Barnhart Brothers & Spindler

Barnhart Brothers & Spindler Type Foundry was an American company founded as the Great Western Type Foundry in 1873. It became Barnhart Brothers & Spindler ten years later. It was a successful foundry known for innovative type design and well designed type catalogs. Oz Cooper, Will Ransom, Robert Wiebking, and Sidney Gaunt all designed for BB&S. It was bought out by American Type Founders in 1911 with the proviso that the merger would not take effect for twenty years, so that the employees would have a chance to find new work or retire over time. The foundry was finally closed in 1933.

Barnhart Brothers & Spindler Type Foundry

Type	Defunct
Industry	Type foundry
Founded	Chicago, Illinois, United States, 1873
Defunct	1933
Headquarters	Chicago, Illinois, United States
Key people	Oswald Cooper, Will Ransom, Robert Wiebking, Sidney Gaunt

Mergers and acquisitions

• Advance Type Foundry (AKA Wiebking, Hardinge & Company), Chicago, bought out by Western Type Foundry in 1914.
• Western Type Foundry, Saint Louis, Missouri, bought by B.B.&S in 1918.

Typefaces

These foundry types were originally cast by Barnhart Brothers & Spindler:^[1]

A

• Adcraft^[2]
  • Adcraft lightface, 8-48pt, or Puritan, Hansen (8-48pt) ATF 1501
  • Adcraft Medium, 6-72pt, ATF 1502
  • Adcraft Bold or Plymouth, 6-120pt
  • Adcraft Black or Plymouth Bold, 6-72pt, ATF 1500
• Adstyle design: Sidney C. Gaunt, 1906, 6-120pt, ATF 1503
  • Adstyle Italic 6-72pt, ATF 1509
  • Adstyle Condensed 10-120pt, ATF 1506
  • Adstyle Extra Condensed 10-108pt ATF 1507
  • Adstyle Wide 6-60pt, ATF 1511
  • Ádstyle lightface
  • Adstyle Black 6-96pt, ATF 1504
  • Adstyle Outline 12-96pt, ATF 1505
  • Adstyle Shaded10-72pt, ATF 1510, Gaunt: 1914 ^[3]
  • Adstyle Borders, design: T. C. Robinson 1908, 7 series, 12-24pt,
    • Special Reversed Figures: Mono 132S (12-18pt)
• Advertisers Gothic, 6-72pt, Design: Robert Wiebking 1917, for Western Type Foundry take over by BB&S in 1919, ATF 1512
  • Advertisers Gothic Condensed 6-72pt, ATF 1513
  • Advertisers Gothic Outline 6-72pt, ATF 1515
  • Advertisers Gothic Condensed Outline 6-72pt, ATF 1514
• Advertisers Upright Script 14-72pt, original name: Oliphant (1895) renamed in 1925, ATF 1516
• Artcraft, design: Robert Wiebking 1912, 6-72pt ^[4]
  • Artcraft italic, 6-48pt, ATF 1529, Ludlow 10LI
  • Artcraft Bold, 6-72pt, ATF 1528, Ludlow 10-B
• Authors Roman, design: Sidney Gaunt for BB&S in 1902, other versions were added between 1908 and 1915: , 5-72pt, ATF 1531
  • Authors Oldstyle Italic, (5-72pt) ATF 1533
  • Authors Oldstyle Bold 5-72pt, ATF 1532
  • Authors Roman, 5-72pt, ATF 1534
  • Authors Roman Italic, 5-72pt, ATF 1530
  • Authors Roman Condensed, 6-72pt, ATF 1537
  • Authors Roman Wide, 5-48pt, ATF 1538
  • Authors Roman Bold, 5-72pt, ATF 1535
  • Authors Roman Bold Condensed, 6-72pt, ATF 1536,^[5]

