Barnhart Brothers & Spindler
c. 1908 | |
Company type | Defunct |
---|---|
Industry | Type foundry |
Founded | 1873Chicago, Illinois, United States | in
Defunct | 1933 |
Headquarters | Chicago, Illinois, United States |
Key people | Oswald Cooper, Will Ransom, Robert Wiebking, Sidney Gaunt |
Barnhart Brothers & Spindler Type Foundry was an American company based in Chicago.
History
[edit]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
[edit]- 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
[edit]These foundry types were originally cast by Barnhart Brothers & Spindler:[2]
A
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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[14]
- Engravers Gothic, (6s-30pt), ATF 1622, earlier name: Olympia from Inland Type Foundry At ATF classified as a "Typo-face" [15]
F
[edit]- 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
[edit]- 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
[edit]- Handcraft, (6-72pt) ATF 1686
- Handcraft Title, (6-60pt) ATF 1687
- Handcraft Wide Title, (6-30pt) ATF 1688 [22]
I, J
[edit]- 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.
K
[edit]- Kenilworth Italic, (6-48pt) first: Inland Type Foundry 1904, similar to: Cheltenham Oldstyle, BB&S bought the italic matrices, these ended as ATF 1695[24]
L
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- 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
[edit]- ^ 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.
- ^ 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
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 3
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 5-7
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 17
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 21
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 23
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 47
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 61
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 63-77
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 83-93
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 105,107,111,113
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 117-123
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 131-133
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 319
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 137
- ^ Provan, Archie, and Alexander S. Lawson, 100 Type Histories (volume 1), National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 145
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 143
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 157, 159, 177
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 173
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 175. 177
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 185, 187, 189
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 195
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 199
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 213, 219, 221, 223, 225, 227
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 237
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 245, 247, 249, 251, 253, 255, 261
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 275
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 281, 285, 289, 291, 293, 301
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 313, 317
- ^ American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 329, 333, 337