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Fine Carvings
Fine Carvings
(the only one exsemplar existing, not replicas)
(the only one exsemplar existing, not replicas)
MICE WITH GRAPES Walking stick
MICE WITH GRAPES Walking stick
by Stepan Romanyshyn
Materials: blackwood, the handle and incrustation are carved from ivory
This work has received an award at the International Competition, Lobortas Classic Jewelry House.
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6,840.00 CA$
Contact us at info@dsartistrylabs.com
to order similar custom-made objects
BAGPIPER
A miniature sculpture from a series “Court of miracles” inspired by Victor Hugo's writings
by Stepan Romanyshyn
material: boxwood
height: 5.5 cm
🔸 The entire series features over 30 characters, each carefully designed, intricately developed, and hand-carved. Check back to discover new figures—coming soon!
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🔸 Add now this miniature to your collection or gift it to someone you love!
🔸 Contact us at info@dsartistrylabs.com if you would like to order the entire series. Your purchase will significantly contribute to the development of the nonprofit cultural project: Rare Books Collections Database.
1,498.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
BEGGAR
A miniature sculpture from a series “Court of miracles” inspired by Victor Hugo's writings
by Stepan Romanyshyn
material: boxwood
height: 9.5 cm
🔸 The entire series features over 30 characters, each carefully designed, intricately developed, and hand-carved. Check back to discover new figures—coming soon!
🔸Scroll to see more pictures
🔸 Add now this miniature to your collection or gift it to someone you love!
🔸 Contact us at info@dsartistrylabs.com if you would like to order the entire series. Your purchase will significantly contribute to the development of the nonprofit cultural project: Rare Books Collections Database.
1,498.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
"Satires"
Pulcinoelefante Limited Edition of 30 copies
hand-printed on Hahnemuhle paper and containing:
🔸Sasha Chorny's poem (1920) hand-written in Russian and printed with movable types in Italian
🔸Diana Bychkova's original etching. This etching also makes part of a larger edition of a series "Satires"
Size: 13.5 x 19.5 cm
8 pages including cover and colophon
🔸 Buy this mini-book now for your collection – only 4 copies left out of 30!
50.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 3 business days.
BOOK "Silence"
BOOK "Silence"
Limited edition
Limited edition
See full description, production, awards >>>
Silence is a limited edition of the book that contains a fairy tale for adults by the Ukrainian contemporary novelist Oleg Prihodko, and Diana Bychkova's 19 original etchings, hand-printed for each copy of the book. The bindings are handmade in leather and paper.
Printed by the artist at the atelier of Giorgio Upiglio in Milan, Italy.
Limited edition of 10 copies. Artist’s proof: 3 copies.
Book size: 27 x 40 cm. Pages: 44
The text of the story is hand-written in the original language (Russian) and the English translation is printed in a brochure that is incorporated into the book design with indications of the corresponding pages in the original book.
This edition won several awards and was exhibited and published in art catalogues in Italy and France.
About the etchings and book design, Diana Bychkova:
I developed the entire book project. First, I created 19 illustrations, then transformed them into etchings on zinc plates. Next, I created hand-written calligraphy for the entire story, layout design, cover, and bookbinding. Then, I printed 13 copies of this edition by hand, on an etching press and Hahnemühle paper in the atelier of Giorgio Upiglio in Milan. Ten copies are numbered with Roman numerals from 1 to 10, and 3 additional copies are not for commercial use.
The process of engraving the etchings on zinc plates, with 15-23 passages on each, was long and absorbing but it allowed me to achieve various gradations of grays and blacks, which filled the composition with either almost unnoticeable strokes, like the silk of a spider web, or with thick black lines. I carefully chose which paper to use.
The search for the best way to arrange the written parts of the book led me to write the fairy tale by hand, linking elements of Slavonic calligraphy with contemporary style, as well as adding graphic elements to the book pages in order to balance the visual composition and create the relations between the texts, pictures, and margins.
Some of the etchings, when the depth of sign allows, have been printed as separate pictures, to be framed and presented at the exhibitions and sold separately.
Some of the sales and collections:
Book n. II/X joins the collection of the Biblioteca Civica Antonio Arduino in Moncalieri, Italy.
Book n. VI/X is in a private collection in Milan.
Book n. VII/X is displayed in the permanent exhibition at the Contemporary Museum of Calligraphy in Moscow, Russia.
Book n. IX/X is in the collection of the Library in Soultz (France).
Book n. 1/3 out-of-commerce is in a private collection in Kyiv, Ukraine.
Publications and awards:
2008 – won an etching award “Sandro e Marialuisa Angelini - 2008”, Bergamo, Italy. A copy of the etching joins the collection at the Gallery of Modern and Contemporary Art Academy of Carrara in Bergamo.
2008 – publication in the journal “Illustrator”, London, United Kingdom.
2009 – a copy of the book has been displayed in the Museum of Printing in Lodi, Italy.
2009 – publication in the historical journal of graphics and art Grafica d’Arte, edited by Paolo Bellini, supplement n.78, June 2009, p.6-7, Milan, Italy.
2010 – awarded with a diploma at the International Festival of Calligraphy, Velikiy Novgorod, Russia.
2010 – won First Prze at the International Competition Book of Art Robert Beltz - le 9° Festival du Livre Illustré, Soultz, France.
2010 – won a gold medal and personal exhibition at the Graphic Competition “Cesare Frigerio”, Corsico, Italy.
by Diana Bychkova
by Diana Bychkova
containing 19 original etchings, calligraphy, binding.
10 exemplars
Artist’s proof: 3 exemplars
Book size: 27 x 40 cm
Pages: 44
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🔸 Buy this book now for your collection – only 4 copies remaining!
2,580.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 5-7 business days.
"Libris Satiari Nequero"
Limited Edition
hand-printed on Hahnemuhle paper and containing:
🔸A handwritten aphorism
🔸Diana Bychkova's original etching
Size: 13.5 x 19.5 cm
8 pages including cover and colophon
50.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 3 business days.
