Table Figures No. 31 (Central)
Table Figures No. 32 (Central)
Telescopic Gothic Series (Farmer)
Farmer, Little. Nos 5, 6, 7 & 8 shown in The American Bookmaker Vol. 10, No. 1 (1890-01): i. Principle described in The American Bookmaker Vol. 10, No. 2 (1890-02): 51-52.
Typefounders, Inc. [of Phoenix], by 1962. According to Rick von Holt (The Foolproof Press) in a posting to Briar Press on 2011-09-07 ( http://www.briarpress.org/27508) Thunderbird was cut for Typefounders, Inc. (of Phoenix; Charles Broad) in Japan. It was cut not from existing types but rather from a proof supplied to Broad by Herb Harnish. The proof had a worn serif on the 'E', and so does the type. Rick von Holt heard this story directly from Herb Harnish.
McGrew notes that the origins of Thunderbird have not been discovered. Thunderbird Extra Condensed, also issued by Typefounders, Inc. (of Phoenix) is from a different source and (on close inspection) is not really a variation of Thunderbird.
Thunderbird Extra Condensed
Missouri-Central Type Foundry copy of Keynote ( ATF). Matrices to Castcraft (who cast this face as Keystone, though I don't yet know if it was from the Missouri-Central matrices or other matrices) and thence via John Hern to Skyline Type Foundry LLC. These matrices are electroformed.
Touraine Old Style Italic
By 1898. ATF. Damon & Peets.
Apparently based on an as yet unidentified English face.
See also Chaucer, the Great Primer (approx. 18 point) type of which Troy is a reduction.
A 20th century revival by Typefounders, Inc. [of Phoenix] of Extra Ornamented No. 2 by V. & J. Figgins (prior to 1860).
A Twentieth Century copy done by Harry Weidemann of either Cincinnati Type Foundry Ornamented Nos. 11J/20J/24j/22J (McGrew cites just 22J) or Bruce's New York Type Foundry Ornamented Nos. 7/19/40/27/1046 ( McGrew cites just 1046). Additionally, an examination of Nicolette Gray's XIXth Century Ornamented Types and Title Pages. First Edition. (London: Faber and Faber Limited, 1938) shows it as a face by Caslon, circa 1865 (revived 1884). (Gray's Catalog No. 190, p. 204).
This is an ornamented type design of great longevity, if questionable taste. It is still available in digital form, and may be available in the future in metal. It was best known during the Twentieth Century under the name "Tuscan Ombree," so here I'll try to thread together what I know of its history (even though any reference to it as "Tuscan Ombree" before the 1960s is anachronistic).
This face seems to have originated in France by 1849. Rob Roy Kelly, in American Wood Type: 1828-1900 , identifies it in this way in his discussion of Doric Ornamented (p. 125). Unfortunately, he does not say which French foundry originated it.
The earliest appearance of this type for which I have reliable and relatively clear evidence is as a Two-Line Small Pica (q.v.) by Stephenson, Blake from circa 1849. I have not seen a showing of this directly, but it is Catalog No. 109 in Nicolette Gray's XIXth Century Ornamented Types and Title Pages . Shown on p. 181.
In his discussion of the origins of Tuscan Ombree, McGrew (p. 344) traces it not to the Stephenson, Blake face of 1849 but rather to Bruce's New York Type Foundry Ornamented No. 847 and to the year 1849. However, his expression is ambiguous and it is not clear whether he means that Bruce's Ornamented No. 847 itself dates to 1849 or whether it was based on some other face (perhaps the Stephenson, Blake one) dating to 1849. I suspect the latter.
This face next appears in 1850 in Canada, in a specimen of the Montreal Type Foundry (on p. 113 of the digitization of this specimen, as No. 24, Two Line Pica Ornamented). The Montreal Type Foundry indicated that its ornamented types were imported, and that it maintained a relationship with the Bruce foundry, so I presume that this must be Bruce's type (and given the date of 1850 a rather early showing of it).
By chance, as I was piecing together this history, I ran across contemporary uses of this face. The first document was digitized by the US Library of Congress and is available online in its collection "An American Time Capsule: Three Centuries of Broadsides and Other Printed Ephemera": http://memory.loc.gov/ammem/rbpehtml/ under the title " Original air line and United States mail route! 1857. Spring arrangement. 1857. St. Louis, Alton and Chicago railroad. The only direct route from Chicago or Joliet to St. Louis Kansas and Nebraska ... [Chicago? Ill.] 1857. " (Portfolio 17, Folder 36b). The second document comes from the same source, under the title " Large stock of dry goods at auction! C. McCauley, No. 112 Hanover Street, Boston, will close out his entire stock at auction. The sale to commence on Thursday, July 17, at 10 o'clock A. M ... M. E. Brown auctioneer. Boston. Geo. B. Hamlin, print " (Portfolio 69, Folder 50). The links here are to local copies of the Library of Congress digitizations of these documents.
