardboard, the printed inscription reads: “Stepan Lucyk: Castle in Neubeuern. — Stepan Lucyk: The Castle of Neubeuern. — Le château de Neubeuern. — Schloß in Neubeuern.” In the lower left corner of the image itself is the artist’s signature with the date “Lucyk St. 45.”\u003c\/p\u003e\n\u003cp\u003eThe cardboard shows even yellowing and occasional dark spots on the margins; the upper right corner is slightly creased. The reproduction is clean, without tears or creases, and the colors are rich. Condition: very good.\u003c\/p\u003e\n\u003cp\u003eThe sheet has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAbove the autumn gardens and red roofs of the Bavarian village on a rocky hill stands a castle: a long white palace with a red roof and turrets, a domed tower on the left, and a massive four-sided tower on the right. Below is a strip of green meadow; above, a light blue sky with a few clouds. Impasto brushstrokes, warm ochres, and the reds of autumn against cool greens—an outdoor study painted in 1945, during the artist’s first year in exile. Neubeuern is a town above the Inn Valley in Upper Bavaria, near Rosenheim.\u003c\/p\u003e\n\u003cp\u003eStepan Lucyk (1906–1963), also known by the pseudonym Sivak, was a painter from Lviv and a student at the art school of Oleksii Novakivskyi. He exhibited with the Ukrainian Society of Art Lovers and the RUB group, painted portraits, landscapes, and an entire series of paintings of Lviv, and published articles on art. In 1945, he found himself in Germany, and in 1951, he moved to the United States; he died in St. Paul, Minnesota.\u003c\/p\u003e\n\u003cp\u003eThe signature in four languages is a characteristic feature of post-war Munich art publications intended for non-German-speaking viewers. Lucyk himself belonged to the initiative group of the Ukrainian Union of Fine Artists, which published the almanac Ukrainian Art in Munich in 1947, together with Svyatoslav Hordynskyi, Mykhailo Dmytrenko, and Edvard Kozak.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67283013992819,"sku":"SKU-01058","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15632536568179.jpg?v=1793987312"},{"product_id":"borachok-severyn-prachka-kolorova-reproduktsiia","title":"Boračok Severin. Washerwoman: color reproduction. [U. p.], [n. d.]","description":"\u003cp\u003eSeweryn Boraczok. The Laundress = Seweryn Boraczok. The Laundress = La Blanchisseuse = Wäscherin.\u003c\/p\u003e\n\u003cp\u003e[Unsigned, undated]. — Color print on chalk paper, mounted on a sheet of gray cardboard; inscription below the image in Ukrainian, English, French, and German.\u003c\/p\u003e\n\u003cp\u003eThe reproduction is mounted on gray cardboard with a narrow white border around the image; the inscription is printed on the cardboard below it. The cardboard shows uneven darkening along the edges, most notably brown staining in the lower left corner; there is a small dark spot above the image, and the corners are slightly creased. The image itself is clean, without tears or stains. Condition: good.\u003c\/p\u003e\n\u003cp\u003eThe sheet has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVery few of Seweryn Boraczok's interwar canvases have survived, and researchers draw their conclusions about his work in the 1920s and 1930s mainly from isolated black-and-white reproductions in contemporary publications. Here, the work is presented in color: women in white headscarves wash laundry under a tree, with a couple in the greenery and rural cottages in the background. The painting is composed of loose patches of color without distinct contours, in a warm yellow-green palette; in the lower left is the artist's Cyrillic signature.\u003c\/p\u003e\n\u003cp\u003eSeweryn Boraczok (1898–1975) was a post-impressionist painter born in Sorotcha, in the Terebovlia region, and the son of a Greek Catholic priest. He volunteered for the Ukrainian SS Legion, later studied at the Kraków Academy of Fine Arts under Józef Pankiewicz, and became one of the founders of the \"Paris Committee,\" a group of Ukrainian painters together with Józef Czapski, Jan Cybis, and Józef Jarema. He lived in Paris from 1924 to 1931, was fascinated by Bonnard's use of color, and exhibited with the Association of Independent Ukrainian Artists in Lviv; at the sixth exhibition of the Association of Ukrainian Artists in the Fine Arts in 1934–1935, \"The Laundress\" was among his works. After the war, he worked in Munich, created a mosaic iconostasis for the Ukrainian chapel in Maków Wielki, and lived in the United States from 1962.