[Autograph of Vsevolod Meyerhold and Pencil Portrait of Zinaida Raikh] Hessen, I. V. (Ed.) Archive of the Russian Revolution (Arkhiv Russkoy revolyutsii). Volumes 2 and 9, 1921, 1923.

[Автограф В. Мейерхольда и карандашный портрет З. Райх] 
И. В. Гессен (ред.). Архив Русской революции. Тома 2, 9.
Берлин: Слово, 1921, 1923.
228 с. + 308 с. ; 24,5 × 19,5 см. Издательские обложки.
***
[Autograph of V. Meyerhold and Pencil Portrait of Z. Raikh] 
I. V. Hessen (Ed.). Archive of the Russian Revolution. Volumes 2 and 9.
Berlin: Slowo, 1921, 1923.
228 pp. + 308 pp. ; 24.5 × 19.5 cm. Softcover.

This exceptional set of Volumes 2 and 9 from the Archive of the Russian Revolution represents a rare intersection between the historical documentation of the White émigré movement and the personal life of the Soviet theatrical elite. The text provides a deep dive into the internal logic of the October Revolution and the Civil War, including the arrangement of memoirs, documents, and analytical articles curated by Iosef Hessen, a prominent jurist and leader of the Cadet Party. Published in Berlin by the "Slowo" partnership, these volumes served as a vital primary source for documenting the anti-Bolshevik perspective and the tragic experiences of officers and intellectuals during the years 1917–1922. However, the true identity of this specific copy is defined by its extraordinary provenance: Volume 9 contains an authentic autograph of the visionary director Vsevolod Meyerhold, while Volume 2 features a delicately rendered pencil portrait of his wife and muse, the celebrated actress Zinaida Raikh, on the endpaper.
It is highly probable that these additions were made during Meyerhold’s European tours in the 1920s, documenting the exact moment when the Soviet avant-garde interacted with the intellectual atmosphere of the Russian diaspora in Berlin or Paris. The expressive portrait, presumably executed by Meyerhold himself, transforms these scholarly imprints into intimate artifacts reflecting the creative atmosphere and personal relationships of the era. This 22-volume series remains one of the most significant periodic publications of the emigration, and the inclusion of these personal marks by Meyerhold and Raikh connects the grim history of the revolution with the cultural vibrancy of the 1920s. For bibliophiles, theater historians, and collectors of revolutionary ephemera, this unique association copy is a cornerstone acquisition, bridging the ideological divide of the early 20th century through the shared heritage of the Russian intelligentsia.