Typeface Index: O

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Old Style (Johnson)

A Caslon-derived face. When the Johnson Foundry became Mackellar, Smiths and Jordan they renamed it Original Old Style. {McGrew} See Caslon Oldstyle No. 471 (ATF) for its history in a single entry.

Not to be confused with Original Old Style (Linotype), which was based on the independently cut Original Old Style Italic (White/Farmer/ATF), even though the latter was re-lined for use with Original Old Style (Johnson/MSJ) in Steve Watts' Kittypot Casting No. 2

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Old Style No. 71 (ATF)

ATF's first renaming of what was originally Old Style (Johnson). Renamed (again) Caslon Old Style by Bullen in 1897. {McGrew} See Caslon Oldstyle No. 471 (ATF) for its history in a single entry.

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Old Style No. 77 [MS&J]

MacKellar, Smiths and Jordan. Old Style No. 77. This face was later adapted by Lanston Monotype as Binny Old Style (Lanston No. 21).

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Old Style No. 22, Brevier (Self Spacing)

Benton, Waldo & Co. See Self-Spacing Brevier Old Style No. 22 (Benton, Waldo)

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Old Style No. 24, Long Primer (Self Spacing)

Benton, Waldo & Co. See Self-Spacing Long Primer Old Style No. 24 (Benton, Waldo)

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Old Style Aldine

Farmer, Little & Co. Filed as Old Style Aldine in the A section.

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Old Style Bold (Central)

By Gustave F. Schroeder while at Central Type Foundry

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Original Old Style (MSJ)

MSJ series no. 71. The Mackellar, Smiths and Jordan name for Old Style (Johnson). {McGrew} See Caslon Oldstyle No. 471 (ATF) for its history in a single entry.

Not to be confused with Original Old Style (Linotype), which was based on the independently cut Original Old Style Italic (White/Farmer/ATF), even though the latter was re-lined for use with Original Old Style (Johnson/MSJ) in Steve Watts' Kittypot Casting No. 2

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Original Old Style (Linotype)

Circa 1920. Nominally this was a roman and italic pair based on Original Old Style Italic (White/Farmer), but it differs considerably from them. 6 and 8 point announced as "recently cut" in The Linotype Bulletin Vol. 8, No. 4 (April 1912): 63, "thus completing the series from 6 to 14 point," with a showing of Original Old Style with Italic and Small Caps in 6, 8, 10, 12, and 14 point.

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Original Old Style (Farmer)

Shown by at least the 1867 Farmer specimen. I do not yet know if this face was cut by Farmer's predecessor, White's Type Foundry, or its intended relationship to Original Old Style Italic (White/Farmer/ATF/Kittypot).

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Original Old Style Italic (White/Farmer/ATF/Kittypot)

Introduced in 1858 by White's Type Foundry. I do not yet know if it was at that time a freestanding italic unrelated to any roman offered by the foundry, or if it was related to what later became Farmer, Little & Co.'s Original Old Style. In any case, to the best of my present knowledge, this was an independently cut Caslon-derivative face unrelated to the earlier Caslon-derived Old Style (Johnson) / Original Old Style (MSJ) / Caslon Oldstyle No. 471 (ATF) (but see Kittypot Casting No. 2 for developments in 1958 linking the two). Elihi White's foundry became Farmer, Little & Co. in 1861. They were acquired by ATF in 1909, and in 1911 ATF cut new 'a', 'e', and 'o' characters to replace the deliberately oversize originals (the originals were then fonted separately as "quaints"). {McGrew} Recast by ATF in 1958 for Steve Watts' Kittypot Casting No. 2, to line with Caslon Oldstyle No. 471 as a companion roman and with the addition of new matrices 'for the quaint characters and other "peculiars," fitting them to the point body." {from Watts' prospectus for the casting, 1958}.

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[Two-Line Brevier] Ornamented, No. 7 ( Bruce)

See Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce)

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Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce)

This face, Ornamented Nos. 11J, 20J, 24J, 22J ( Cincinnati), and a face by Caslon, circa 1865 (revived 1884) identified in Nicolette Gray's XIXth Century Ornamented Types and Title Pages. First Edition. (London: Faber and Faber Limited, 1938) (Gray's Catalog No. 190, p. 204) would seem to be copies of each other. McGrew, p. 344, identifies it as circa 1860 when associating Bruce's Ornamented No. 1046 with Tuscan Graille.

This face and/or Ornamented No. 22J ( Cincinnati) was copied in the Twentieth Century by Harry Weidemann as Tuscan Graille (aka Stellar).