B

• Bamboo, original named: Freak, 10-30pt, patented in 1889 by Great Western Type Foundry. in 1925 at BB&S, later copied by Typefounders of Phoenix 18pt ^[6]
  • Bank Script, Spencerian script, design: James West in 1895 for BB&S, 14-48pt, ATF 1540, the next lower case scripts can be used with the capitals of no.1:
  • Bank Script no.2, lower case alphabet with a larger x-height, 14-38pt, ATF 1712
  • Bank Script no.3, lower case alphabet wider and with a larger x-height, 14-48pt, ATF 1713
• Barnhart Oldstype, design: Sidney Gaunt (1906) (6-72pt), ATF 1544
  • Barnhart Oldstype No.2, (1907) same capitals, larger lower case and shorter descenders, (6-72pt), ATF 1545
  • Barnhart Oldstype Italic, (6-72pt) ATF 1546
  • Barnhart Lightface, (~1914) BB&S
• Bizarre Bold, designed as Edwards in 1895 by Nicolas J. Werner for Inland Type Foundry, in 1925 renamed by BB&S when the Inland-foundry was taken over, 6-60pt, ATF 1548, Inland, Iland (8-60pt)
• Booknam Light Face, (6-25pt) ATF 1551
  • Bookman Bold, (6-72pt) ATF 1549
  • Bookman Bold Condensed, (6-72pt) ATF 1550^[7]

C

• Cardstyle, design: Sidney Gaunt (1914), no lowercase, intended for use in announcements, capitals are cast in several sizes on all of the three bodies. (6s-15L), ATF 1558 ^[8]
• Caslon Oldstyle, 6-72pt, ATF 1569
  • Caslon Oldstyle Italic, (6-72pt), ATF 1570
  • Caslon Italic Specials, (12-72pt), design: Carl S. Junge, 1924
  • Caslon Clearface, (6-72pt), ATF 1565
  • Caslon Clearface Italic, (6-48pt), ATF 1566
  • Caslon Catalog, (6-72pt), ATF 1564
  • Caslon Medium, (6-72pt), ATF 1567
  • Caslon Medium Italic, (6-72pt), ATF 1568
  • Caslon Black, (6-72pt), ATF 1561
  • Caslon Black Italic, (6-72pt), ATF 1563
  • Caslon Black Condensed, (6-72pt), ATF 1562
  • Caslon Openface, (6-72pt), ATF 1571
  • Caslon Open Title, (6-72pt), ATF 1572
  • Caslon Antique, (8-48pt), ATF 1559
  • Caslon Antique Italic, (8-48pt), ATF 1560
  • (Caslon) Old Roman, (6-48pt), ATF 1804
  • (Caslon) Old Roman Italic, (6-48pt),
• Century Roman, (6-24pt), design: Linn Boyd Benton, 1894 for Century Magazine. ATF 1576
  • Century Italic, (6-24pt), ATF 1575ATF 1810^[9]
• Gothic Chamfer, (12-54pt) ATF 1643
• Cheltenham Oldstyle, (6-72pt), ATF 87
  • Cheltenham Italic, (6-72pt), ATF 82
  • Cheltenham wide, (6-72pt), ATF 89
  • Cheltenham Medium, (6-72pt), ATF 83
  • Cheltenham Bold, (6-72), ATF 73
  • Cheltenham Bold Italic, (6-72pt), ATF 73
  • Cheltenham Bold Condensed, (6-72pt), ATF 68
  • Cheltenham Bold Condensed Italic, (6-72pt), ATF 69
  • Cheltenham Bold Extra Condensed, (6-120pt), ATF 70
  • Cheltenham Bold Extended, (6-72pt), ATF 72
• Chester Text, 8-14pt, design: Sidney Gaunt 1914, capitals and small capitals, but hard to read, can only used for names and a few words, ATF 1577
• Clarendon No.5, (5-24pt), ATF 1578
  • Clarendon Extra Condensed No.5, (6-36pt), ATF 1580
  • Clarendon Medium, (Caledonian No.5) (5-36pt), ATF 1581
  • Clarendo Bold, (Lining Doric) (6-48pt), ATF 1579
• Clearcut Oldstyle, (5-72pt), ATF 1582
  • Clearcut Oldstyle Italic, (5-72pt), ATF 1584
  • Clearcut Oldstyle Condensed, (10-72pt), ATF 1583
• Clearcut Shaded Caps, design: Will Ransom, 1924 (12-48pt), ATF 1585 ^[10]
• Cooper, (6-72pt), ATF 1589, Mono 482 (8-36pt)
  • Cooper Italic, (6-72pt) ATF 1595, Mono 4821 (8-36pt)
  • Cooper Black, 6-120pt (1922, design: Oswald Bruce Cooper), ATF 1590
  • Cooper Black Italic, (6-120 pt) ATF 1592
  • Cooper Black Condensed, (6-120pt), ATF 1591
  • Cooper Hilite, (18-120pt), ATF 1594
  • Cooper Fullface, (6-72pt), ATF 1593
  • Cooper Modern, (6-72pt), ATF 1942
  • Cooper Tooled, (18-72pt), Mono 582
  • Cooper Tooled Italic, (10-72pt),
• Copperplate Gothic, design: Frederic W. Goudy, 1903
  • Stealplate Gothic Light, (6s-24L) ATF 1867
  • Stealplate Gothic Light Extended, (6s-24L) ATF 1865
  • Stealplate Gothic Light Condensed, (6s-24L) ATF 1869
  • Stealplate Gothic Light Heavy, (6s-24L) ATF 1868
  • Stealplate Gothic Italic, (6s-24L) ATF 1871
  • Stealplate Gothic Condensed, (6s-24L) ATF 1870
  • Stealplate Gothic Heavy Extended, (6s-24L) ATF 1866ATF 1596
• Cubist Bold, design: John W. Zimmerman (~1929), has no lowercase (10-36pt), ATF 1599
• Custer later: Bookman Lightface (6-24pt)
  • Custer Bold later: Bookman Bold, (6-72pt)^[11]

