List of Illustrations¶
Core Argument¶
This chapter is not a narrative or argumentative text but a paratextual apparatus: a list of illustrations with provenance and copyright details for the images used throughout the book. The list is divided into six parts, corresponding to the book’s internal structure, and catalogues thirty-six images. The majority are drawn from the David King Collection, purchased by the Tate Archive in 2016, with nine images in the public domain and the remainder sourced from Wikimedia Commons, the Library of Congress, and other public archives.
The images span the period from the 1890s to 1919, tracing the arc of the Russian revolutionary movement and its international context. Part One covers the early Marxist figures: Plekhanov, the tsarist police record card from 1895, the St. Petersburg Union of Struggle, and the leading theorists of the Second International—Bernstein, Kautsky, and Luxemburg—alongside the first issue of Iskra. Part Two moves to the 1905 Revolution, with Father Gapon, the cavalry at the Pevchesky Bridge, barricades in St. Petersburg, Leonid Krassin, Tsar Nicholas II, and the St. Petersburg Soviet on trial. Part Three continues with the post-1905 period: Cossacks in Baku, the Tauride Palace, Stolypin, and mugshots of Stalin, Zinoviev, and Kamenev. Part Four shifts to the pre-war years, featuring the agent provocateur Roman Malinovsky, Kamenev reading Pravda, an issue of Pravda from 1923, Ottoman prisoners of war in 1913, and the signing of the London Peace Treaty. Part Five covers the war and its immediate aftermath: Karl Liebknecht, Emile Vandervelde, Bukharin, Russian troops marching to the front, and Rasputin surrounded by admirers in 1914. Part Six concludes with the February Revolution, the People’s Militia, Kerensky, the July Days, General Kornilov, the Petrograd Soviet in 1917, and a final image of Lenin and Trotsky on the second anniversary of the Revolution.
The list functions as a visual index to the book’s historical narrative, foregrounding the key actors, institutions, and events of the Russian revolutionary process. The provenance details—particularly the dominance of the David King Collection—signal a reliance on a specific, curated photographic archive of the Soviet period. The inclusion of mugshots, police records, and crowd scenes underscores the book’s focus on state repression, mass mobilisation, and the personal trajectories of revolutionary leaders. No polemics are present; the chapter is purely documentary.