\u003c\/p\u003e\n\u003cp\u003eThe Latin form of the artist's name in the signature is given in the Polish spelling—Seweryn Boraczok—as he signed his work during the interwar years. Very few color reproductions of his pre-war paintings are known, so the sheet provides a rare glimpse of the artist's palette.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67283014058355,"sku":"SKU-01059","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15632536633715.jpg?v=1793987312"},{"product_id":"lutsyk-stepan-sinokos-v-karpatakh-reproduktsiia","title":"Stepan Lutsyk. Haymaking in the Carpathians: color reproduction of the painting","description":"\u003cp\u003eStepan Lucyk. Moring the hay in the Carpathes = La fenaison au Carpathes = Heumahd in den Karpathen.\u003c\/p\u003e\n\u003cp\u003eColor reproduction on white paper, mounted on a sheet of grey-beige cardboard. Printed inscription on the cardboard below the image: “Stepan Lucyk: Moring the hay in the Carpathes. — Stepan Lucyk: Moring the hay in the Carpathes. — La fenaison au Carpathes. — Heumahd in den Karpathen.” The artist’s signature in Cyrillic is at the bottom right of the image itself.\u003c\/p\u003e\n\u003cp\u003eA horizontal crease runs across the entire reproduction at the level of the hayloft, with a light line of abraded paint layer. The cardboard has an even yellowing and slight waviness, dark spots near the upper left corner, and a small light mark on the left edge of the sheet. The colors are bright, and the image is free from tears. Condition: good.\u003c\/p\u003e\n\u003cp\u003eThe sheet has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHutsul haymaking on a mountain pasture: in the foreground, a barefoot boy with a rake and a girl in a white headscarf, both in embroidered shirts and red-brown zapaskas, with a black sheep and a small flock beside them. Beyond the hayloft, men are forming a large haystack, with a woman with a pitchfork at the very top, and to the right under the spruce trees sits a shepherd playing a sopilka. Further away are wooden huts, slopes with scattered spruce trees, and a blue peak. Hutsulshchyna had been Lucyk’s main theme since the 1920s, when Novakivsky’s students regularly went to Kosmach to paint.\u003c\/p\u003e\n\u003cp\u003eStepan Lucyk (1906–1963) was a painter and graphic artist, born in Lviv. In 1926–1930, he studied at Oleks Novakovsky’s Art School; in 1931, as a scholarship student of Metropolitan Andrey Sheptytsky, he studied in Paris under Fernand Léger and Amédée Ozenfant. Co-founder of the Rub group and editor of its almanac Karby. In the autumn of 1944, he fled to the West, lived in DP camps in Bavaria, and from 1950 onward in Saint Paul, Minnesota.\u003c\/p\u003e\n\u003cp\u003eThe signature in four languages with the Latin transliteration of the name is a characteristic feature of post-war Munich art publications. It was Lucyk, together with Svyatoslav Hordynskyi, Mykhailo Dmytrenko, and Edvard Kozak, who edited the almanac Ukrainian Art (Munich, 1947), an art supplement to Ukrainian Tribune with summaries in English, French, and German. The English line was typeset with an error—“Moring” instead of “Mowing,” as occasionally happened in camp printing.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67283014189427,"sku":"SKU-01060","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15632536764787.jpg?v=1793987312"},{"product_id":"nedilko-mykola-nad-dnistrom-reproduktsiia","title":"Nedylko Mykola. Nad Dnistrom = On the banks of Dnister: color reproduction. [U. p.], [n. d.]","description":"\u003cp\u003eMykola Nedilko. Over the Dniester = On the banks of Dnister = Au bord du Dniestr = Am Dniestr: color reproduction.\u003c\/p\u003e\n\u003cp\u003e[N.d., n.d.]. — 1 sheet: color ill. — Caption under the image in four languages: Ukrainian, English, French, and German.\u003c\/p\u003e\n\u003cp\u003eColor reproduction with a narrow white border, mounted on a grayish-olive cardboard mat; the caption is printed on the mat under the image. The image is clean, without rubbing, with vibrant colors. The cardboard has slight darkening along the edges, with occasional small dark spots on the mat's borders, and the upper left corner is slightly pressed. Condition: very good.\u003c\/p\u003e\n\u003cp\u003eThe sheet has historical and cultural value and is of collectible interest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Dniester in Nedilko's work is characterized by high pink-red cliffs above a lilac-colored riverbed, a ferry with cattle in the middle of the river, and three washerwomen on a sandbank near the sun-baked sandy shore; the artist's signature \"Nedilko\" is in the lower right. The painting \"On the Dniester\" is dated 1942. Dniester landscapes are the most famous part of the artist's Lviv output: unlike the restrained Kyiv palette, here reigns a sunny, atmospheric light, and form is shaped by sharp contrasts of light and shadow. He exhibited the canvases \"On the Dniester\" and \"Washerwoman\" at general art exhibitions in Lviv in January and December 1943.