By 1854, this face had been cut in wood by Wells & Webb. Kelly (p. 125) shows it as a 12 line pica Doric Ornamented from their 1854 specimen. This is the name by which it is most likely to be known by wood type enthusiasts.
Returning to metal type, this face appears as [Two-Line Pica] Ornamented, No. 18 in An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry . (New-York: George Bruce's Son & Co., 1869.), p. 82 (PDF 175)
This face also appears as [Two-Line Pica] Ornamented, No. 16 in the Cincinnati Type Foundry's specimens: Specimen and Price List of 1870 (p. 150 of the PDF) and Fifteenth Book of Specimens (Compact Edition) from the Cincinnati Type Foundry of 1882, p. 38 (p. 68 of the PDF).
In the Twentieth Century, this face was copied, probably by Harry Weidemann, probably by electroforming from old type. McGrew identifies Bruce's New York Type Foundry Ornamented No. 847 as the literal source. The earliest showing of this revival that I have yet discovered is from 1958, as No. 424 in an advertising flyer by " Printers Trouble Shooter". It later appeared in the catalogs of Typefounders, Inc. [of Phoenix] and Los Angeles Type Founders, Inc.. There is some uncertainty as to what was being cast from which matrices by which foundry, as in general LATF acquired Phoenix, but this face appears in a 1961 LATF catalog (though in 24 point only) and also in a 1962 Phoenix catalog (24pt, with 18pt in preparation). The LATF matrices went to Barco / F&S. The "antique revival" materials of Barco/F&S were acquired by Skyline Type Foundry, and the current Skyline matrix inventory lists them in 18 and 24 pt.
An unresolved puzzle: In the 1962 Type Specimens by Neon Type Division, Typefounders of Chicago (that is, Castcraft) specimen, there is a listing for all five "Romantiques" (p. 177, although only one of them, which I presume is the "No. 2" (= Tuscan Ombree) is actually shown). No. 2 is listed as available in 14 and 24 point. What is curious is that these are all specified as being available on "DIDOT BODY ONLY." The section in which they appear is one in which Castcraft is reselling European types imported (presumably) by Amsterdam Continental Types, Inc.
A version of this face, certainly hand-lettered, was used in the opening credits for the second season of the television show "The Wild, Wild West."
A Twentieth-century copy, probably by Harry Weidemann, of an as yet unknown to me earlier face. Probably copied by electroforming. McGrew cross-identifies this as Ornate No. 5, Romantiques No. 5, and Bracelet. Of its origins he says only that it is an "English design of about 1850."
Typefounders, Inc. [of Phoenix] Specimen 7A attests it in 24 point and notes that 18 point is in preparation. A Typefounders, Inc. [of Phoenix] specimen of "The Tuscans" shows an incomplete line at 24 pt. The '$' in this showing does not quite match the rest of the face. LATF Specimen No. 17 and an LATF specimen from the mid 1970s attest it in both sizes. The Skyline Type Foundry matrix inventory lists it in both 18 and 24 point.
An unresolved puzzle: In the 1962 Type Specimens by Neon Type Division, Typefounders of Chicago (that is, Castcraft) specimen, there is a listing for all five "Romantiques" (p. 177, although only one of them, which I presume is the "No. 2" (= Tuscan Ombree) is actually shown). No. 1 is listed as available in 24 point. What is curious is that these are all specified as being available on "DIDOT BODY ONLY." The section in which they appear is one in which Castcraft is reselling European types imported (presumably) by Amsterdam Continental Types, Inc.
Not to be confused with the wooden typeface Tuscan Outline by Wells & Wood (1849); see David Consuegra's American Type Design and Designers (NY: Allworth Press, 2004), p. 258 .
Weidemann's matrices went to Typefounders, Inc. [of Phoenix], then Barco, and finally Skyline Type Foundry. Various Phoenix and LATF specimens list 18, 24, and 30 point; the Skyline Type Foundry matrix inventory lists only 30 point.
Type Writer (Central)
Central Type Foundry, St. Louis. This was the first printing typeface in imitation of the typewriter. It was also a very early machine-cut typeface (along with Geometric, Geometric Italic, Morning Glory, and Scribner). Gustave F. Schroeder cut the working patterns and William A. Schraubstädter did the matrix engraving.
Type Writer No. 2 (Central)
The digitizations of 19th century documents from the Library of Congress are in the public domain. The reproductions of/from them here remain in the public domain.
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