This is the 1972 paperback edition of André Breton's Manifestoes of Surrealism. I believe the interior to be the same as the hardcover, but I don't know for sure. (As with the hardcover, the book design is credited to Quentin Fiore.)

The cover uses skewed Helvetica Compressed [see comments] for the author's name, and Inserat-Grotesk for the book title. The decorative dingbat is picked up from the hardcover design, and skewed to match the new type. Also, like the hardcover, note the unusual solution for the accent on the E in André, this time using a line parallel to the top bar of the E.

The interior of the book is notable for its use of a different text face for each section.

The title page spread uses Sans Shaded for the title and Anzeigen Grotesk for the author's name. The translator credits are in Bodoni Italic, and the publisher names are in Helvetica Medium.

The copyright page is in Times New Roman Italic, and the table of contents is in Helvetica.

The section openers are set in Bodoni Bold.

The texts are set in a mix of Baskerville, Century Expanded, Helvetica, and Bodoni Bold.

Within the first manifesto is “Poem,” randomly assembled from headlines and scraps of headlines, reset in many typefaces, including Cheltenham, Baskerville, Vulcan Bold Italic (see Greco, Latin Bold and Latin Wide, Windsor Bold, Beton Bold, and Clarendon.

The first English edition of French writer André Breton’s Manifestoes of Surrealism, discussing the ideas behind the Surrealist movement in art and culture. The book’s cover, designed by Quentin Fiore includes a mish-mash of poster types, with a majority set in Anzeigen-Grotesk (a typeface used for other designs by and for Fiore). Note the unusual solution for compacting the accent in “ANDRÉ” by slicing the top crossbar of the “E”.

The “A” in “ANDRÉ” is some version of Roman Extended, perhaps a phototype adaptation (it wouldn’t be surprising if the entire composition was set with phototype). The righter-most serif has been snipped short for tighter spacing.

The “B” in “BRETON” is some form of bold gothic, similar to Bartuska Grotesque, but hard to identify definitively on its own. It’s very possible it’s an adaptation of an older wood type face like some of the other types in the design. For example, Gothic (Nesbitt) has a similar weight but different details.

The “M” in “MANIFESTOES” is Page No. 120 – again, perhaps a phototype adaptation.

The decorative dingbat likely comes from a pre-existing set of dingbats, yet to be identified.

The “SUR” in “SURREALISM” has similarities with Schadow, but no exact matches have been found yet.

The smaller text on the back cover is set in Melior.

Many of the unknown elements of the book’s type could probably be clarified if the specific shop that handled the type was known. Even uncovering the specifics of the dingbat or the “SUR” typeface would probably reveal which adaptations of the other typefaces were being used, since there’s a good chance they all have a common source.

Anzeigen-Grotesk, reversed and on an angle, in a number of contrasting sizes, for the cover of the first edition of War and Peace in the Global Village. The title pages are set in various weights of Akzidenz-Grotesk. Helvetica is used for text.

Neue Aurora IX with the signature ‘R’ with diagonal leg.

Steven Heller, Imprint:

“Fiore had a wonderful experience with a book that was universally panned by the critics, Jerry Rubin’s Do It!, its title conceived by Fiore (and later, one suspects, adopted by Nike). For this he worked directly with the former Yippy, typographically emphasizing certain ideas in a manner vaguely reminiscent of the Dadaists and Futurists. Photographs were also used as icons and exclamation points, strewn through the text to add sight and sound to an idea or a pronouncement.”