\u003c\/p\u003e\n\u003cp\u003eMykola Nedilko (1902–1979) was a landscape painter and between 1922 and 1928 a student of Fedir Krychevsky, Mykhailo Boichuk, and Lev Kramarenko at the Kyiv Art Institute. In 1940, he was deported to Lviv along with Mykola Ozovsky and Mykhailo Dmytrenko; after the retreat of the Soviet authorities, he remained in the city, joined the Union of Ukrainian Fine Artists, and was able to paint freely here for the first time. This was followed by post-war Germany, from 1948 Buenos Aires, and from 1961 New York. Svyatoslav Hordynskyi attributed him to the Kyiv \"colorist\" school.\u003c\/p\u003e\n\u003cp\u003eThe four-language caption indicates that the sheet was intended not only for a Ukrainian but also for a foreign audience. The most complete collection of Nedilko's work is compiled in the monograph edited by Bohdan Pevnyi (New York, 1983), which includes sixty color plates.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67283026411891,"sku":"SKU-01061","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15632548266355.jpg?v=1793987312"},{"product_id":"levytskyi-sviatkuimo-bez-alkoholiu-lystivka-lviv","title":"Levytskyi M. Let’s Celebrate Without Alcohol: A Christmas Card. Lviv, [n.d.]","description":"\u003cp\u003e\u003cem\u003e“Christ is born! Let us celebrate without alcohol.”\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003eChrist is born! Let us celebrate without alcohol: Christmas card \/ illustration by Levytskyi.\u003c\/p\u003e\n\n\u003cp\u003eLviv: published by the Ukrainian Anti-Alcohol and Anti-Nicotine Society “Vidrodzhennya,” [no year]. — Color card; “Reproduction” cliché.\u003c\/p\u003e\n\n\u003cp\u003eColor print on thick cream-colored cardboard. On the front, below the composition, the monogram “M. L.” Beneath the composition is the inscription “Christ is born!” Below, the ribbon folds to form the slogan “Let us celebrate without alcohol.” The cardboard is evenly yellowed, with slight darkening along the edges; on the reverse, above the stamp, there is a light stain with loss of the paper’s surface layer. The reverse is divided: on the left, the printed inscription “Christ is born!” and a handwritten greeting in ink, “Merry Holidays and a Happy New Year,” with a signature and the date “6.I.1939” at the bottom; on the right, an address in Polish (Lwów, ul. Zadwórzańska 21\/II p.) and a 5 gr Poczta Polska “Częstochowa — Jasna Góra” stamp with a postmark. The card has been through the mail. Condition: very good.\u003c\/p\u003e\n\n\u003cp\u003eThe card is of historical and cultural value and is of collector’s interest.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eA Christmas greeting that also calls for abstinence from alcohol. Within an octagonal frame with a geometric ornament resembling embroidery, Mary, dressed in Ukrainian attire, holds the Child on her lap; to the left stands a spinning comb, to the right—a manger with hay, and at the bottom, two shepherds kneel beside lambs. Above the composition is the inscription “Christ is born!”, while the ribbon at the bottom folds to form the slogan “Let us celebrate without alcohol.”\u003c\/p\u003e\n\n\u003cp\u003eThe card was issued by the “Vidrodzhennya” Society—a Ukrainian anti-alcohol and anti-nicotine society founded in Lviv in 1909. In the 1930s, its activities expanded significantly: by 1937, it had approximately 6,400 members across 18 branches and 122 groups in Galicia. The illustration is signed on the reverse with Levytskyi’s surname; the year of publication is not printed.\u003c\/p\u003e\n\n\u003cp\u003eThis copy was mailed to Lviv on January 6, 1939, on Christmas Eve according to the Julian calendar, with greetings for Christmas and the New Year.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67285446394227,"sku":"SKU-01068","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15633282695539.jpg?v=1793986014"},{"product_id":"tarnivskyi-shliakhetskyi-sud-kopiia-tarniv-1802","title":"Tarnów Noble Court. Copy of a notice in the Tetmajer case. Tarnów, 1802","description":"\u003cp\u003eTarnów Noble Court (Forum Nobilium Tarnoviense). Copia simplex notice in the case of Adalbert Tettmaier (Adalbertus Tettmaier) and Theodosia Wąsowiczowa (Theodosia Wąsowiczowa) regarding the Lviv Noble Court judgment for 1,000 florins.