See:

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Ornamented Nos. 11J, 20J, 24J, 22J ( Cincinnati)

This face, Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce), and a face by Caslon, circa 1865 (revived 1884) identified in Nicolette Gray's XIXth Century Ornamented Types and Title Pages. First Edition. (London: Faber and Faber Limited, 1938) (Gray's Catalog No. 190, p. 204) would seem to be copies of each other. McGrew, p. 344, identifies it as circa 1860 when associating Cincinnati's Ornamented No. 22J with Tuscan Graille.

This face and/or Ornamented No. 1045 ( Bruce) was copied in the Twentieth Century by Harry Weidemann as Tuscan Graille (aka Stellar).

See:

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[Two-Line Great Primer] Ornamented, No. 13 ( Farmer, Little)

By 1867. Titling. This would appear to be an earlier version of the typeface which became better known in upper-and-lower-case versions as Ornamented No. 1515 ( Bruce). In the 20th and 21st centuries this typeface has became known as Belgian.

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[Two-Line Pica] Ornamented, No. 16 ( Cincinnati)

See Ornamented No. 847 ( Bruce) and Doric Ornamented ( Wells & Webb).

Shown:

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[Two-Line Pica] Ornamented, No. 18 ( Bruce)

See Ornamented No. 847 ( Bruce) and Doric Ornamented ( Wells & Webb).

Shown:

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[Two-Line Long-Primer] Ornamented, No. 19 ( Bruce)

See Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce)

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Two-Line Pica Ornamented, No. 20 ( Cincinnati)

This would appear to be the same face as Ornamented No. 851 ( Bruce) and [Two-Line Pica] Ornamented No. 24 ( Bruce) .

The Ornamented No. 851 ( Bruce) version of this face was copied in the Twentieth Century by Harry Weidemann as Tuscan Outline (aka Ornate No. 3, Romantiques No. 1, Carnet du Bal, and Uncle Sam).

See:

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Ornamented, No. 20J ( Cincinnati)

See Ornamented Nos. 11J, 20J, 24J, 22J ( Cincinnati)

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Ornamented, No. 22J ( Cincinnati)

See Ornamented Nos. 11J, 20J, 24J, 22J ( Cincinnati)

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[Two-Line Pica] Ornamented, No. 24 ( Bruce)

This would appear to be the same face as Ornamented No. 851 ( Bruce) and [Two-Line Pica] Ornamented No. 20 ( Cincinnati) .

The Ornamented No. 851 ( Bruce) version of this face was copied in the Twentieth Century by Harry Weidemann as Tuscan Outline (aka Ornate No. 3, Romantiques No. 1, Carnet du Bal, and Uncle Sam).

See:

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Ornamented, No. 24J ( Cincinnati)

See Ornamented Nos. 11J, 20J, 24J, 22J ( Cincinnati)

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[Two Line Pica] Ornamented, No. 24 (Montreal, 1850)

Probably the same as Two Line Pica Ornamented, No. 24 (Bruce). See the discussion of the 20th century revival version, Tuscan Ombree.

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[Two-Line Great-Primer] Ornamented, No. 27 ( Bruce)

See Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce)

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[Two-Line Pica] Ornamented, No. 40 ( Bruce)

See Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce)

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Ornamented No. 847 ( Bruce)

I have not yet seen a specimen of this face, so everything here is based on secondary sources.

In the process of tracing the origins of the Twentieth Century revival Tuscan Ombree, McGrew (p. 344) identifies it as a copy (I presume by electroforming) of Bruce's New York Type Foundry's Ornamented No. 847. What he says, literally, is: "[Tuscan Ombree] was originally Bruce's Ornamented No. 847. It originated about 1849." Unfortunately, it is not clear from this whether McGrew means (a) that Ornamented No. 847 was itself made in 1849, or (b) that Ornamented No. 847 was copied from some other type and that that type was cut around 1849.

See also Two-Line Small Pica, circa 1849, by Stephenson, Blake. This is the same face as Doric Ornamented (in wood) by Wells & Webb. Revived in the mid Twentieth Century in metal as Tuscan Ombree and in the late Twentieth Century digitally as Zebrawood[TM]. See the main entry for this design's history under Tuscan Ombree.

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Ornamented No. 851 ( Bruce)

In the process of associating the Twentieth Century revival Tuscan Outline with this face, McGrew, p. 344, identifies it as circa 1830 and based, in turn on Laurent & Deberny's Ornamented No. 1071.

This face also appears as [Two-Line Pica] Ornamented, No. 24 ( Bruce) and [Two-Line Pica] Ornamented, No. 20 ( Cincinnati).

