Ukrainian delegation at the peace talks with Soviet Russia, 1918

Cover of Ivan Irliavskyi's book Holos sribnoi zemli, 1930sCover of Ivan Irliavskyi's poetry book Holos sribnoi zemli (Prague, 1930s): a girl in folk dress reaches toward the sun beside a wooden church.

Olha and Mykyta Shapoval. Prague, 1922Studio portrait of Mykyta Shapoval and his wife Olha in winter clothes: fur hats, a muff, Olha wears a pince-nez. Prague, 1922 — the year Shapoval founded the Ukrainian Civic Committee in Czechoslovakia. From the Central State Archive of Supreme Bodies of Power of Ukraine (TsDAVO).

Avhustyn Voloshyn among peopleAvhustyn Voloshyn in a hat and coat among a crowd of young people. Late 1930s – early 1940s; the event is not identified.

Avhustyn Voloshyn in a gardenAn elderly Avhustyn Voloshyn with a walking stick stands on a garden path. Probably during his Prague years (1939–1945).

Oksana Liaturynska, portraitPortrait of Oksana Liaturynska in a sweater, reproduced from a publication captioned “Oksana Liaturynska (1902–1970)”. Interwar period.

Group on a viewing terraceA group of young people poses on a stone viewing terrace. From the Prague Ukrainian émigré circle connected with Oksana Liaturynska. Interwar period; the people are not identified.

Prague émigrés on an outingA group of young people on a rocky slope during an outing. From the circle of the Ukrainian emigration in Prague, where Oksana Liaturynska lived. Interwar period; the people are not identified.

Oksana Liaturynska beside a sculpted bustOksana Liaturynska next to a sculpted bust of a moustached man, probably her portrait of Taras Shevchenko. The sculptor made portraits of Shevchenko, Petliura and Konovalets.

Oksana Liaturynska in a sculpture studioA group of sculpture students in work coats beside a plaster figure. Top left, a woman works on the figure — probably Oksana Liaturynska, who studied sculpture in Prague. 1930s.

Family by a house with bicycles and horsesFamily and guests by a wooden house: bicycles, a horse and cart, children on the porch. From the Lindfors–Rusov family archive. From the archive of the Sofiia Rusova Charitable Foundation.

Family on the porch of a houseA large family sits on porch steps with carved railings. From the Lindfors–Rusov family archive, early 20th century. The people are not identified. From the archive of the Sofiia Rusova Charitable Foundation.

Family photo under a portraitWomen and children of the family sit below a large portrait of a bearded man. From the Lindfors–Rusov family archive, late 19th century. The people are not identified. From the archive of the Sofiia Rusova Charitable Foundation.

Nina Oleksandrivna Lindfors as a childLittle Nina Oleksandrivna Lindfors in a light dress and a wide hat. The Lindfors family, into which Sofiia Rusova was born. Early 20th century. From the archive of the Sofiia Rusova Charitable Foundation.

Group photo with Olha LindforsLarge group photo in a garden: women in white dresses seated in front, men standing behind. Among them is Olha Lindfors of Sofiia Rusova's family. Early 20th century. From the archive of the Sofiia Rusova Charitable Foundation.

Old wooden house with a balconyA wooden house with an attic floor and a balcony in a garden. From the Lindfors–Rusov family archive; probably one of the family estates. From the archive of the Sofiia Rusova Charitable Foundation.

Mykola and Borys Kaminer in uniformTwo young men in greatcoats and caps — Mykola and Borys, sons of Olha Oleksandrivna (née Lindfors) and Borys Kaminer. Probably during the First World War. From the archive of the Sofiia Rusova Charitable Foundation.

Kateryna Oleksandrivna LindforsStudio portrait of Kateryna Oleksandrivna Lindfors (1876–1947), of the Lindfors family into which Sofiia Rusova was born. Time and place unknown. From the archive of the Sofiia Rusova Charitable Foundation.

Group photo from Sofiia Rusova's circleGroup photo of men and women in a garden by an ivy-covered wall. Kept in the historical photo album of the Sofiia Rusova Charitable Foundation. Event, date and people are not established.