BOOK
BOOK
Shakespeare, Sonnets
Shakespeare, Sonnets
Miniature Limited Edition
Miniature Limited Edition
by Diana Bychkova
by Diana Bychkova
See full description, production details >>>
About the book:
For this project, the hand-written calligraphy has been developed, page design, and binding. This book contains Shakespeare’s 154 sonnets, entirely handwritten in calligraphy and reproduced with a photo method on the book pages. The vertical and horizontal elements of the letters, the tails, strokes, and the connections between them create rhythms for each page, the relations with the metallic parts on the binding, and the entire book. The title page has been created as an independent artwork: a poster that can be printed in a large format. It represents a combination of handwritten calligraphy with the poet’s name and typographic letters.
The book was exhibited at the Biennale Designer Bookbinders International Competition, and published in the catalogue, Oxford, UK, 2013.
The prototype of the book, but in an oversize format, is held at the Archives and Special Collections (ARCC), Western University, London ON, Canada.
The prototype is entirely crafted by hand, with leather bookbinding. The calligraphy is reproduced on high-quality paper, and the edition includes a poster with one of the sonnets.
Unlike the prototype of the book held at the ARCC, this is a miniature edition focused on the accuracy and precision of hand-made work: the calligraphy is digitally reproduced on beautiful paper, and a new design of the handmade bookbinding includes an embossing reproducing hand-carved calligraphy, thin metallic parts with etchings placed on the cover that resemble a lace ornament, and is just 12 x 22 cm with. (see pictures below)
The hand-written calligraphy for all 154 sonnets is digitally reproduced on beautiful paper. Leather bookbinding is created by hand with relief embossing and metalic decorations with etchings.
The edition includes a poster with calligraphy reproducing sonnet LXVI.
Book size: 12.5 x 22 cm.
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🔸 Get this well-curated item now—perfect for your collection or as a thoughtful gift!
1,400.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 5-7 business days, on a first-come, first-served basis.
(the color of the book cover in a photo may appear different from the actual product)
"SF"
Limited Edition
hand-printed on Hahnemuhle paper and containing:
🔸A handwritten aphorism
🔸Silvia Faini's drawong engraved on metal and printed by Diana Bychkova
Size: 13.5 x 19.5 cm
8 pages including cover and colophon
🔸 Only 2 copies left!
50.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 3 business days.
Art Bindings and Book Cases
Art Bindings and Book Cases
Art bookbinding #1
by Diana Bychkova
by Diana Bychkova
This is a miniature blank book, bound in leather with hand-crafted relief printing, edge drawings, and brass embellishments. Despite its small size, the level of craftsmanship required is no less than that of a full-sized volume—only the number of leaves and materials varies. You can also commission a larger book with similar or fully customized decorations by contacting us at info@dsartistrylabs.com
Book size: 5.5 x 7.5 x 2.7 cm
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440.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 5 business days
Art bookcase for a Caxton’s leaf
We designed and hand-crafted this bookcase for the Special Collections at Western Libraries, London, Ontario.
🔸The box itself is made from hardwood, with small decorative inserts into the corners, and fitted with brass hinges and clasps.
🔸The upper board is designed to reflect both the style of 15th-century decorated books and the text reproduced on Caxton’s leaf, while also incorporating contemporary elements.
🔸 At its center is a tiny relief—reminiscent of 15th-century ivory miniatures—illustrating an excerpt from The Canterbury Tales. The image is hand-carved from boxwood and inlaid with silver. The cover also features a relief print on leather that evokes the book miniatures.
🔸Jewelry-like decorations on the board are crafted from brass and coral.
Size: 36.5 x 45 cm
Contact us at info@dsartistrylabs.com to order similar custom-made bookcases for your valuable items
Art bookcase
for Whitma's Leaves of Grass
published in 1856, with an R.W. Emerson's quote on the book spine.
This quote was glued with a library label some time ago, which could not be removed without damaging the book spine. Therefore, the decision was to create a bookcase that would repeat the quote and also add some aesthetics to the readers' experience.
We designed and hand-crafted this bookcase, which is now held at the Special Collections, Western Libraries, London, Ontario.
🔸The bookcase and drawer are made from hardwood and designed with old hand-made methods that do not require using screws or nails.
🔸The spine imitates a real book with cords, repeates the book title with the quote, and includes an embossing.
🔸The relief printing on cover reflects the mood and rhythmical quality of the poem “To Think of Time”. Such patterns were engraved by hand on a wood plate to make a cliché necessary for embossing on leather.
🔸 The decorative pieces and a clasp were crafted from brass and engraved (etching technique)
🔸The words embossed on leather were goldened with a size-0 brush, working under the lens.
Contact us at info@dsartistrylabs.com to order similar custom-made bookcases for your valuable items
Art bookbinding #2
by Diana Bychkova
by Diana Bychkova
This is a blank book, bound in leather with hand-crafted relief printing, edge drawings, and brass embellishments. Despite its small size, the level of craftsmanship required is no less than that of a full-sized volume—only the number of leaves and materials varies. You can also commission a larger book with similar or fully customized decorations by contacting us at info@dsartistrylabs.com
Book size: 10.5 x 14 x 2.5 cm
440.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 5 business days
Art bookbinding: 3 in 1
by Diana Bychkova
by Diana Bychkova
This is a miniature fake book with a hidden compartment, bound in leather and adorned with hand-crafted, three-level relief printing and brass embellishments. Inside, it conceals two small, real books—each hand-bound in leather, featuring relief printing and edge drawings—perfect for writing poems or personal notes.
Despite its small size, the level of craftsmanship required is no less than that of a full-sized volume—only the number of leaves and materials varies. You can also commission a larger book with similar or fully customized decorations by contacting us at info@dsartistrylabs.com
Box-binding size: 8.5 x 10.3 x 7.2 cm
Small books inside: 5.4 x 7.5 x 2.5 cm
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170.00 CA$ a study prototype, it may show small imperfections, but each element speaks to the care and craftsmanship poured into its making. The box-binding includes one small book.
690.00 CA$ the final product, curated in every detail. The box-binding includes two miniature books.
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 5-7 business days.
