Racine Circular
MacKellar, Smiths & Jordan. Reviewed in The American Bookmaker Vol. 12, No. 6 (1891-06): 169? - 170.
Regal Italic (ATF)
Circa 1898. ATF. A plate gothic (which may not have been lining) with a lowercase ("essentially the same lowercase" as Pacific Victoria Italic (Pacific States) (McGrew, 327)).
Lining Regal Italic No. 2 (ATF)
By 1906. ATF. A lining plate gothic with a lowercase.
Relievo (Ihlenburg for MSJ, 1878)
Cut in typemetal patrices (which were then electroformed to make matrices) by Herman Ihlenburg for MacKellar, Smiths and Jordan (so attributed by Loy. "Designers and Engravers of Type." The Inland Printer. (Feb. 1898 - June 1900) , in installment No. 4 - Herman Ihlenburg. Vol. 21, No. 2 (May, 1898) See reprint at CircuitousRoot [note: NOT DONE (2011)] or, better, the extremely well-illustrated reprint by Johnston & Saxe (2009)). The icon at left links to a full-resolution PNG version of the "raw" JPEG2000 image of the digitization of the entire page showing this face from the 1892 MSJ Specimens of Printing Types .
US design patent No. 10,518, issued 1878-03-12 to Herman Ihlenburg and assigned to MacKellar, Smiths and Jordan. Application filed 1878-02-16.
Note: The 20th century face Relievo ( Typefounders, Inc. [of Phoenix] et. al.) is not a copy of MSJ Relievo, but rather is a copy of MSJ's theoretically related but visually very different face Relievo No. 2.
Shown:
Relievo No. 2 (Ihlenburg & Smith for MSJ, 1879)
Cut in typemetal patrices (which were then electroformed to make matrices) by Herman Ihlenburg for MacKellar, Smiths and Jordan (so attributed by Loy. "Designers and Engravers of Type." The Inland Printer. (Feb. 1898 - June 1900) , in installment No. 4 - Herman Ihlenburg. Vol. 21, No. 2 (May, 1898) See reprint at CircuitousRoot [note: NOT DONE (2011)] or, better, the extremely well-illustrated reprint by Johnston & Saxe (2009)). McGrew gives 1878 for the date of this face (in his discussion of the 20th century copy, Relievo, but the patent was filed in 1879. The icon at left links to a full-resolution PNG version of the "raw" JPEG2000 image of the digitization of the entire page showing this face from the 1892 MSJ Specimens of Printing Types.
US design patent No. 11,164, issued 1879-04-15 to Richard Smith and assigned to MacKellar, Smiths and Jordan. Application filed 1879-03-11. The patent is interesting because while it is a design patent it discloses not a single design but rather the method for making similar designs. I might hypothesize that this is why the patent was issued to Smith rather than Ihlenburg - but have no evidence for this.
Copied in the 20th century and released by Typefounders, Inc. [of Phoenix] as Relievo (matrices later to Los Angeles Type Founders, Barco/F&S, Skyline Type Foundry.
Shown:
Relievo (Phoenix, LATF, Barco, Skyline; 1960s)
A copy of MacKellar, Smiths and Jordan's Relievo No. 2 (1878) by Typefounders, Inc. [of Phoenix] in 18 point by 1962 and 36 point (1967). Curiously, the sizes shown for MSJ's Relievo No. 2 are "18 point / Great Primer," "24 point / Two-Line Pica," and "40 point / Double Paragon" (no 36 point size is shown).
Matrices to Los Angeles Type Founders, then Barco / F&S Type Founders, then Skyline Type Foundry (November 2010). Skyline Type Foundry possesses the 18 and 36 point matrices (though the 36 point size is not yet listed in the 2011-02-11 edition of the STF Matrix Library).
Shown:
Richelieu (Keystone)
Cut by Gustave F. Schroeder either independently for or employed by the Keystone Type Foundry Date unknown. Not shown in the Saxe/Johnston edition of Loy.
Rimmed Shade
Farmer, Little & Co. Shown in the 1867 Farmer, Little & Co. specimen book (unpaginated, but on image 271 of the digitization of the Cornell University copy presented at The Internet Archive).
In a review of the much later Crown ( Barnhart Brothers & Spindler, 1891) in The American Bookmaker Vol. 12, No. 5 (1891-05): 133-135, that face (Crown) is said to be merely a revival of "the rimmed shaded of Farmer, Little & Co. of 1867, but even then old." This would appear to be a vast oversimplification, for while both faces are rimmed, Crown differs considerably in other respects. Farmer, Little also show quite a number of other rimmed faces in the same specimen.
Romantiques No. 1
See Tuscan Outline. It was sold in the US under the name "Romantiques No. 1" from at least two sources, one cast on US point bodies and another, imported, cast on Didot point bodies.
Romantiques No. 2
See Tuscan Ombree. It was sold in the US under the name "Romantiques No. 2" from at least two sources, one cast on US point bodies and another, imported, cast on Didot point bodies.
Romantiques No. 3
See Ornate No. 2. It was sold in the US under the name "Romantiques No. 3" from at least two sources, one cast on US point bodies and another, imported, cast on Didot point bodies.
