Large format, measures 13 ¾" x 10 ¼", 24 pp. Circulation 10,000 copies. Very unusual features of design! Internal pages of heavy-stock matte coated paper are within a cover of thick pulp paper; the graphic on the cover is a color plate glued on to it by a thin line of glue along the top edge; and finally, the contents are listed on the outside page of the back cover. There is a large number of illustrations, all b/w. The attachment mentioned on the back cover, a b/w reproduction of a painting by Velasquez, is preserved and enclosed as a separate page.

In fair condition. The cover

Large format, measures 13 ¾" x 10 ¼", 24 pp. Circulation 10,000 copies. Very unusual features of design! Internal pages of heavy-stock matte coated paper are within a cover of thick pulp paper; the graphic on the cover is a color plate glued on to it by a thin line of glue along the top edge; and finally, the contents are listed on the outside page of the back cover. There is a large number of illustrations, all b/w. The attachment mentioned on the back cover, a b/w reproduction of a painting by Velasquez, is preserved and enclosed as a separate page.

In fair condition. The cover has acquired a bit of discoloration along the fold due to prolonged exposure to light as well as very minor corner bumps but no separations at the fold. Looking at the bottom left corner of the journal, it becomes clear that a mouse had tried to partake of the Renaissance art inside but gave up before causing major damage. Binding is provided by two staples and is very tight even though the staples are somewhat rusty. The color plate with Rembrandt's portrait of his wife is holding fast. The top right corner of the color plate is ripped off. The bottom left corner of the color plate shows evidence of a long-since-flattened-out crease. The internal pages are well preserved, showing only minuscule curling or creasing at the top corner and very light age toning. Two internal sheets (pp. 17-21) have a small rip at the edge.

This issue is dedicated to the masterpieces on exhibition in the Madrid Prado Museum (represented mostly by reproductions of Goya's paintings) and the works of Rembrandt. All the textual comments are propaganda attempts to "explain" Goya and Rembrandt from the standpoint of Soviet Communist ideology. The closing article on the inside page of the back cover extols the Spanish people fighting against Franco and hordes of Italian and German invaders who are trying to bring fascism to Spain. It was propaganda like this that drove hundreds of Soviet, mostly young, people to volunteer to fight in Spain as "international brigades".
$30.00  Add to cart