Art Prints – original limited editions
Art Prints – original limited editions
ETCHING
ETCHING
"A fairy tale town"
"A fairy tale town"
by Diana Bychkova
This is a limited edition of the original etching, engraved on zinc and hand-printed on the press, signed and stamped by the artist.
Print size: 46 x 30 cm
Paper size: 62,5 x 45,5 cm
Paper: Hahnemuhle 230 gr
🔸 Buy now this extremely detailed, well-curated artwork, only 8 prints are available!
320.00 CA$
320.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 3-5 business days.
ETCHING
ETCHING
"At the lakeshore"
by Diana Bychkova
This is a limited edition of the original etching, engraved on zinc and hand-printed on the press, signed and stamped by the artist.
Print size: 19 x 29.5 cm
Paper: Hahnemuhle 230 gr
86.00 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 3-5 business days.
ETCHING
ETCHING
"The Residence of Silence"
"The Residence of Silence"
Limited edition
Limited edition
by Diana Bychkova
by Diana Bychkova
This is a limited edition of the original etching, engraved on zinc and hand-printed on the press, signed and stamped by the artist.
This is an illustration from the book "Silence" that can be framed as a standalone image.
The plate was gradually crushed under the press, the etching cannot be printed anymore.
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See full description, production, awards >>>
🔸 Buy this etching for your collection – only 11 copies remaining!
Print size: 16 x 25 cm
Paper size: 26 x 39 cm
Paper: Hahnemuhle 230 gr
A series of 7 etchings
A series of 7 etchings
"Pavia"
"Pavia"
Limited edition
Limited edition
by Diana Bychkova
by Diana Bychkova
This is a limited edition of a folder that contains 7 original etchings representing views of the Italian city Pavia. The list of the pictures and the title are handwritten for each folder. Edition of 25 numbered folders.
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38.00 CA$ /print
Single prints from the folder (out of edition, not numbered). Choose image and add a comment on checkout.
230.00 CA$
The entire series with 7 etchings, hand-crafted folder, and calligraphy
❗ Tax rate must be choosen manually from the options according to your province.
ETCHING
ETCHING
"The wind lost in the silence of the stones"
"The wind lost in the silence of the stones"
Limited edition
Limited edition
by Diana Bychkova
by Diana Bychkova
This is a limited edition of the original etching, engraved on zinc and hand-printed on the press, signed and stamped by the artist.
This is an illustration from the book "Silence" that can be framed as a standalone image.
The plate was gradually crushed under the press, other copies of this etching cannot be printed anymore.
Print size: 16.5 x 25 cm
Paper size: 26 x 35 cm
Paper: Hahnemuhle 230 gr
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See full description, production, awards >>>
🔸 Buy now this etching for your collection – only few copies remaining!
164.00 CA$
164.00 CA$
Free: passe-partout is included
❗ Tax rate must be choosen manually from the options according to your province.
ETCHING
ETCHING
"State University in Milan"
"State University in Milan"
Limited edition
by Diana Bychkova
The edition was sold out, the only few artist's proofs are available.
Image size: 24 x 16 cm.
Paper size: 50 x 35 cm.
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ETCHINGS
ETCHINGS
"Satires"
St. Petersburg's episodes based on Sasha Chorny poetry of the early 20th century
Limited edition
by Diana Bychkova
This is a limited edition of a folder that contains 12 original etchings reflecting Chorny's futuristic mood and ironic tone. The list of the pictures and the title are handwritten for each folder. Edition of 10 numbered folders.
Size of each print: 8 x 8 cm plus margins
Hand-craftet folder is made from an original etching witha a design developed based on newspapers of the epoch.
38.00 CA$ /print
Single prints from the folder (out of edition, not numbered). Choose one from the last slide and add a comment on checkout.
390.00 CA$
The entire series with 12 etchings, hand-crafted folder, and calligraphy
❗ Tax rate must be choosen manually from the options according to your province.
Original Art Works – series
Original Art Works – series
(the only one exsemplar existing, not reproductions)
(the only one exsemplar existing, not reproductions)
"On the sea"
Diptych by Diana Bychkova
Miniature, extremely detailed, ink drawing on paper
Size of each picture: 20 x 28.8 cm
Can be framed with passe-partout, separately or as a diptych
🔸Scroll to see zoomed fragments.
Shakespeare, Sonnets
Shakespeare, Sonnets
by Diana Bychkova
This art folder includes:
🔸154 leaves with handwritten sonnets (ink on paper)
🔸 1 handwritten title page with a designed composition containing the name of the poet (ink, acrylic on paper)
🔸 A hand-crafted folder with the title reproduced on it
🔸 A printed poster that reproduces calligraphy for one of the sonnets
Size of the original page with sonnets: 34 x 26 cm
Folder: 34.5 x 26.5 x 6 cm
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❗ ONLY 20 CA$ for a handwritten leaf with a sonnet x 154 sonnets
Plus handwritten title and art folder.
Free: a printed poster with calligraphy
Tot: 3,400 CA$
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 5 business days.
"Princess and the Sea Beast"
"Princess and the Sea Beast"
by Diana Bychkova
A series of 13 pencil drawings, which accompany a fairy tale of the same title.
About the creation of this series, publications, awards >>>
Italian folk fairy tales, in an adaptation by Italo Calvino, served as the inspiration for this project. Having read many fairy tales, I started to comment visually on the characters, one by one, without connecting the drawings to any specific text, but rather by adhering to a general fantastic style. In order to immerse myself in the topic, I also conducted some research: I studied fairy tale elements and their graphical representation in medieval European books, the page ornamentation, their relations with handwritten text, and how the text intertwines and transforms itself into elements to become the heads and tails of fantastic beasts.
Such a project developed from both the creative word-picture interpretation of fairy tales and theoretical study. The result was an MA thesis on the fantastic elements in medieval art, which I defended at the Academy of Arts in Milan.
A totally new fairy tale was written to accompany the drawings and publish a limited edition of this book. The miniatures are printed on etching paper with slight relief of ink, like woodcut to the touch, and artisan bookbinding reproduces relief prints as well.
