[Illustrated by Frans Masereel] Adam, Paul. The Trust (Trest); binding and title by V. Zenkovich, 1936. In Russian.

Адан, Поль. Трест / перевод с французского Ю. Н. Султанова ; рисунки Франса Мазереля ; вступительная статья Н. Рыкова.
Ленинград : Государственное издательство «Художественная литература», 1936. 488 с., ил.
Твердый издательский тканевый переплет с красно-черным рисунком на верхней крышке, оформление В. Зенькович. 19х13 см. Тираж 10 300 экз.
Рисунки Ф. Мазереля исполнены специально для этого издания. Вложен листок «Опечатки».
Переплет - хорошее: истертость и мелкие утраты ткани по головке и пятке корешка, неравномерное потемнение и пятна на крышках. Блок - хорошее: крепкий; мелкие надрывы кромки на нескольких листах.
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Adam, Paul. The Trust / translated from the French by Yu. N. Sultanov ; illustrations by Frans Masereel ; introduction by N. Rykov.
Leningrad : State Publishing House Khudozhestvennaya Literatura, 1936. 488 pp., illustrated.
Publisher's cloth hardcover with a red and black pictorial design on the front board, designed by V. Zenkovich. 19 x 13 cm. Print run 10,300 copies.
Drawings by F. Masereel made specially for this edition. Printed errata slip laid in.
Binding good: fraying and small losses of cloth at the head and tail of the spine, uneven toning and stains on the boards. Text block good: firm; small edge tears to several leaves.

The Russian edition of Paul Adam's novel Le Trust (1910), illustrated with drawings by the Belgian artist Frans Masereel, who made them, as a printed note on the half-title states, specially for this edition. Paul Adam (1862-1920), a prolific French novelist of the Symbolist generation, dated the book January 1904 to October 1909 at its end. It is a long social novel about an American industrial trust, with scenes in a salon of political and business society, on the way to Havana and in factories of the Alleghenies. The introduction by N. Rykov, headed The Work of Paul Adam, presents him to Soviet readers as one of the least known but most interesting writers of pre-war France, at once an apologist and a harsh exposer of imperialism, a formula by which a Symbolist author was made acceptable in 1936. The translation is by Yu. N. Sultanov. Masereel, the Flemish master of the woodcut novel, supplied illustrations initialled FM, among them a full-page view of factory chimneys with clouds of smoke over marching workers. The cloth binding, title page and half-title were designed by V. Zenkovich, with a red and black vignette of palms, a harbour and a train that suits the tropical setting of the story. The book was issued by the Leningrad branch of the State Publishing House of Fiction in 10,300 copies, set at the Pechatny Dvor printing house and printed from matrices by the artel Pechatnya, with a printed slip of errata for pages 63, 86 and 389 laid in. It will interest collectors of Frans Masereel, of French literature in Soviet translation of the 1930s, and of Leningrad book design of the period.