D

• Demeter (Typeface), (14-48pt), 1925, design: Peter A. Demeter, in cooperation with Schriftguss A.G. in Dresden Germany.
• Dennison Script, (14-48pt), ATF 1602
• De Vinne, 6-72pt, ATF 1602
  • De Vinne Compressed, (6-72pt), ATF 1606
  • De Vinne Extra Compressed, (10-72pt), ATF 1607
  • De Vinne Bold, (6-60pt), ATF 1605 <-!119->
  • De Vinne Recut, (6-60pt) revival of Woodward, design: William A. Schraubstädter 1894 for Inland Type Foundry, ATF 1608
  • De Vinne Recut Outline, (12-60pt) revival of Woodward Outline, ATF 1609
  • Dresden, (12-30pt), design: Peter A. Demeter, ATF 1611^[12]

E

• Engravers English, (6-72pt) ATF 1621
  • Engravers Old Black, (6-96pt) Design: Sidney Gaunt 1910
• Engravers Roman, (6s-24pt), design: Robert Wiebking 1899, ATF 1627
  • Engravers Roman Condensed, (6s-24pt) ATF 1628
  • Engravers Bold (6s-36pt), design: Morris Fuller Benton, ATF 1619
  • Engravers Title (6s-24pt), ATF 1630
  • Engravers Litho Bold, (6-48pt), ATF 1623
  • Engravers Litho Bold Condensed, (5-48pt), ATF 1624
  • Engravers Bold Condensed (title), (6s-48pt), ATF 1620
  • Engravers Roman Shaded, (6s-36pt), ATF 1629
  • Engravers Upright Script, (8-30pt), ATF 1631, original: Pen Text No.5 (~1879) of the Cincinnati Type Foundry, renamed by BB&S, while dropping the fancy capitals^[13]
• Engravers Gothic, (6s-30pt), ATF 1622, earlier name: Olympia from Inland Type Foundry At ATF classified as a "Typo-face" ^[14]

F

• Faust Text, (8-36pt), based on uncial lettering, in 1925 renamed: Missal Text^[15]
• French Clarendon was a nineteenth-century BB&S face that was re-released in 1938 by ATF as P. T. Barnum. ^[16]
• French Oldstyle no.3, (6-18pt) ATF 1639
• French Oldstyle No.56 (title) (6-48pt) ATF 1640
• French Elsevir Italic No.5, (6-12pt) ATF 1637
• French Plate Script, (14-36pt) ATF 1641 ^[17]

