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Barnhart Brothers & Spindler

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Barnhart Brothers & Spindler Type Foundry was an American company based in Chicago.

Barnhart Brothers & Spindler Type Foundry
Company typeDefunct
IndustryType foundry
Founded1873; 151 years ago (1873) in Chicago, Illinois, United States
Defunct1933 (1933)
HeadquartersChicago, Illinois, United States
Key people
Oswald Cooper, Will Ransom, Robert Wiebking, Sidney Gaunt

History

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Arthur Middleton Barnhart

In 1869, the brothers Alson E., Arthur Middleton, George W., and Warren Barnhart purchased the Great Western Type Foundry.[1] They subsequently incorporated as Barnhart Brothers & Spindler. 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.

Mergers and acquisitions

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Typefaces

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These foundry types were originally cast by Barnhart Brothers & Spindler:[2]

A

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  • Adcraft[3]
    • 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 [4]
    • 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 [5]
    • 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,[6]

B

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  • 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 [7]
    • 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[8]

C

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  • 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 [9]
  • 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[10]
  • 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 be 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 [11]
  • 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)[12]

D

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  • 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[13]

E

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  • Engravers English, (6-72pt) ATF 1621
  • 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[14]
  • Engravers Gothic, (6s-30pt), ATF 1622, earlier name: Olympia from Inland Type Foundry At ATF classified as a "Typo-face" [15]

F

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  • Faust Text, (8-36pt), based on uncial lettering, in 1925 renamed: Missal Text[16]
  • French Clarendon was a nineteenth-century BB&S face that was re-released in 1938 by ATF as P. T. Barnum. [17]
  • 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 [18]

G

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  • Gothic No.1, (4-72pt), copy of Franklin Gothic of Morris Fuller Benton ATF 1674
    • Gothic No.1 Condensed, (6-72pt) ATF 1675[19]
    • 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 [20]
  • Greeting Card, (10-24pt) ATF 1683
    • Greeting Card Light, (10-24pt) ATF 1684[21]

H

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  • Handcraft, (6-72pt) ATF 1686
    • Handcraft Title, (6-60pt) ATF 1687
    • Handcraft Wide Title, (6-30pt) ATF 1688 [22]

I, J

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  • 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.

[23]

K

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L

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  • 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)[25]

M

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  • 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 [26]

O

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  • 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 [27]

P

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  • 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[28]

R

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  • 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 [29]

S

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  • 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.[30]

T

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  • 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[31]

W

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  • 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[32]

References

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  1. ^ Waterman, Arba Nelson, ed. (1908). Historical Review of Chicago and Cook County and Selected Biography. Vol. III. The Lewis Publishing Company. pp. 1091–1093. Retrieved January 26, 2024 – via Internet Archive.
  2. ^ 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
  3. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 3
  4. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 5-7
  5. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 17
  6. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 21
  7. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 23
  8. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 47
  9. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 61
  10. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 63-77
  11. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 83-93
  12. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 105,107,111,113
  13. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 117-123
  14. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 131-133
  15. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 319
  16. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 137
  17. ^ Provan, Archie, and Alexander S. Lawson, 100 Type Histories (volume 1), National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
  18. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 145
  19. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 143
  20. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 157, 159, 177
  21. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 173
  22. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 175. 177
  23. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 185, 187, 189
  24. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 195
  25. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 199
  26. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 213, 219, 221, 223, 225, 227
  27. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 237
  28. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 245, 247, 249, 251, 253, 255, 261
  29. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 275
  30. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 281, 285, 289, 291, 293, 301
  31. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 313, 317
  32. ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 329, 333, 337
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