Ivan Zilynsky, portraitPortrait of the linguist and researcher of the Lemko dialects Ivan Zilynsky. After the Second World War he stayed in Prague as professor of Ukrainian and Belarusian at Charles University and died in Prague in 1952. The date of the photo is unknown. Source: Wikimedia Commons.

Fedir Steshko, 1920Portrait of the musicologist and UPR Army colonel Fedir Steshko, 1920. In 1922 Steshko moved to Prague in connection with the creation of the Ukrainian Free University and headed the chair of music history at the Drahomanov Institute. Source: Wikimedia Commons.

Serhii Shelukhin, 1918Portrait of the lawyer and diplomat Serhii Shelukhin, 1918, when he was Minister of Justice of the Ukrainian People's Republic and headed the Ukrainian delegation at the talks with Soviet Russia. In emigration Shelukhin lived in Prague, chaired the Ukrainian Committee in Czechoslovakia and died in Prague in 1938. Source: Wikimedia Commons.

Oleksandr Kolessa, 1937Portrait of the literary scholar and linguist Oleksandr Kolessa, 24 May 1937. Kolessa lived in Prague from 1921; as the first rector of the Ukrainian Free University in Prague he opened it with an inaugural lecture on 23 October 1921. Source: Wikimedia Commons.

Oksana LiaturynskaPortrait of the poet and sculptor Oksana Liaturynska. From 1924 she lived in Prague, studied at the Ukrainian Studio of Plastic Arts, and her collections Husla (1938) and Kniazha emal (1941) appeared there. The exact date of the photograph is unknown. Source: Wikimedia Commons.

Avhustyn Voloshyn, portraitPortrait of Avhustyn Voloshyn, a Greek Catholic priest, prime minister of the autonomous government and president of Carpatho-Ukraine. After the Hungarian occupation of 1939 he lived in Prague and worked at the Ukrainian Free University; in May 1945 he was arrested in Prague. The date of the photo is unknown. Source: Wikimedia Commons.

Sofiia Rusova, 1934Sofiia Rusova in 1934, during her Prague years. From 1923 she lived in Prague, taught pedagogy at the Drahomanov Institute and headed the National Council of Ukrainian Women. Source: Wikimedia Commons.

Ivan Kulets. Woman, before 1940Portrait of a woman by Ivan Kulets (Jan Kulec), a Ukrainian painter from Galicia who stayed in Prague after the First World War. Kulets taught at the Ukrainian Studio of Plastic Arts in Prague; in 1932 the studio was registered in his name. The painting is dated before 1940. Source: Wikimedia Commons.

General Yurii Tiutiunnyk, 1920General Yurii Tiutiunnyk, 1920. In November 1921 he commanded the UNR Insurgent Army in the Second Winter Campaign. Source: Wikimedia Commons.

Second Winter Campaign participants in Kalisz, 1921A group of Second Winter Campaign participants in the internment camp for UNR Army soldiers in Kalisz in autumn 1921, before they left for Ukraine. Source: Wikimedia Commons.

Mykyta Shapoval, 1920sPortrait of Mykyta Shapoval, a member of the Central Rada and a leader of the Ukrainian emigration in Czechoslovakia. The photo is dated to the 1920s, when Shapoval headed the Ukrainian Civic Committee in Prague, which founded the Ukrainian Husbandry Academy in Poděbrady. Source: Wikimedia Commons.

Ivan Mazepa Among His Good DeedsA panegyric thesis engraving dedicated to Hetman Ivan Mazepa by Ivan Myhura, archdeacon of the St Sophia monastery in Kyiv. The sheet is built in three registers. Above, on clouds, stand the Kyiv churches built and restored at the hetman's expense, with a seven-columned rotunda between them as an image of Wisdom and the seven liberal arts; below them a row of saints. In the middle register Mazepa appears in knightly armour holding the hetman's mace, surrounded by female personifications of the virtues and the sciences; one of them holds an open book bearing his name. At the foot two putti lean on military trophies — a cannon, drums, arms and banners — flanking the Kurcz coat of arms and the mottoes HUIC OMNIS and STAT GLORIA FERRO. The Latin dedication in the cartouche opens "PRINCEPS ECCLESIARVM TRIVMPHANS SANCTA SOPHIA…", styles Mazepa a knight of the Orders of St Andrew and the White Eagle, and is dated "Kijov 8br 12" — Kyiv, 12 October. Myhura signed himself "IOANNES MIGVRA, Orientalis Metropolis Kijoviensis Archi-Diaconus". The sheet is usually dated 1706, though some scholars tie it to Mazepa's visit to Kyiv on 12 October 1705. After the anathema of 1708 images of the hetman were destroyed on Peter I's orders — this engraving is one of the few made in his lifetime to survive.