G

• Gothic No.1, (4-72pt), copy of Franklin Gothic of Morris Fuller Benton ATF 1674
  • Gothic No.1 Condensed, (6-72pt) ATF 1675^[18]
  • Gothic No.3, (6-72pt) ATF 1667
  • Gothic Extra Condensed No.6, (6-72pt) ATF 1654
  • Gothic Extra Condensed Title No.6, (8-60pt) ATF 1655
  • Gothic No.47, (6-72pt)
  • Gothic Condensed Title No.117, (5-120pt) ATF 1651
  • Gothic Italic or Degree Gothic No.1, (6-24PT) ATF 1600 or 1658
  • Gothic Italic Light or Degree Gothic No.2, (5-12pt) ATF 1659
  • Gothic Inclined, (6-24pt) ATF 1656
  • Gothic Inclined Light, (6-24pt) ATF 1657
  • Gothic Novelty, (8-14pt) ATF 1671
  • Gothic Novelty Title, (6-24pt) ATF 1673
  • Gothic Novelty Condensed, (12-60pt) ATF 1672
  • Gothic Outline Title, (12-72pt) ATF 1676
  • Gothic Compressed No.8, (10-72pt), ATF 1653
  • Gothic Compressed Title No.8, (8-60pt), ATF 1649 ^[19]
• Greeting Card, (10-24pt) ATF 1683
  • Greeting Card Light, (10-24pt) ATF 1684^[20]

H

• Handcraft, (6-72pt) ATF 1686
  • Handcraft Title, (6-60pt) ATF 1687
  • Handcraft Wide Title, (6-30pt) ATF 1688 ^[21]

I, J

• Invitation Text, (6-48pt), desin: Robert Wiebking 1914, ATF 1693
• Japanet, (8-48pt) original name: Wedge Gothic cut in 1893 by BB&S for the Chicago Herald, renamed in 1925, Recast for the ATF in 1954: ATF 1694
• Morris Jensonian, (6-48pt) ATF 1790
  • Poor revival of the type of William Morris, 1895-96 first named: Mazarin, later replaced by the Inland's face: Klemscott and renamed.

^[22]

K

• Kenilworth Italic, (6-48pt) first: Inland Type Foundry 1904, similar to: Cheltenham Oldstyle, BB&S bought the italic matrices, these ended as ATF 1695^[23]

L

• Latin Antique, (6-48pt), ATF 1697
  • Latin Condensed, (10-72pt), ATF 1698
  • Latin Expanded, (6-48pt), ATF 1699
  • Latin Lightface, (6-48pt), ATF 1700
  • Latin Oldstyle Bold, (6-72pt), ATF 1703
  • Light Modern, (24-48pt), ATF 1745
• Law Italic No.5, (8-14pt)^[24]

M

• Mazerin No.5, (6-60pt)
  • Mazerin Italic, (6-48pt)
• Missal Text, (8-36pt)
• Mission, (6-48pt), design: Sidney Gaunt in 1905, patented by: George Oswald Ottley, ATF 1778
• Modern Gothic, (5-96pt), 1897, ATF 1662
  • Modern Gothic Italic, (5-72pt), ATF 1665
  • Modern Condensed Gothic, (6-72pt), ATF 1663
  • Modern Condensed Gothic Title, (6-120pt), ATF 1664
• Modern No.4 and Italic, (6-12pt)
• Modern Roman Bold Condensed, (Lining Aldine), (6-48pt), ATF 1781
  • Modern Roman Bold Extra Condensed, (Lining Aldine Condensed),(6-48pt), ATF 1781
  • Modern Roman Condensed, (Condensed No. 54), (5-48pt), ATF 1782
  • Modern Roman Extra Condensed, (Extra Condensed No. 56),(6-48pt), ATF 1783
  • Modern Roman Italic, (6-12pt), (Title Italic No.19), ATF 1784
  • Modern Roman Lightface, (Lightface No.7), (6-48pt), ATF 1785
  • Modern Roman Medium, (5-48pt), (Title No.5), ATF 1786
  • Modern Roman Wide, (6-16pt.), (Expanded No.5 or Title Expanded), ATF 1787
  • Modern Roman No.64 and Italic, (5-18pt), ATF 1916, ATF 1914
  • Modern Roman No.80 and Italic, (5-12pt), ATF 1918, ATF 1915
• Modern Text, (6-36pt), design: Robert Wiebking (?) ~1913, ATF 1788
• Morris Romanized Black, (6-60pt), introduced as Tell Text in 1895, adaptation of the Troy- and Chaucer types of William Morris, renamed in 1925, ATF 1791
• Murder Venezian, (6-72pt), ATF 1795, design: Robert Wiebking, first shown as: Laclede Oldstyle (1922) by the Laclede Type Foundry in St. Louis
  • Murder Italic,(6-72pt), ATF 1794
  • Murder Bold, (6-72pt), ATF 1792
  • Murder Bold Italic, (6-72pt), ATF 1793 ^[25]