Bruce's Ornamented No. 851 was copied in the Twentieth Century by Harry Weidemann as Tuscan Outline (aka No. 330 (in 30 point), Ornate No. 3, Romantiques No. 1, Carnet du Bal, and Uncle Sam).

See:

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Ornamented No. 864 ( Bruce)

In his discussion of the John S. Carroll version of Rustic, McGrew traces its history to an 1864 Figgins example (attested by Nicolette Gray as Rustic No. 2 (1845/6) of Figgins), via Bruce's Ornamented No. 864.

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Ornamented, No. 1046 ( Bruce)

See Ornamented Nos. 7, 19, 27, 40, 1046 ( Bruce)

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Ornamented No. 1071 (Laurent & Deberny)

In the process of associating the Twentieth Century revival Tuscan Outline with Bruce's Ornamented No. 851, McGrew, p. 344, identifies Laurent & Deberny's Ornamented No. 1071, from 1830, as its source.

This face also appears as [Two-Line Pica] Ornamented, No. 24 ( Bruce) and [Two-Line Pica] Ornamented, No. 20 ( Cincinnati).

Bruce's Ornamented No. 851 was copied in the Twentieth Century by Harry Weidemann as Tuscan Outline (aka No. 330 (in 30 point), Ornate No. 3, Romantiques No. 1, Carnet du Bal, and Uncle Sam).

See:

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Ornamented, No. 1514 ( Bruce)

In his discussion of Gold Rush, McGrew identifies Bruce's Ornamented No. 1514 with Bruce's Antique shaded.

Recut by ATF as Gold Rush (that in turn electroformed by John S. Carroll also as Gold Rush ( Replica Type Foundry?, Typefounders, Inc. [of Phoenix], Los Angeles Type Founders, Barco/F&S, Skyline Type Foundry); aka Klondike.)

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Ornamented No. 1515 ( Bruce)

Lowercase 1867, uppercase unknown. Lowercase by Julius Herriet [Sr.] for Bruce's New-York Type-Foundry. Generally known in the 20th and 21st centuries as Belgian (q.v.) in reproduction proofs and in film, digital, and metal revivals.

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Ornamented, No. 1541 ( Bruce)

Cut in typemetal patrices (which were then electroformed to make matrices) by Harrison T. Lounsbury for Bruce. ( Loy says of Lounsbury that "so far as can now be learned his work was all on soft metal.")

This face is identical to the one shown by Bruce as Lithographic Roman in the "10th Supplement to Bruce's Abridged Specimen Book of 1869" issued 1875-07-01 (which is bound with the online copy of An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry. 1874 Reissue (New-York: George Bruce's Son & Co., 1869, 1874)

This face makes an interesting comparison with Italic Copperplate (a face by Herman Ihlenburg for MacKellar, Smiths and Jordan. Both share similar patterns of short diagonal lines, and both are associated with styles of plate engraving.

Copied as Wayzata ( Typefounders, Inc. [of Phoenix], Los Angeles Type Founders, Barco/F&S, Skyline Type Foundry)

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Ornate No. 2

A Twentieth Century copy done by Harry Weidemann. McGrew identifies the source as circa 1850, but does not name it (p. 343).

As a 20th century revival it was also known as: No. 224 (in 24 point), Romantiques No. 3 and Harmony.

An unresolved puzzle: In the 1962 Type Specimens by Neon Type Division, Typefounders of Chicago (that is, Castcraft) specimen, there is a listing for all five "Romantiques" (p. 177, although only one of them, which I presume is the "No. 2" (= Tuscan Ombree) is actually shown). No. 3 is listed as available in 24 point. What is curious is that these are all specified as being available on "DIDOT BODY ONLY." The section in which they appear is one in which Castcraft is reselling European types imported (presumably) by Amsterdam Continental Types, Inc.

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Ornate No. 3

See Tuscan Outline

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Ornate No. 4

See Tuscan Ombree

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Ornate No. 5

See Tuscan Ornate

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Ornate No. 6

See Dandy

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Overgrown No. 80

Lanston Monotype No. 221. Overgrown No. 80 and Overgrown No. 80 Italic. A variation of No. 21, Binny Old Style cut for Ladies' Home Journal {McGrew 36-37}

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Othello (Central)

By Gustave F. Schroeder while at Central Type Foundry.

Redrawn by Morris Fuller Benton as Othello, Series No. 594 for ATF.

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Othello (ATF Series 594)

ATF Series No. 594. A revision of Gustave F. Schroeder's Othello (Central) by Morris Fuller Benton. It's actually fairly different in its details.

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Owl (Central)

1884. Central Type Foundry. Probably by S. Reed Johnston.


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