Old Style [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).
Original Old Style [Linotype]
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.
Ornamented Nos. 7, 19, 40, 27, 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).
Ornamented Nos. 11J, 20J, 24J, 22J ( Cincinnati)
This face, Ornamented Nos. 7, 19, 40, 27, 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).
[Two-Line Pica] Ornamented, No. 16 ( Cincinnati)
See Ornamented No. 847 ( Bruce) and Doric Ornamented ( Wells & Webb).
[Two-Line Pica] Ornamented, No. 18 ( Bruce)
See Ornamented No. 847 ( Bruce) and Doric Ornamented ( Wells & Webb).
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).
[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).
[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.
[Two-Line Great-Primer] Ornamented, No. 27 ( Bruce)
See Ornamented Nos. 7, 19, 40, 27, 1046 ( Bruce)
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.
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).
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.
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).
Ornamented, No. 1514 ( Bruce)
In his discussion of Gold Rush, McGrew identifies Bruce's Ornamented No. 1514 with Bruce's Antique shaded.
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.
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}
All of the type specimen documents reproduced or extracted from here 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.
This work is licensed under the Creative Commons "Attribution - ShareAlike" license. See http://creativecommons.org/licenses/by-sa/3.0/ for its terms.
Presented originally by Circuitous Root®
Select Resolution: 0 [other resolutions temporarily disabled due to lack of disk space]