O

• Old Roman or Caslon Old Roman, (6-72pt), ATF 1840,
  • Old Roman Itallic or Caslon Old Roman Italic, (6-48pt), ATF 1810,
  • Old Roman Condensed, (6-72pt), ATF 1809
  • Old Roman Bold, (6-72pt), ATF 1807
  • Old Roman Bold Condensed, (6-120pt), ATF 1808
  • Old Roman Black, (6-72pt), ATF 1805
  • Old Roman Black Italic, (6-48pt), ATF 1807
  • Old Roman Semitone, (18-60pt), ATF 1811 ^[26]

P

• Pantograph Script, (12-60pt), ATF 1816, upright script introduced in 1893, but shown as late as 1925
• Paragon later: Paragon Plate, (6-24pt), ATF 1817, introduced in 1901
  • Paragon Italic or Paragon Plate Italic, (6-24pt), ATF 1818, sloped version of the roman
  • Program Italic, offered as a title-version , (6s-24L) ATF 1848
  • Pagram Italic, offered as a title-version , (6s-24L) ATF 1848
• Parsons, (6-72pt), ATF 1819, design: Will Ransom (1917), named after I. R. Parsons, a Chicago advertising manager
  • Parsons Italic, (6-48pt), (1918), ATF 1821,
  • Parsons Bold, (6-72pt), (1918), ATF 1820,
  • Parsons Swash Initials, (18-48pt), design: Sidney Gaunt, 1918
• Pastel, (6-72pt), ATF 1822, design: 1892 by Nicolas J. Werner and Gustav Schroeder first named Era, Lightface Era and Era Open were added in 1895, Era Condensed about 1898.
  • Pastel Condensed, (8-72pt) ATF 1824
  • Offset Pastel Condensed, (24-72pt), ATF 1801
  • Pastel Lightface, (6-72pt), ATF 1825
  • Pastel Bold, (5-72pt), ATF 1823
  • Pastel Open, (12-60pt), ATF 1826
• Pekin, (18,30pt) ATF 1827, original name Dormer patented by Great Western Typefoundry in 1888, design: Ernst Lauschke
• Pencraft Oldstyle, (6-72pt), ATF 1829, design: Sidney Gaunt 1914,
  • Pencraft Title, (6s-42pt), ATF 1834
  • Pencraft Italic, (6-48pt), ATF 1828
  • Pencraft Oldstyle Bold, (6-72pt), ATF 1830
  • Pencraft Oldstyle Bold Condensed, (6-72pt), ATF 1831
  • Pencraft Shaded, (24-48pt), ATF 1832
  • Pencraft Text, (12-48pt) ATF 1833, design: Sidney Gaunt 1916,
• Plate Gothic, (6s-36pt), ATF 1836
  • Plate Gothic Condensed, (6s-36pt), ATF 1838
  • Plate Gothic Light, (6s-36pt), ATF 1839
  • Plate Gothic Light Condensed, (6s-36pt), ATF 1840
  • Plate Gothic Bold, (6s-12pt), ATF 1837
• Plate Script, (14-48pt), ATF 1841, three sets of lowercase:
• Plate Script No.2, (14-48pt), ATF 1852
• Plate Script No.3, (14-48pt), ATF 1853
• Plate Text, (8-18pt)
  • Plate Text No.2,
  • Plate Text No.3,
  • Plate Text No.4, (8-36pt)
• Pompeian Cursive, (12-54pt), design: Oswald Cooper 1927, not shown in the ATF books
• Priory Black Text, (8-48pt), ATF 1847, earlier name: Reed Text
• Publicity Gothic, (6-120pt), ATF 1849, design: Sidney Gaunt, 1916^[27]

R

• Rugged Bold, (6-72pt) first named: Talisman, patented by: Sidney Gaunt in 1903, after 1911 renamed to Rugged Bold.
  • Rugged Bold Italic, (6-72pt), first named Talisman Italic, patented by: Sidney Gaunt in 1904, after 1911 renamed to Rugged Bold Italic. (6-72pt)
  • Rugged Lightface, (8-48pt) ATF 1501, first named Carlton later Adcraft Lightface,
  • Rugged Medium, (6-72pt) ATF 1502, first: Alfred Medium later Adcraft Medium
  • Rugged Black, (6-120pt), first: Plymouth
  • Rugged Black Italic, (6-72pt), first: Plymouth Italic
  • Rugged Black Condensed, (6-72pt), first: Plymouth Condensed
  • Rugged Extra Black, (6-72pt), ATF 1500, first: Plymouth Bold and Adcraft Black ^[28]

