1965 copy by John S. Carroll of [FINISH LINKS; see McGrew]
First eight sizes machine-cut for Central Type Foundry by Gustave F. Schroder and Nicholas J. Werner (as the independent matrix engraving firm of Schroeder & Werner) using either the Central Type Foundry Pantograph (by then owned by them) or the Schroeder-Boyer Pantograph, or both. Werner attributes the design firmly to Schroeder (in his ca. 1931 "Address" to the St. Louis Club of Printing House Craftsmen and as an aside in his 1932 biographical sketch of Wiebking. Remainder of series cut for Central Type Foundry by Nicholas J. Werner for Central as an independent matrix engraver.
Shown in the 1888 Cincinnati specimen book.
Similar to the non-ornamened Cincinnati initials Series Nos. 44, 49, 50, 51, and 52 shown in the 1888 Cincinnati specimen (p. 106). Also similar to the Ornamented Initials No. 1145 (Cincinnati - Kittypot) ( Kittypot Casting No. 1) and Ornamented Two-Color Initials No. 49 (Cincinnati - Kittypot) ( Kittypot Casting No. 6)
Titling (uppercase only). This is a copy done for Typefounders, Inc. [of Phoenix] of Calypso, a face designed in 1958 by Roger Excoffon for Fonderie Olive. Three sizes (24, 30, & 36 pt.) were cut for Typefounders, Inc. at some point after 1962 (not shown in Specimen 7A of December 1962) but before 1967 (shown in a Typefounders Inc. format specimen of "Antique types" bearing the Los Angeles Type Founders name, presumably issued soon after their acquisition of Typefounders, Inc. circa 1967). Later LATF had a 48 point size made. The matrices for the 24, 30, and 36 point size are stamped "Calypso"; those for the 48 point size are stamped "Dimension". The matrices are heavy and well-made; Schuyler Shipley of Skyline Type Foundry, who presently owns them, believes that they were probably made in Japan. All four sizes are of the same manufacture.
Doric Ornamented [wood]
Under this name, it seems to have been a face cut in wood by Wells & Webb and shown in their 1854 catalog. It is shown in David Consuegra's American Type Designers and Designs (2004) , p. 259 (although I am not entirely certain that this showing isn't actually of the modern digital version, Zebrawood).
Consuegra also notes that Wells & Webb had a close working relationship with Bruce's New York Type Foundry. It is perhaps unsuprising, therefore, that this face appears in the Bruce foundry output. McGrew identifies this face as Bruce's Ornamented No. 847 of 1849 (in his discussion of Tuscan Ombree on p. 344). It also 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)
It 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).
A digital version of this face, based on the Webb & Wells 1854 specimen, was released in 1994 by Adobe under the name Zebrawood [TM].
The continued popularity of this design, over two continents, three centuries, and three major type technologies quite escapes my no doubt insufficiently refined sensibilities.
Dormer, aka Pekin (BB&S, ATF, Kittypot, Phoenix/LATF/Barco, Skyline)
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