I filled 13 large sheets with fantastic characters. Many say the precision and the technique of these miniature pencil drawings remind them of etchings. Each picture was meticulously developed in detail and can be framed as a single artwork.
Diana Bychkova
Publications and awards
2005 - Winner of the gold-silver medal Cesare Frigerio, “for a great imagination and the execution of drawings in the technique of chiaroscuro”. (Corsico, Italy)
2006 - Publication in the historical journal of graphics and art Grafica d’Arte, edited by Paolo Bellini (Milan, Italy)
2009 - Winner of the personal exhibition at the competition “Polar Expo” (Bergamo, Italy)
2009 - Participation in the exhibition “Fabularia”. (Milan, Italy)
2010 - Diploma at the competition “Book Image” at the International Book Fair (Moscow, Russia)
This art work is offered as a series and includes:
🔸13 miniatures, extremely detailed pencil drawings
🔸A title page and 13 leaves with hand-written calligraphy reproducing Italo Calvino's fairy tale that served as an inspiration for this series
🔸A hand-crafted folder with leather spine
🔸A prototype of the book with graphic design, pictures and a new fairy tale that accompanies the pictures.
It took two years of research and work to complete this project.
Size of the original pencil drawings: 31.7 x 48 cm
Size of paper: 42.5x60 cm
Paper: Hahnemuhle 230 gr
🔸 Buy this artistic series for your collection!
Your purchase will significantly contribute to the development of the nonprofit cultural project: Rare Books Collections Database.
🔸Scroll to see some of the pictures with zoomed fragments.
Option 1:
From 900 to 2,100 CA$ per leaf.
The cost of a single drawing varies based on the level of detail and the amount of research required for each leaf, multiplied by 13 drawings. Tot. $23,280
Free: hand-crafted folder, 13 leaves with hand-written calligraphy, and a printed broshure with the tale.
❗ Tax rate must be choosen manually from the options according to your province.
See option 2:
Giftable Art Prints – reproductions
Thise items have a prep time of 3-5 business days.
Ink drawings & satirical poems
Ink drawings & satirical poems
About the creation of this series, publications, awards >>>
Satires
This art work consists of a series
of Diana Bychkova's original ink drawings and double-page collages
based on everyday satires about St. Petersburg from Sasha Cherny’s collected poems of 1907-1922
About the creation of this book:
A research work has been conducted for this project at the National Library in Kyiv on the design of newspapers of the beginning of the 20th century, and on Russian futurist poetry. This work culminated in an MA thesis titled “The combination of photos, drawings and author’s manuscripts in the book illustration”. Finally, I developed a series of pictures based on Sasha Cherny’s satiric poems about everyday life in St. Petersburg and transferred them into etchings on zinc.
Exhibitions and publications:
2010 — A short report about pictures on S. Chernyi’s poems, published in the journal “Segretti di Bocca”, Milan, n. 25, p. 10.
2010 — This series of illustrations “Satires” has been displayed in the exhibition Festa del Dialogo and published in the catalogue of the same name, GraFiMar: Milan, p.10-11.
2010 — published as a mini-book by Alberto Casiraghi, Pulcinoelefante: Osnago, Italy.
A series of images by Diana Bychkova, created in a documentary-artistic style that visually interpret Sasha Cherny's poems "Satires" of 1907-1922.
This body of work is more than a set of illustrations—it is a visual narrative of Saint Petersburg’s literary life. Rooted in archival research and historical documents, the series blends factual depth with artistic interpretation of poetry, offering a layered and evocative perspective on the city’s cultural heritage.
It took over a year of meticulous work to develop this project. Each leaf was designed individually and can be framed as a standalone image.
This body of work is presented as a series and includes:
🔸 52 original ink drawings on paper—silhouettes composed with a precise balance of black and white, each forming a poetic symbol. These were later incorporated into the final collages. Size of pictures varies, approx. 12 x 13 cm.
(50$ each x 52 drawings = 2,600$)
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🔸 5 frontispieces—digitally created and printed collages (34 × 26 cm) that gather poetic imagery for each of the five chapters of the book.
(60$ each x 5 pictures = 300$)
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🔸 17 miniatures (8 × 8 cm)—final images capturing satirical episodes and the overall mood of the poems. (60$ each x 17 = 1,020$) Twelve were transferred onto metal plates to produce etchings (can be purchased separately, see: Etchings “Satires”).
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🔸 A set of 36 photographs printed from films, replicating the visual style of early 20th-century newspapers.
(5$ each x 36 = 180$)
🔸 A prototype of the final book—containing poems (in Russian) and graphic design with pictures. Its elongated format, cover, and title reflect the aesthetics of the period’s art movements while introducing new symbolic imagery. (450$)
🔸 An art folder, crafted with sections to preserve and archive properly this series. (70.00$)
Scroll to see examples of each component of this series.
Buy this artistic series now for your collection! Your purchase will significantly contribute to the development of the nonprofit cultural project: Rare Books Collections Database.
Option 1:
Choose any components of this series
20% discount: 3,696.00 CA$ rather than 4,620.00 CA$ on order of the entire series.
👉 BUY NOW
❗ Tax rate must be choosen manually from the options according to your province.
This item has a prep time of 1-5 weeks depending on the components requested.
See option 2:
Art & documentary photos, manuscripts, and drawings
Art & documentary photos, manuscripts, and drawings
About the creation of this series, publications, awards >>>
Exhibitions and publications
2002 – the National Guild of Artists Exhibition, Kyiv, Ukraine. The series of illustrations passed the selection and was accepted to participate in the national exhibition
2009 – exhibited at Festa del Dialogo, and published in the art catalogue of the same title, Milan, Italy.
2011 – the photos from this series were printed as a limited edition, in numbered/signed folders.
Illustrations for Bulgakov’s novel The Master and Margarita:
a documentary-artistic approach.