S

• Scotch Roman, (6-48pt), ATF 1856
• Sketch Circular, (8-14pt) ATF 1859, design: Ed Newman,
  • Sketch Title, (6s-30pt), ATF 1560, (1890), first named: Racine, only capitals, used for announcements. Both series lasted into the late 1920s.
• Spire No.5, (12-72pt), ATF 1861, cut around 1898, bold and condensed face
• Steelplate Gothic Extralight, (6s-24L), ATF 1874, Design: Robert Wiebking
  • Steelplate Gothic Light, (6s-24L), ATF 1867
  • Steelplate Gothic Light Condensed, (6s-24L), ATF 1869
  • Steelplate Gothic Light Extended, (6s-24L), ATF 1865
  • Steelplate Gothic Heavy, (6s-24L), ATF 1868
  • Steelplate Gothic Heavy Condensed, (6s-24L), ATF 1870
  • Steelplate Gothic Heavy Extended, (6s-24L), ATF 1866
  • Steelplate Gothic Bold, (6s-24L), ATF 1873
  • Steelplate Gothic Shaded, (6s-24L), ATF 1872, (1918), in England known as: Spartan Outline
• Stillson, (6s-36pt), introduced around 1899, patented in 1900 by R. L. Stillson
• Swagger Capitals or: Swagger Initials, (36pt), design: Carl S. Junge 1925, elongated flourish scripts, without X and Z. To be used with various typefaces.^[29]

T

• Ternholm Oldstyle, (6-72pt), ATF 1886, design: George F. Trenholm around 1925–1927, after 1929, when BB&S merged with ATF, there is no evidence these matrices were used to cast. Although they were listed in the ATF vaults.
  • Ternholm Cursive, (6-48pt), ATF 1885,
  • Ternholm Bold, (6-96pt), ATF 1884,
  • Ternholm Shaded Capitals, (12-48pt), ATF 1887,
• Typewriter faces:
  • Bernhart Utility Typewriter, ATF 1894
  • Improved Typewriter, ATF 1895
  • Oliver Printype Typewriter, ATF 1897
  • Oliver Standard Silk Typewriter, ATF 1898
  • Remington Typewriter, ATF 1899
  • Silk Remington Typewriter, ATF 1900
  • Reproduction Typewriter, ATF 1902
  • Smith Premier Silk Typewriter, ATF 1903
  • Underwood New Model Silk Typewriter, ATF 1904
  • Yost Typewriter, ATF 1768^[30]

W

• Waldorf Text, (14-36pt), ATF 1905, shaded Old English face
• Wedding plate Script, (14-36pt), ATF 1908, design: Sidney Gaunt 1904
• Woodward, (6-60pt), ATF 1608, designed for Inland Type Foundry in 1894 by William A. Schraustädter, named for a Saint Louis printer. In 1911 Inland was taken over by ATF, the equipment was divided between ATF and BB&S. Some time later this face was renamed by BB&S as DeVinne Recut and DeVinne Recut Outline
  • Woodward Outline, (12-60pt), ATF 1609
• World Gothic, (6-72pt), design: Robert Wiebking
  • World Gothic Italic, (6-72pt), in 1898 introduced as": Dewey No.51, after Admiral George Dewey
  • World Gothic Condensed, (6-96pt), in 1897 shown as: Topic No.5^[31]

References

1. Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X, p. 2408-249
2. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 3
3. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 5-7
4. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 17
5. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 21
6. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 23
7. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 47
8. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 61
9. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 63-77
10. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 83-93
11. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 105,107,111,113
12. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 117-123
13. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 131-133
14. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 319
15. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 137
16. Provan, Archie, and Alexander S. Lawson, 100 Type Histories (volume 1), National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
17. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 145
18. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 143
19. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 157, 159, 177
20. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 173
21. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 175. 177
22. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 185, 187, 189
23. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 195
24. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 199
25. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 213, 219, 221, 223, 225, 227
26. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 237
27. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 245, 247, 249, 251, 253, 255, 261
28. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 275
29. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 281, 285, 289, 291, 293, 301
30. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 313, 317
31. American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 329, 333, 337

External links

• Pages from 1907 catalog on Flickr