The lovely woman going by the name of Edna Welthorpe is known today for her stabbing theatre criticism vocalised through the pages of local newspapers but also in her personal correspondence with playhouses and playwrights from the 1940s to the 1960s in London. Mrs Welthorpe took on the role of the guardian of public morals, protesting against, in her own words, ‘outrageous contemporary creations and the production of indecent thought’ that she believed should be banned from ‘the sight of not only our children but also the common public.’

Edna Welthorpe is one of the pseudonyms of the notorious British playwright Joe Orton (1933–1967), whom Orton used as an outraged critic of his work after he had achieved fame; she was joined later by the imaginary Donald H. Hartley, an Orton booster. Right up to his death, Orton wrote letters under different pseudonyms, which he used to create mischief and argument.

The publication reproduces some of Edna’s correspondence that was first published in the book Prick Up Your Ears: The Biography of Joe Orton by John Lahr (1978).

Voebe de Gruyter is an artist who makes propositions about unexpected scientific phenomena and other patterns which reveal themselves in everyday situations. Her work abounds with elementary particles: “points of concentration, information particles, small units which contain multitudes,” the artist once explained. For this publication De Gruyter went through her complete inventory and studio archives. With texts by Maria Barnas and Roel Arkesteijn, plus explanatory notes by the artist herself for almost all the works. Designed by Felix Weigand.

A preview of the publication can be found here.

Dean’s work is often concerned with the play of legibility through the creation of private lexicons. The relation between spoken word performance and its graphic representation, often in the form of private, personal and self-made typefaces, is one key to his work. The otherwise mute objects are inscribed, via clues, or fragments of lettering, with a personalised form of writing, which gives the opportunity of animating the artwork. Here the book operates as a form of sculpture, inscribed with both a personal and bodily form, to be read, spoken or carefully deciphered. Designed by Michael Dean, with Fraser Muggeridge.

‘NOW LEAVES describes leaving and having left. Glossolalia like, against noise, about the bones of a writing, written in tongue graphics legible by reason of the trees with as many words as there are leaves. The percussion of these leaves is f***ing news. The percussion of these leaves is not his news. The percussion of these leaves is not her news. The percussion of these leaves is definitely not their news.’ – Michael Dean

*Please note this publication is secondhand and has some traces of previous ownership:

Michael E. Smith (born 1977 in Detroit) makes sculptures out of cast-offs, waste and other residues of our consumer society. He assembles and manipulates this found material in an unusual way. He isolates objects, makes changes to their form and seeks out the limits of their imaginative power. His presentations are characterized by an intense yet sparse choreography of the exhibition space.

Initially conceived to document three solo shows at de Appel in Amsterdam (2015), Kunstverein Hannover (2015), and S.M.A.K. in Ghent (2017), the publication also gathers new commissioned texts and a reprint that shed light on the artist’s decade-plus practice.

With texts by Martin Germann, Anthony Huberman, Chris Sharp.

Produced on the occasion of the exhibition Henri Michaux at the Stedelijk Museum, Amsterdam, 7 February–22 March, 1964.

SM Cat. No 354.

Designed by Wim Crouwel.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition Mode Kleren Mode at the Stedelijk Museum, Amsterdam, 18 January–9 March, 1980.

SM Cat. No 667.

Designed by Wim Crouwel, André Toet gen, Geert Schriever (Total Design, Amsterdam).

*Please note this publication is secondhand and has some traces of previous ownership.