The Act of Declaration of Independence of Ukraine, 24 August 1991The sheet bearing the text of the Act, held before the microphones. The paper is backlit, so the heading reads in mirror image — from the side the hall saw, not the side of the person reading it. The Act was drafted by Levko Lukianenko, for whom 24 August was also his birthday.

P. H. Tychyna resting in HolosiivA photograph of the poet Pavlo Hryhorovych Tychyna resting in Holosiiv (Kyiv). He lies asleep on a cloth spread over the grass beneath a tree on the bank of a body of water; an open case stands beside him. 18 June 1933.

Ilya Repin with a choir that performed for him outside his villa Penaty in KuokkalaArchival photograph, 1929: Ilya Repin together with a folk-costumed choir that performed for him in front of his Penaty villa in Kuokkala. From the Finnish National Gallery (archive collections); photographer unknown; public domain.

Maria Prymachenko at work in a vyshyvankaBlack-and-white portrait of Maria Prymachenko at work in her studio. The artist wears a dark headscarf and an embroidered blouse with dense floral ornament across the chest and sleeves, holding paintbrushes in her right hand. Jars of paint sit on the table in front of her. In the background are floral wall paintings inside her home-studio in Bolotnia village, Kyiv region. Probably 1940s–1950s.

Natalia Uzhviy in the role of Kovshyk in 'Kalynovyi Hai' by O. KorniychukTheatrical studio photograph of Natalia Uzhviy in the role of Kovshyk in Oleksandr Korniychuk's play 'Kalynovyi Hai': in a white embroidered shirt with a plant pattern, with a beaded necklace and round earrings, a white headscarf tied behind her head. She smiles with her hands folded on her chest. Below is a printed caption: 'N. UZHVIY — Kovshyk "Kalynovyi Hai" by O. Korniychuk'. Taken during her active years at the Kyiv Ivan Franko Theatre.

Maria Prymachenko — portrait with a medal in a vyshyvankaHalf-length portrait of an elderly Maria Prymachenko: in a white headscarf tied under the chin and an embroidered shirt with a rich plant pattern — sunflowers and winding stems across the chest and sleeves. On her chest is a medal on a ribbon, most likely the Shevchenko Prize award or the Honoured Art Worker of the Ukrainian SSR. She sits with her forearm resting on a table.

Olena Pchilka in her youth — studio portraitStudio half-length portrait of young Olena Pchilka (Olha Drahomanova-Kosach): in a white embroidered shirt with an openwork pattern and a dark waistcoat with a small floral ornament, with several strands of beaded necklaces around her neck. She is shown in three-quarter pose, with one hand holding a flower and resting on a stone plinth. The background is a studio backdrop.

Liudmyla Drahomanova in a headscarf and beaded necklacesStudio portrait of young Liudmyla Drahomanova: in a white headscarf tied in the classical Ukrainian manner, an embroidered shirt with an openwork pattern on the sleeves and a dark waistcoat with a small floral pattern. Around her neck are several strands of beaded necklaces, among them dukachi (coin pendants) and a small cross. A pendant earring hangs from her ear.

Lesya Ukrainka in a floral wreathStudio portrait of young Lesya Ukrainka in a wreath of wildflowers with a dark ribbon, with a long braid over her shoulder, wearing an embroidered shirt and a dark bodice, with several strands of beaded necklaces. One of the canonical photographs of the poet in Ukrainian folk dress from her early creative period.

Lesya Ukrainka in her youth with flowersStudio portrait of young Lesya Ukrainka: in a dark embroidered blouse with a dense floral pattern and wide white sleeves with geometric openwork embroidery, wearing a beaded necklace and an embroidered ribbon at the throat. She leans her left arm on a studio pedestal where a bouquet of wildflowers rests. One of the best-known photographs of the poet as a young woman.