Bom Pastor (“The Good Shepherd”) was a small hotel and restaurant in Fátima, a city in the Oeste e Vale do Tejo region in central Portugal. This undated luggage label features several interesting typefaces that were travellers themselves.

The name is in Derby, an energetic pen script from Germany. An early design by the prolific Günter Gerhard Lange (1921–2008), it was first cast by the Berthold foundry in Berlin in 1952.

“Pensão–Restaurante” is in Greco negro, set on a curve. This black weight is part of the Greco family – a Greek from Spain, so to speak. It originated in the 1920s at Fundición tipográfica Richard Gans, a foundry established by an Austrian emigrant in Madrid in 1888. Coincidentally, El Greco is the name of another script typeface designed by Günter Gerhard Lange.

While the condensed grotesk used for phone number and address is unidentified, the last line with the location uses two weights from Semplicità, which made its way to Portugal from Italy: conceived by Alessandro Butti (1893–1959), this geometric sans was released by Nebiolo in Turin in the early 1930s.

Image courtesy of Fundação C.S.S.L. Portimagem, a foundation dedicated to the visual memory of Portugal’s past. Make sure to visit their Flickr photostream.

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.

Front cover

Buarque (not to be confused with the Brazilian musician Chico Buarque) is the name of the 7″ by the Angolan singer Buarque, accompanied by Conjunto Merengue.
The record, released in 1975 in Luanda (Angola), contains two songs: A Kalunga Nguma, and on side B Tua Kua Ngola Tua Xixima.

The front cover uses a tightly spaced Franklin Gothic Extra Condensed. The back cover follows the same grid as most 7″ records issued by Merengue, with additional typefaces such as Greco, Futura, Forma and Eurostile.

[More info on Discogs]

Back cover

Front cover

Normandia Bold Italic on the cover of a 7″ record by Katuite, released on Merengue Records in Luanda, Angola in 1975. The back cover shows a number of additional typefaces, including Greco negro and Eurostile.

[More info on Discogs]

Back cover

Type detail

First edition, first printing, published by Doubleday & Company, Inc., New York, 1974.

The bold sans serif caps used for the title are very likely lettering, featuring a W made of an overlapping double V which may evoke shark teeth (albeit blunt ones). The rest of the jacket is set in tight-not-touching ITC Souvenir Light, a staple in 1970s typography. The typeface used on the spine of the cover as well as on the title page is Greco negro, the bold weight of a family originally issued by the Spanish Gans foundry in the mid 1920s. For digital options, see Bristol by FontHaus (caps only) or Bitstream’s Melina (less authentic). The interior is in W.A. Dwiggins’ Caledonia.

See also Quentin’s contribution about the first UK edition by Andre Deutsch.