(Published as a part of the PhD thesis on word-image translation, 2020)
This part will be quite straightforward since I created this series of illustrations, book design and binding, concurrently with a short thesis in 2001-2002 as the final project for my BFA degree at the National Academy of Arts and Architecture in Kyiv. The research on the writer’s aesthetics and the word-image relationships, therefore, was part of the thesis. However, the project was reworked several times over the following 10 years. What I am going to present here is a brief summary of the main concepts of my approach to a visual interpretation of the novel.
The search for the appropriate style in pictures
In order to interpret such a complex literary text in the form of pictures, I needed to study Bulgakov’s narrative style, his time period, ideology and what was not explicitly written by the author but rather remained between the lines. These features are embodied in the novel and had to appear in the illustrations.
Bulgakov’s manuscripts and memoirs had been inaccessible to researchers for a long time. So, the works of the literary critic Lidij Yanovskaya (5 books and almost 60 articles about Bulgakov’s art and life) were my most reliable source.[1] Then the author’s manuscripts, having been passed on to the archives of Lenin Library in Moscow (now the Russian State Library), were classified and inaccessible. When working on my thesis, I managed to get a referral from my university to the Lenin Library, where I traveled to meet the director of the archives and to experience the reading of the primary source — the manuscripts — which, as is known, tell the reader more than the typed text. He brought Bulgakov’s handwritten notebooks to the reading room, sat down in front of me, leafed through the pages for 15 minutes in such a way that I could not read anything, then kindly agreed to make for me a few photocopies of some of the pages, which I used in my illustrations as visual materials. More than that was not allowed.
The following are other resources, available in that period and used by me to work on the book.
•Some ideas, embodied in the illustrations, were inspired when I visited the “bad apartment” no. 50, on Sadovaya Street in Moscow, where Bulgakov lived for many years and where much of the story of The Master and Margarita is set. Experiencing the impressions that “this damned apartment” made, I wandered through the streets of old Moscow described in the novel, and this immersion into the environment of the author and the novel helped me in working on the story's atmosphere in my pictures.
•A collection of photographic materials and other documentary information, taken in Moscow's streets, museums and libraries. These materials reproduced the architecture of Moscow and included old newspapers and photos, as well as images of the author’s contemporaries, who were the prototypes of Bulgakov’s characters.
•Archival materials from the Bulgakov Museum in Kyiv.
•Film adaptions of the novel and theater performances were viewed with the following question in mind: how were Bulgakov's literary features presented on the stage?
•Illustrations from different periods by various artists were collected: as many as illustrations dedicated to Gogol even though very few of them were published.
•Bulgakov’s short stories “The Capital in a Notebook”, based on autobiographical materials and the author's life in Moscow: from the journal Poligrafia, 1987; this material was published as a book in 2002.
•Bulgakova, Elena (the writer’s third wife), Literary Diaries, Moscow: Kniznaja palata, 1990.
•Losev, V. (at the time, director of the manuscript archives at the Lenin Library), Dnevnik Mastera i Margariti [Diaries of the Master and Margarita], Moscow: Vagrius, 2001.
•Losev, V. Fantastichesky roman o diavole [A fantastic novel about devil], Moscow: Gudjal-Press, 2002.
•Smeljansky, A.M., Mikhail Bulgakov v hudozestvennom teatre [Bulgakov at the Art Theater], Moscow: Iskusstvo, 1986.
•Zemskaia, E.A. (the writer’s sister), Mikhail Bulgakov i ego rodnie: semejniy portret [Bulgakov and his relatives: a family portrait], Studia Philological, 2004.
Consequently, in light of what I had studied, the book design and pictures acquired a documentary-artistic tonality, which merged the archival materials, photos and manuscripts with the fictional storyline. Such documentary materials reflected the visual incarnation of the novel.
The effect of authenticity in connection to imaginary events operates at the border between reality and fiction. It is achieved by mingling real facts, realistic descriptions of places, figures from history and monuments with episodes that present magic and diabolic events. The mix of these two levels of meaning — the historical and the fantastic — is meant to help the reader suspend his disbelief (so to speak) in the existence of imaginary figures, which are realistically depicted along with well documented ones.
Novel Synopsis
Bulgakov's novel, written from 1928 to 1940 (the year of the author's death), is about a one-week visit by Satan and his entourage in Moscow at the height of Stalinism. This modern narrative strand alternates with a story known as the Jerusalem chapters which presents an alternative account of Jesus' arrest and crucifixion — a kind of fifth Gospel (according to Bulgakov). The two strands are intertwined and echo each other symbolically, thematically and in terms of the novel's overall story line. The protagonist of the novel is a man referred to as the Master. He writes a novel about the life of Jesus, and the reader of Bulgakov's novel is presented with the Master's story in the form of the aforementioned Jerusalem chapters. The Master's novel, being completely out of place in the virulently atheistic and demonic Stalinist system, ends up rejected while the Master is institutionalized in a psychiatric hospital. It is at this point that Satan intervenes, as he arrives in Moscow in order to save the Master and the novel about Jesus. At the same time, Satan reunites the Master with the latter's lover — Margarita. The Master and Margarita is considered to be the greatest Russian novel of the 20th century.
The main constructive line of the novel and pictures.
The narrative construction suggests the principle of “a novel inside a novel”. So, I followed the same principle and created two parallel constructions in the illustrations that interact with each other and create a complex visual message on several levels.
The main or “leading” line is composed of a sequence of still lifes (black and white photos), which I ideated, arranged in symbolic compositions, developed in terms of light and reflections, photographed on film negatives, and hand-printed on enlarger in a darkroom.
Such compositions are based on the intuitive combination of objects and their position and lighting. They are not designed to represent the plot literally but rather its associative-symbolic meaning and mood. The objects in the still lifes correspond to the inner world (psychology, emotions) and mood of the characters that they represent, without making concrete statements.
For example:
In the still life for the chapter entitled “Never talk to strangers” (where Satan meets two Soviet writers, Ivan Bezdomny and Mikhail Berlioz, in a Moscow park), a small, pale vase in the forefront represents the young and unconfident poet Ivan Bezdomny while a lemon represents Berlioz’s head that ends up severed by a tram as a result of Satan's machinations. Koroviev, a member of Satan's entourage who appears as a transparent figure and is seen by the two writers during this encounter, is made of clouded glass.
