[Banned] Zhupel (Hellfire): Journal of Artistic Satire: Weekly. Nos. 1-2 (set for 1905) (Zhupel: Zhurnal khudozhestvennoy satiry: Ezhenedelnik. №№ 1-2), 1905. In Russian.

[Запрещённое издание] «Жупел» : Журнал художественной сатиры: Еженедельник. №№ 1-2 (комплект за 1905). 
Санкт-Петербург : Т-во Р. Голике и А. Вильборг, 1905.
№ 1: 8 с.: ил.; № 2: 12 с.: ил.; 35×26,5 см. Ред. художественный З. И. Гржебин; Издатель С. Н. Юрицын.
Каждый номер в иллюстрированной издательской обложке (№1 — худ. Б. Анисфельд, №2 — худ. И. Билибин). Состояние: № 1 — отсутствуют страницы 9-12; № 2 — полный; небольшие надрывы и загрязнения отдельных страниц и обложек.
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[Banned publication] "Zhupel" (Hellfire): Journal of Artistic Satire: Weekly. Nos. 1-2 (set for 1905) (Zhupel: Zhurnal khudozhestvennoy satiry: Ezhenedelnik. №№ 1-2).
St. Petersburg: T-vo R. Golike i A. Vilborg, 1905.
No. 1: 8 pp.: ill.; No. 2: 12 pp.: ill.; 35×26.5 cm. Artistic editor Z. I. Grzhebin; Publisher S. N. Yuritsyn.
Each issue in an illustrated publisher's cover (No. 1 — art by B. Anisfeld, No. 2 — art by I. Bilibin). Condition: No. 1 — lacking pages 9-12; No. 2 — complete; minor tears and soiling to individual pages and covers.

This is a set of the first two issues of the legendary and short-lived satirical journal "Zhupel" (Hellfire), a pinnacle of Russian artistic satire published during the 1905 Revolution. The journal was edited by the prominent artist and publisher Zinovii Grzhebin and financed by entrepreneur Sergei Yuritsyn. It united an extraordinary constellation of Silver Age talents: literary contributions came from Maxim Gorky, Konstantin Balmont, Ivan Bunin, and Alexander Kuprin, while artists Evgeny Lanceray, Valentin Serov, Boris Kustodiev, Boris Anisfeld (cover of No. 1), and Ivan Bilibin (cover of No. 2) provided powerful graphics. The journal's title, symbolizing the scorching power of satire, reflected its sharply anti-government and revolutionary political stance. Due to its caustic caricatures of high-ranking officials, all published issues were confiscated and destroyed by court order, making any surviving copy an extreme bibliographic rarity. This incomplete set (No. 1 lacks its final pages) represents a monumental artifact of pre-revolutionary political dissent and artistic collaboration.