\u003c\/p\u003e\u003cp\u003eTarnów, September 28, 1802. — 1 sheet, text on one side. — Latin manuscript, brown ink; on the sheet are impressions of two ring seals, one with the mark “3 Kreutzer.”\u003c\/p\u003e\u003cp\u003eSingle-sheet document on light brown, evenly toned paper with fibrous inclusions. Horizontal fold in the middle of the sheet; small tear at the top edge without loss of text. On the reverse, light soiling in the lower part, two faint round seal impressions at the top, registration number “3059” and a flourish marked in ink. At the top left, the mark “Copia simplex” and the date “1802 28\/9,” dated in blue ink. The ink is well preserved, and the text is fully legible. Condition: good.\u003c\/p\u003e\u003cp\u003eHandwritten judicial document from the early Austrian period in Galicia with a heraldic seal. Of collecting interest as a sample of the noble court’s record-keeping.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe document was drawn up on September 28, 1802, in Tarnów by the body that heard civil cases involving the Galician nobility under Austrian rule. The Tarnów court informs the person acting as the assignee of Adalbert Tettmaier, that is, the purchaser of his claim, that the Lviv Noble Court judgment for 1,000 florins against Theodosia Wąsowiczowa has not been entered into the tabular books: the debtor has no tabular property. A copy of the judgment not entered into the tabular books is issued to the assignee.\u003c\/p\u003e\u003cp\u003eIntabulatio — the entry of a right or debt into the tabular, that is, land, books; it secured the claim against the debtor’s immovable property. Without tabular property, the entry had no subject matter, so the judgment remained unsecured. The noble courts (Forum Nobilium) were introduced in Galicia by the judicial reform of Joseph II as courts of first instance for the nobility, higher clergy, and owners of tabular property; the Lviv court operated from 1784, and later new fora appeared, including the Tarnów court, which operated until 1855.\u003c\/p\u003e\u003cp\u003eThe mark “Copia simplex” means a simple, uncertified copy. The stamped paper with the “3 Kreutzer” impression indicates payment of the state stamp duty, which was collected on official documents in the Habsburg monarchy.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67289409061235,"sku":"SKU-01088","price":2250.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15634385568115.jpg?v=1793987310"},{"product_id":"kuleba-aloe-fox-lviv-br-yaminskyi","title":"Kuleba. Aloe-Fox: from the repertoire of the revelers “Evgen”. [Lviv], [n.d.]","description":"\u003cp\u003eKuleba. Aloe-Fox: from the repertoire of the Revelers “Evgen” \/ words and music by Kuleba.\u003c\/p\u003e\n\u003cp\u003e[Lviv]: published by Anatolii Yamytskyi, [n.d.]. Price on cover: 75 sot.\u003c\/p\u003e\n\u003cp\u003eUnbound edition: cream-colored paper cover printed in black ink. Constructivist design — a geometric frame with the line “From the repertoire of the Revelers Evgen” in a stylized font, the title in a triangle in the center, a large price figure on the right, and a graphic mark in a circle on the left. The triangle’s outline, the shadows of the title letters, and the word “sot.” near the price are highlighted in green by hand. On the reverse — the second and third stanzas, printed in a handwritten font, an advertisement for the “Aloe” factory, a list of repertoire, and a publication notice. The paper is clean, with a light patina; several small dots and light spots at the top, slightly worn edges, and a small tear on the left edge of the reverse. The text and illustration are fully legible. Condition: very good.\u003c\/p\u003e\n\u003cp\u003eThe artistic value lies in the geometric design of the cover; the edition is of interest to collectors as an example of Lviv entertainment repertoire and advertising.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAloe-Fox — a promotional song for the Lviv chemical-cosmetic factory “Aloe”: the words and music were written by Kuleba, and on the cover it is presented as a number from the repertoire of the Revelers “Evgen.” The verses humorously link the crisis with everyday troubles and recommend “Aloe” to everyone — from bachelors and young ladies to mothers-in-law and sons-in-law.\u003c\/p\u003e\n\u003cp\u003eOn the reverse, a factory announcement is printed (“Aloe,” Lviv, 16 Henin Street, tel. 6-24) with a list of products: powders, dry day cream in tubes, thick cream in jars, white toothpaste and tooth powder, shampoos, and petroleum jelly in tubes. Below — three other songs from the same repertoire: O. Kurochko “Why?” (tango song), Yu. Kozak — Ye. Kozak “Miro” (tango), and “Lviv Girls” (foxtrot). Published by Anatolii Yamytskyi.