In the still life for the chapter entitled “Pontius Pilate” (one of the Jerusalem chapters), an ancient book, a spent candle, and a semi-transparent clock symbolize eternity, timelessness.
In the still life for the chapter entitled “The incident at Griboyedov” (where Satan's assistants visit the building housing the Soviet Writers' Union and end up burning it down [for being a tool of Stalinist propaganda and for rejecting the Master's novel]), burning manuscripts in a cup represent the fire at the writers’ union.
For the chapter entitled “Ivan is split in two” (where the aforementioned poet Ivan Bezdomny finds himself at the same psychiatric institution as the Master after having been driven mad by the encounter with Satan), the absurd situation at the hospital is placed on a plate of food: mixed salad, onions, cellophane reflections, potions, and two lemons are the symbols of the poet’s personality which has split in two as a result of his madness.
In the still life for the chapter entitled “Praise be to the Rooster!” (where Satan's female assistant almost kills the director of the Moscow Variety Theater, Satan and his entourage having put on a magic show at this theater just before this incident), bread caught in a spider’s web — old and covered with dust — symbolizes the theater in the shade of Satan's black magic. A rotten apple refers to the director’s aching head. A brightly lit onion represents the cockerel that saves the director at the last moment from Satan's emissaries by crowing and signaling the beginning of dawn.
The key point is that it is not necessary (and impossible) that the reader grasp the meanings that I gave to these compositions. Their purpose is to create a certain emotional impact on the reader which, in correlation with the text, will generate new meanings and additional levels of perception — simultaneously through verbal and visual associations.
Large illustrations
I designed a series of 13 double-page illustrations which precede certain chapters. I also created 230 small ink drawings spread throughout the book which aim to function as linking elements between the large illustrations and to create a certain atmosphere bymeans of certain small ambient elements, e.g., aspects of historical buildings, bits and pieces of everyday life, signs or fragments.
The 13 large pictures are created in the technique of collage: photos of still lifes (as above) plus my ink drawings and the writer’s manuscripts. The formal compositions (the initial stage of sketching the concepts) looked like abstract pictures composed of grey, less dark, more dark, white and black spots; this was a necessary step meant to arrange the “weights” and to balance future content with form. Already at this stage, I knew what would be inserted in such spots, e.g., a piece of manuscript would be placed into a white spot; a burning cap that symbolizes a bonfire would end up in a black spot, the two being related to each other (conceptually) through the figure that would go in a grey stripe, and so forth.
With reference to what has been discussed about the transition from abstract thought to physical items, and the necessity of joining both abstract and concrete features in pictures, I am suggesting that any abstract image represents only an initial concept (as a formal sketch of the composition) but is missing the concrete elements that would create dialectical complexity. Therefore, such formal/abstract compositions are filled with concrete items that relate associatively to each other.
The first thing that will catch the reader’s eye in the presence of an illustration, will be a still life (associative photo-compositions as above) surrounded by ink drawings and manuscripts. Thus, all objects around the still life will be perceived under the influence of the mood proposed by the photo.
The frontispiece reproduces some ripped pages of Bulgakov’s manuscript, a picture representing Mephistopheles[2] which reflects a certain mood, and the writer’s photo with the following handwritten inscription over it: “This is what one looks like after dealing for several years with Aloziy Mogarych, Nikonor Ivanich, and others” (negative the characters from The Master and Margarita).
The illustration that introduces the chapter entitled “Execution” (a Jerusalem chapter detailing the crucifixion of Jesus), for example, recreates the atmosphere of ancient Rome and the mood of the scenes in the story: antique books, architectural elements, the moon, parts of manuscripts with certain relevant phrases and so forth for each picture, 1, 2, etc.
To separate the two plot lines in the illustrations — the time of Pontius Pilate and the 1930s in Moscow — I presented ancient world via silhouettes and the modern world in form of linear drawings.
Furthermore, the still lifes within the whole book construction aim to add a rhythmical organization to the whole. They appear at the right moments and add a certain rhythm, while the 230 small drawings interspersed among them throughout the text do not interrupt the reading process. Their role is to recreate the environment through the representation of details of everyday life, architecture, streets, landscapes, etc.
Figuratively – this is like a pendulum clock ticking: it can be heard as long as you listen to it, but if you are distracted, then you forget about it. The moment your thoughts pause, the clock’s ticking captures again your attention. But the clock has not stopped, and nothing has interrupted the rhythm and time of the story and, regardless of whether you listen to it or not, it continues its journey.
I developed this way the rhythm and mood of the entire movement within the book’s structure. Apart from that, the photos and manuscripts, as a medium per se, are the archival/documentary materials. Thus, even if the fiction photo-compositions are entirely created by me, they make the reader’s subconscious mind believe in the ‘truth’ that they represent.
“Manuscripts do not burn”. This key phrase from the novel (uttered by the devil as he reconstitutes the Master's lost novel) has become a pithy saying known throughout the Russian cultural realm. It carries such a powerful philosophical meaning that it has taken on a life of its own — all the more so in a society which has always had a problem with freedom of expression. This is why I placed a printed fragment of still life with burning manuscripts on the book cover. The bookbinding is made from natural black leather with a relief print of fire. Images of manuscripts are also reproduced on the edges of the book.
Never deal with the author’s rights
(reminiscent of Bulgakov’s first chapters entitled “Never talk to strangers”),
or
The artistic and editorial path of the book.
The following short excerpt is about the relations between creativity and copyright, and my struggle with both Bulgakov’s devilry and his heirs. This section presents a part of the creative process and supports the idea that without an in-depth study of the writer’s cultural background and his art, my creative involvement as an illustrator would be impossible.
Completed in 2002, the illustrations passed through a process of competitive selection and were accepted to participate in the National Guild of Artists Exhibition in Kyiv. This gave me the right to become a member of the National Guild of Artists. But I decided not to use this right.
