Gazeta gazet (The Newspaper of Newspapers) No. 3 and its Supplement "Karikaturny listok" No. 1, 1905. In Russian

Газета газет. № 3 за 1905 год. [Санкт-Петербург], 1905. — 16 с. Мягкая издательская обложка, формат 25 × 32 см. Редактор-издатель Г. П. Нарусбек.
Карикатурный листок «Газеты газет». 1905. № 1. Санкт-Петербург : Типография АО «Слово», 1905. — 4 с. : ил. Издательская иллюстрированная обложка, формат 34 × 25 см. Приложение к «Газете газет».
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Gazeta gazet (The Newspaper of Newspapers). No. 3 for 1905. [Saint Petersburg], 1905. — 16 pp. Original publisher’s softcover, 25 × 32 cm. Editor-publisher: G. P. Narusbek.
Karikaturny listok "Gazety gazet" (The Caricature Leaflet). 1905. No. 1. Saint Petersburg: "Slovo" Typography, 1905. — 4 pp. : ill. Original publisher’s illustrated cover, 34 × 25 cm. Supplement to the "Gazeta gazet."

This rare pair of publications represents one of the most short-lived and radical satirical projects born from the Russian Revolution of 1905. Edited and published by Gavriil Narusbek, a relentless figure in the St. Petersburg underground press, "Gazeta gazet" was designed to be a meta-commentary on the Russian media landscape, while its supplement, the "Karikaturny listok" (Caricature Leaflet), provided the visual muscle for its political attacks.
The year 1905 saw a brief "springtime" of press freedom following the October Manifesto, which Narusbek exploited to the fullest. The main newspaper provided biting textual satire, while the "Karikaturny listok" utilized bold, often grotesque imagery to lampoon the Tsarist bureaucracy, the police, and the hesitant liberal intelligentsia. These illustrations are classic examples of early 20th-century revolutionary graphics, characterized by high-contrast line work and a fearless approach to forbidden topics.
The volatility of the era is evident in the project's lifespan: only five issues of the main newspaper and three issues of the leaflet ever reached the public before the entire operation was suppressed by the censors and banned. Consequently, finding the two publications together—especially the delicate "Karikaturny listok"—is an event of significant bibliographical importance.
For collectors of the 1905 revolution, these issues are vital artifacts. They capture the raw, unpolished energy of a press that believed, if only for a few months, that it could topple a centuries-old autocracy through the power of the word and the caricature. Despite minor soiling and age-related wear, they remain potent witnesses to a turning point in Russian social history.