Brown, Leslie & Amadon, Dean:

Glenview Press, London, 1967. 104 pages. + 2 plates. Red cloth, dust jacket . Jacket somewhat dark to spine. Portrait, plate with punches, mounted smoke proofs, type specimens. Printed in 1000 copies, set in Linotype Venezia, which is based on the original Venezia cut by Edward Prince for George W. Jones in 1914.Edward Philip Prince was a type punchcutter for approximately sixty years. Although virtually unknown, he was one of the greatest of his craft. For the printing trade at large he cut a considerable number of types and, between 1890 and 1914, the proprietary faces of every English private press of note. The volume contains, in addition to its biographical content, reproductions of types for which Edward Prince cut the punches, their history and a chronology of the cuttings.

Typographischen Gesellschaft, Munich. 1976. 84, (5) pages + 6 mounted b/w photos. 8vo. Blue cloth binding, paper label spine title, dust jacket, pocket at rear with 3 loose facsimile samples. 8 plates. Text in German. (Klemke p. 290 + 294).

Benno Schwabe, Basel. 1935. 112, (10) pages. Size: A5. Blue cloth, spine paper label, excellent condition. No dust jacket. Photos, posters, ads, paintings, letter heads, business cards, charts and other illustrations. Printed in colour and b/w on different paper stock. Typography and binding by J.T. First edition, printed in only 1000 copies. (Klemke p. 23 & 285.).J.T. has calmed down from ‘Die Neue Typographie’ and is more concentrate on the practical and aesthetic side of the ‘new typography’, for example is the book set in Bodoni. In a talk to The Type Directors Club, New York 18th April 1959, Jan Tschichold says: “... I tried to develop what I had called Die neue Typographie and wrote another text-book, Typographische Gestaltung in 1935 which is much more prudent than Die Neue Typographie and still a useful book!”“No one, to the best of my knowledge, has ever written a more detailed and perceptive account of the principles and practice of typography in English.” Ruari McLean about the English edition of the book ”Asymmetric Typography”.

Centerwall & Thuresson Bokförläggare. 1967. 169 s. Originalpocket, första svenska utgåvan. Något blek rygg, aningen marginalnött rygg, annars i oöppnat skick. Översättning av Einar Heckscher. Amerikanska originalet är "Junkie" (1953). Publicerad under pseudonymen William Lee.

Georg Müller Verlag München, 1922. First edition. 176 pages including 10 pages of plates at end. Privately bound (Buchb. Meink. Berlin). Leather spine with five raised bands, marbled paper boards. Spine with moderate wear, some light foxing. Loosely inserted a prospectus about the book. Signed by Renner at the colophon. (Burke p. 41 + 207).

Moderna Museet, Stockholm. 1966. Typography: Hultén, Melin & Österlin. (Moderna Museets utställningskatalog No. 54). 8 pages, 52 black & white illustrations. 3 biographies. (58 x 38 cm), newspaper print with glued folds, additionally folded to approx. DIN A4. Front page illustration: working sketch. Rare and extremely fragile catalogue, here in best condition, but not, as often, perfectly folded. (Lutz Jahre 17 - 1966, John Melin till exempel page 25).Exhibition: Stockholm, Moderna Museet, June 4 - September 4, 1966 (80,000 visitors)As early as 1962, Niki de Saint Phalle, Jean Tinguely and Per Olof Ultvedt were involved in the Amsterdam exhibition project Dylaby (dynamic labyrinth), where nine spatial installations by various artists were shown to mark the departure of director Willem Sandberg. Pontus Hultén, who had been involved in the project as an advisor, wanted a collaborative work for his museum and invited several artists. This resulted in ”Hon”, a large walk-in sculpture (6.10 x 28.70 x 9.15 m) depicting a reclining woman with her legs spread. From the outside, it resembled the brightly painted Nanas by Niki de Saint Phalle. The interior of the sculpture was designed by Jean Tinguely and Per Olof Ultvedt. The entrance was in the vagina, a cinema was in one arm, a moving wooden brain was in the head, a planetarium in the right breast, a milk bar in the left, a Banc des amoureux with sound in the knee, a viewing platform on the stomach and a gallery of fake pictures in one leg. Things like a pay phone, a snack machine, a radio sculpture and even a postcard Piennale (works of the museum on postcards) were also represented. ”Hon” was realized at relatively short notice, which is why there was little time for publication and a newspaper brochure was published (colour illustration). Later, however, a detailed book (b/w illustration) was published in which the five-week work phase, the three-month exhibition and the three-day dismantling were documented with many pictures and press reactions. The project had been kept absolutely secret in the museum beforehand, and only the people involved were allowed to know about it, as Hultén feared that rumours could lead to the daring exhibition being closed before it even opened. An unexpectedly positive article in Time Magazine, which appeared early on, had a predominantly positive influence on the local press, although some of the expected outraged reactions did not fail to materialize, and there were many voices that called ”Hon” obscene or even the world's biggest whore.