One week before the thesis defence and the presentation of the entire project with a visual series at the Academy exhibit, my work has, which had taken a year to complete, suddenly disappeared from my computer. When working on the documentary materials and then my pictures, I had become completely immersed in the world of the novel, and this process was echoed in the "diablerie" that followed me at each step. It’s strange that even the title of the first handwritten version of The Master ..., “A novel about the devil” did not alarm me. Several times Mikhail Bulgakov himself came to me in a dream — with a cigar in his teeth as he appears on one photo, in a bow tie and in a pince-nez. We discussed the book for a long time, then he disappeared ... and the text disappeared from the computer as well. Then the text reappeared, but all my drawings disappeared, leaving an empty folder with zero megabytes… And when my nerves were in the state of an active volcano, when hope was dying, the drawings suddenly returned by themselves. I swore to abandon urgently the devilry novel and to begin another literary work by another author, but could not do this for some inexplicable reason.
The work on the pictures and book structure continued thereafter for a couple of years. When I attempted to propose this book project for publication at various publishing houses whom I approached at book fairs in Moscow in 2002-2006, the response was always the same: they were interested in the pictures, but when they heard the name Bulgakov, they did not want to deal with this. Some were afraid of Bulgakov’s devilry and misfortune that may come along it, others had more pragmatic reasons and did not want to go through issues with copyright holders. Both types of publishers turned out to be right. Bulgakov’s artistic power had captured and kept my attention for a decade. In 2009, the art-photos from the series were exhibited in Milan and published as folders in a limited edition. I returned to this project again in Italy in 2007 and then in 2011, when trips to Rome evoked the Jerusalem chapters of Bulgakov's novel. At this point, I completely reworked the rhythmical structure of the book, layout, some of the small drawings, rearranged the large illustrations, polished certain details… and got immersed again in the writer’s manuscripts, transferring their fragments to the pictures and to the book edges. In the same year, accidentally, when I traveled back to my native town in Ukraine and went to a dentist who had to extract my wisdom tooth, I found out that his last name was Bulgakov, and that he was born in the same day, month and year as my husband (“Oh! He does not leave you even there!” – my teacher from art school said). Even more ironically, upon my return to Milan, I met accidentally a publisher of limited editions from Parma, Fermo Editore: he had come to the Pecorini bookshop with a presentation, and I had come to the same shop and at the same time to deliver some copies of my children’s books. Fermo got interested in my books, asked me to show him my other projects, and my Bulgakov attracted his attention. He decided to publish a limited edition of 300 copies. In order to obtain the permission of Bulgakov’s heir (a grandson who has no direct relation either to the writer or to his works, being the son of Bulgakov’s third wife’s son by her other husband) and to publish the novel in a foreign language, one needs to contact that grandson’s representative in England, who negotiates on the heir’s behalf. Both the heir and the representative wanted to receive some of the royalties and tried to get more money while offering the fewest possible rights. They requested that the publisher pay an amount for the author’s rights, the entire sum at the moment of signing the agreement (i.e. an advance rather than royalties after sales), while normally the author’s rights are not paid that way even to living writers. Considering the fact that this had to be an edition in the realm of high culture (i.e. the kind that sells very badly but has other/artistic purposes), and given the costs and time of the translation of the entire novel, editorial production, expensive materials, potential distribution, etc., the project did not turn out to be worthwhile for the publisher.
According to the law of the Russian Federation, The Master and Margarita will be in the public domain 70 years after the first publication (1967) which occurred 27 years after the author’s death. Who knows, maybe in 2037 the publication of my pictures and Bulgakov’s novel under a common book cover will become possible.
In the same year, in 2011, Lidij Yanovskaya, the literary critic and biographer of Bulgakov, died. I had an intimate knowledge of her work and almost seemed to know her personally. At that point, my work on the book ended.
[1]Yanovskaya had the opportunity to study the writer’s life, works and manuscripts only in a short period of time, a few years before the death of the writer’s wife, the friendship with whom brought Yanovskaya to writing important books with little-known facts and discoveries.
[2] The sculpture was created by Mark Antokolsky in 1883, based on Goethe’s Faust. Some critics (Losev, and then others) draw many relations between Bulgakov’s Voland and Margarita and Goethe’s Mephistopheles and Margarita; thus, the figure of Mephistopheles seems to be relevant to this illustration.
A series of Diana Bychkova's works, created in a documentary-artistic approach, visually interpreting Mikhail Bulgakov’s novel The Master and Margarita.
This series is not merely a collection of book illustrations, but a visual representation of an entire epoch—capturing the spirit, tension, and layered reality behind the novel through research-informed imagery and artistic insight.
An immense amount of meticulous work was invested to develop this project, which was further improved several times over two decades.
Each leaf was designed individually and can be framed as a standalone image.
This art folder includes:
🔸 The frontispiece reproducing some ripped pages of Bulgakov’s manuscript and his photo (60$)
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🔸 9 original photos, still lifes, designed to symbolize some of the chaptes, and hand-printed from photo films in a darkroom (34$ each x 9 photos = 306$)
🔸 9 large collages, digitally created and printed, each contains a photo of still life (as above), ink drawings and reprodutions of the writer’s manuscripts.
Size of each college: 41.5 x 28.5 cm (160$ each x 9 pictures = 1,440$)
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🔸 230 small drawings (originals, ink on paper) that recreate the environment through the representation of details of everyday life. Size of pictures varies, approx. 12 x 15 cm. (only 20.00 $ each x 230 pictures = 4,600$)
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🔸 A diptych consisting of 2 collages that gather all the 230 small drawings in a united composition and narrate visually the entire novel. Digitally created and printed. Size of each of the two parts: 50 x 70 cm (220.00$ each x 2 pictures = 440$)
🔸 A folder with the research work, including copies of Bulgakov's manuscripts, old photos, excerpts of articles and monographs, and artist's chapter from the thesis. Everything has served as a documntary basis for this series. (1,200.00$)
🔸 A prototype of the book with the novel (in Russian), layout design, illustrations, and hand-made leather binding, with a relief print on the cover, and the autor's manuscripts reproduced on the book edges. (780.00$)
🔸 An art folder, crafted with sections to preserve and archive properly this series. (70.00$)
🔸Scroll to see some of the pictures and zoomed fragments.