\u003c\/p\u003e\n\u003cp\u003eAnother version of this edition — with an Art Deco-style cover, without the price and publisher on the cover — is offered as a separate lot.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67289423413619,"sku":"SKU-01090","price":2800.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15634389107059.jpg?v=1793986914"},{"product_id":"vybortsi-seliane-i-mishchane-budzynovskyi-1907","title":"Voters, peasants and townspeople! Election leaflet of V. Budzhynovsky and V. Zahaykevich. [Unpublished], [1907]","description":"\u003cp\u003e\u003cem\u003e“Whoever would cast their vote for anyone else would betray the cause of agriculture, for they would sell themselves and their children into bondage.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eVoters, peasants and townspeople! [Election notice of the Joint Committee of the Buchach – Monastyryska – Vyshniivchyk – Pidhai constituency for candidates to the State Council, Vyacheslav Budzynovsky and Dr. Volodymyr Zahaykevych].\u003c\/p\u003e\n\u003cp\u003e[Unpublished: unpublished, 1907]. — 1 sheet: 2 portraits.\u003c\/p\u003e\n\u003cp\u003eSheet printed on one side: at the top, two halftone portraits of the candidates with captions in Ukrainian and Polish; below, a sample of a completed ballot card. The text is printed using the orthography of Galician publications from the early 20th century. The sheet was stored folded for a long time, so there are tears along the folds, and the lower part of the vertical fold has separated. The edges are uneven, with losses of paper, most pronounced in the upper corners and along the bottom edge; the lower left corner is creased. There is a small hole along the horizontal fold, with the loss of several letters in one word. The paper is yellowed, with scattered dark spots and ink show-through on the reverse side. Condition: fair.\u003c\/p\u003e\n\u003cp\u003eSouvenir from the first parliamentary campaign in Galicia under universal suffrage; of historical and cultural value.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eINFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe 1907 notice — from the first campaign for the Austrian State Council, held on the basis of universal suffrage. The Joint Committee of the Buchach – Monastyryska – Vyshniivchyk – Pidhai constituency nominated Lviv editor Vyacheslav Budzynovsky as a “people’s candidate” for ambassador and Dr. Volodymyr Zahaykevych as his deputy; their candidacies, as stated in the text, were approved by the People’s Committee in Lviv — the leading body of the Ukrainian National Democratic Party. Below the notice are the names of 30 committee members from Pidhai, Monastyryska, Vyshniivchyk, Lyadske, Nahorivka, Yazlovets, and other villages, headed by the chairman of the district committee, Dr. Volodymyr Bachynsky. The elections of that year brought 32 Ukrainian deputies to parliament, including Budzynovsky.\u003c\/p\u003e\n\u003cp\u003eVyacheslav Budzynovsky (1868–1935) — a Galician politician, publicist, and writer, one of the founders of the Radical, and later the National Democratic Party, which he represented in the Austrian parliament from 1907 to 1918. He edited “Hromads’kyi Holos,” Chernivtsi’s “Pratsia,” Lviv’s “Svoboda,” and the literary journal “Svit,” and wrote works on agrarian relations in Galicia, “Our Hetmans,” “History of Ukraine,” and historical novellas. Volodymyr Zahaykevych (1876–1949), born in Ternopil and a doctor of law, later a lawyer in Przemyśl, was himself an ambassador to the Austrian parliament from 1912 to 1918, and in 1928–1930 — vice-marshal of the Polish Sejm; he died in Mittenwald, Bavaria.\u003c\/p\u003e\n\u003cp\u003eThe notice was printed with portraits of the candidates, bilingual captions, and a sample ballot card so that voters would know how to vote. Such leaflets were printed for one-time distribution before elections, so only a few have survived.\u003c\/p\u003e","brand":"archivevam","offers":[{"title":"Default Title","offer_id":67289511330163,"sku":"SKU-01093","price":4500.0,"currency_code":"UAH","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/files\/pr-15634405425523.jpg?v=1793986011"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0943\/7885\/2723\/collections\/kolazh-tin-hrafika-i-efemera.png?v=1794052171","url":"https:\/\/archivevam.com\/en\/collections\/hrafika-i-efemera.oembed?page=2","provider":"ARCHIVEVAM РІДКІСНІ КНИГИ","version":"1.0","type":"link"}