Romantiques No. 4
See Dandy. It was sold in the US under the name "Romantiques No. 4". I think that there must have been at least two sources for this (as was the case with the other "Romantiques") but so far I've only found evidence for the Castcraft import on Didot point bodies.
Ronaldson Clarendon
MacKellar, Smiths and Jordan. Reviewed in The American Bookmaker Vol. 10, No. 1 (1890-01): 21-22.
[note on "Runic"]
For a while in the late 19th century, "Runic" became not simply the name of a single face but rather the name of a style of faces, in the same way that "Egyptian" or "Ionic" designated styles of faces. This perhaps explains the apparent confusion over various Runics and Runics Condensed. Differences between them do not indicate mistakes in copying but rather variations in design.
Runic (Farmer, Little)
Farmer, Little & Co. By 1867 (Shown at least as early as their 1867 Specimen Book, page 223 of the digitization.)
Runic Condensed No. 2 (Farmer, Little)
Farmer, Little & Co. By 1887 (Shown in their 1887 Specimens of Printing Types, PDF 87.) This 1887 specimen shows only Runic Condensed No. 2; I presume that a "No. 1" predated it. Shown at least as late as their 1900 Specimen Book, pp. 310-311 (PDF 326-327.))
Unrelated to Monotype (UK) Runic Condensed, Series 420.
Runic Condensed (Marder, Luse)
Marder, Luse & Co. By 1889 (Shown in their 1889 Abridged Specimen Book of Printing Type, p. 31 (PDF 37.) and Price List and Printers' Purchasing Guide Showing Specimens of Printing Type, pp. 270-271 (PDF 278-279.)) Shown in The American Bookmaker Vol. 6, No. 4 (April, 1888): v.
Unrelated to Monotype (UK) Runic Condensed, Series 420.
Runic Condensed, No. 2 (Marder, Luse)
Marder, Luse & Co. By 1889 (Shown in their 1889 Abridged Specimen Book of Printing Type, p. 32 (PDF 38) and Price List and Printers' Purchasing Guide Showing Specimens of Printing Type, pp. 272-273 (PDF 280-281.))
Unrelated to Monotype (UK) Runic Condensed, Series 420.
Runic Condensed (English Monotype 420)
The Monotype Corporation, Ltd., 1935. See entry under English Monotype Display Series.
Probably a copy of Etienne. Unrelated to the 19th century Runic Condensed by Marder, Luse.
Rustic No. 2 (Figgins, 1845/6)
Nicolette Gray's XIXth Century Ornamented Types and Title Pages discusses this on p. 44 and shows it on p. 184 (f) as "Two-line English Rustic No. 2" (The "two-line English" size corresponds approximately to 28 point. The snippet shown here is from this source.) She doesn't think highly of it ("surprisingly late and dull"). She says that this "rustic" face by Figgins, based on the work of wood engravers, was the first in metal type (if I'm interpreting her correctly; the passage is uncharacteristically confusing). She does indicate that both regular and shaded forms were cut.
In his discussion of the John S. Carroll version of Rustic, McGrew traces its history to an 1864 Figgins example, via Bruce Ornamented No. 864.
Rustic (Carroll, 1962; Phoenix, LATF, Skyline)
Made by John S. Carroll in 1962, presumably by electroforming. In his discussion of this face, McGrew traces its history to an 1864 Figgins example (attested by Nicolette Gray as Rustic No. 2 (1845/6) of Figgins) via Bruce Ornamented No. 864. Of Carroll's version itself, he says that it was "cut" (cut? electroformed?) in 1962; I don't know if this was for his own Replica Type Foundry or directly for Typefounders, Inc. [of Phoenix], who later produced it. Matrices thence to LATF, Barco, and Skyline. The Skyline Type Foundry matrix inventory shows all three sizes attested since Typefounders, Inc. [of Phoenix]: 12, 24, and 36 point.
It is interesting to note that the three sizes (12, 24, 36 pt) of the Carroll version (at least) differ. The 12 point is unshaded, the 24 point is outline-shaded, and the 36 point is solid-shaded. There are other differences of detail as well. This rather sensitive treatment puts this picturesque typeface in the same exalted realm as the Greek typeface series of Bodoni.
Shown in:
Gray's 1938 XIXth Century Ornamented Types and Title Pages is in copyright both in the UK and the US. However, the brief snippets extracted here for the purpose of identifying types in her catalog are, I believe, within the limits of Fair Use. As such it is not licensed here under the Creative Commons license governing the rest of this page.
All of the type specimen documents reproduced or extracted from here, except Gray's XIXth Century Ornamented Types and Title Pages as noted above, are in the public domain due to their publication without copyright notice when such notice was required, or the failure to renew copyright as was then required, or the expiration of all possible copyright. The reproductions of/from them here remain in the public domain.
All portions of this document not noted otherwise are Copyright © 2011 by David M. MacMillan and Rollande Krandall.
Circuitous Root is a Registered Trademark of David M. MacMillan and Rollande Krandall.
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