Buy this artistic series now for your collection! Your purchase will significantly contribute to the development of the nonprofit cultural project: Rare Books Collections Database.
Option 1:
Choose any components of this series
20% discount: 7,117.00 CA$ rather than 8,896.00 CA$ on order of the entire series.
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This item has a prep time of 1-5 weeks depending on the components requested.
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Watercolours, drawings
Watercolours, drawings
by Diana Bychkova and Stepan Romanyshyn
A series of large-format watercolours containing about 250 ironic, well-developed characters in total, which were created to illustrate the popular easy riddles written in an amusing manner.
It took over a year of meticulous work to develop this project. Each leaf was designed individually and can be framed as a standalone image.
This art work is offered as a series and includes:
🔸 18 leaves painted in watercolour, developed with extra-fine details, and 2 leaves with pencil drawings "find hidden anumals", with 250 developed characters in total, 38 x 50 cm each picture.
🔸 5 leaves with varians not included in the book
🔸 19 leaves with preparatory sketches, 38 x 50 cm
🔸 Prototype of the book in English: 52 pages, format 22.5 x 22.5 cm
🔸 Prototype of the book in Italian, with a different layout/format: 24 pages, format 25.5 x 34 cm. It was published in cooperation with Arti Grafiche Colombo. © DS Art, Salinzucca. Milan, 2010.
🔸 Art folder for the series, hand-creafted with beautiful papers
🔸Scroll to see some of the pictures and zoomed fragments.
590 CA$ - an average price for a single original artwork, multiplied by 20 final leaves (an immense amount of work!). Plus prototypes of 2 versions of the book.
Tot.: 11,980 CA$
Free: 19+5 large-format leaves with preparatory sketches and variants, and a hand-crafted folder.
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This item has a prep time of 3-5 business days.
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Giftable Art Prints – reproductions
Giftable Art Prints – reproductions
"Princess and the Sea Beast"
"Princess and the Sea Beast"
by Diana Bychkova
About the creation of this series, publications, awards >>>
Italian folk fairy tales, in an adaptation by Italo Calvino, served as the inspiration for this project. Having read many fairy tales, I started to comment visually on the characters, one by one, without connecting the drawings to any specific text, but rather by adhering to a general fantastic style. In order to immerse myself in the topic, I also conducted some research: I studied fairy tale elements and their graphical representation in medieval European books, the page ornamentation, their relations with handwritten text, and how the text intertwines and transforms itself into elements to become the heads and tails of fantastic beasts.
Such a project developed from both the creative word-picture interpretation of fairy tales and theoretical study. The result was an MA thesis on the fantastic elements in medieval art, which I defended at the Academy of Arts in Milan.
A totally new fairy tale was written to accompany the drawings and publish a limited edition of this book. The miniatures are printed on etching paper with slight relief of ink, like woodcut to the touch, and artisan bookbinding reproduces relief prints as well.
I filled 13 large sheets with fantastic characters. Many say the precision and the technique of these miniature pencil drawings remind them of etchings. Each picture was meticulously developed in detail and can be framed as a single artwork.
Diana Bychkova
Publications and awards
2005 - Winner of the gold-silver medal Cesare Frigerio, “for a great imagination and the execution of drawings in the technique of chiaroscuro”. (Corsico, Italy)
2006 - Publication in the historical journal of graphics and art Grafica d’Arte, edited by Paolo Bellini (Milan, Italy)
2009 - Winner of the personal exhibition at the competition “Polar Expo” (Bergamo, Italy)
2009 - Participation in the exhibition “Fabularia”. (Milan, Italy)
2010 - Diploma at the competition “Book Image” at the International Book Fair (Moscow, Russia)
A high-qiality digital reproduction of the entire series of 13 pencil drawings and a title page with calligraphy.
A hand-crafted folder was designed to store/carry/trasport the prints and is included in the order of the entire series.
Print size: 61 x 40 cm plus margins.
It took two years of research and work to complete this project.
🔸 This well-curated series can be an exelent wedding or anniversary gift.
🔸Scroll to see some of the pictures with zoomed fragments.
2,080.00 CA$ the entire series of 13 prints with the art folder, print size: 60 x 40 cm plus margins. Each print is attached to an art paper.
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54.00 CA$ a single print (no margins, no folder), print size: 44.5 x 28.5 cm. Choose the # of pictures and add a comment on checkout.
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These items have a prep time of 3-5 business days.
See option 2: Original Art Works
Art photos with still lives
Art photos with still lives
a limited edition
by Diana Bychkova
This art folder includes 9 art photos, still lifes, designed to symbolize some of the chaptes from Bulgakov’s novel The Master and Margarita.
🔸Each print can be framed as a standalone image, or united as a series in a large passe-partout.
🔸 The photos have been printed at a typography from lithographic films on an art paper.
🔸 This series was exhibited in Milan at "Festa del Dialogo" and published in a catalogue of the same title.
❗ ONLY 20 CA$ for one carefully-developed artistic still life x 9 photos.
Tot. 180.00 CA$
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Watercolours, kid's wall posters
Watercolours, kid's wall posters
by Diana Bychkova and Stepan Romanyshyn
A series of high-qiality digital reproductions of the 18 watercolours and 2 drawings, containing about 250 ironic, well-developed characters in total.
Each print is attached to an art paper.
🔸 Each print can be framed as a standalone image. You can also insert a current-month or year calendar into the pre-designed empty space on the print!
🔸 A hand-crafted folder is included in the order of the entire series.
🔸Scroll to see some of the pictures and zoomed fragments.
1,480.00 CA$ the entire series of 20 prints with folder, original size: 38 x 50 cm plus margins.
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54.00 CA$ a single print (no folder), print size: 29 x 40 cm plus margins. Choose the # of pictures and add a comment on checkout
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This item has a prep time of 3-5 business days. If you would like to order a larger format, please contact us at: info@dsartistrylabs.com
See option 2: Original Art Works
Gift Cards
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