The Fredrick Ullmer Co. in London acted as agent for many typefoundries, and this was one of their offerings. Some of the letters were rather outlandish, so we fearlessly decided to improve them. The result is this dated but pleasant font.
The original didn't have a lowercase, so we added it.
Designed by Peter Behrens, well known graphic artist and architect in Germany in the late 19th and early 20th century.
This “Antiqua” was done for Rudhard’s Typefoundry in Offenbach A. M. around 1902, and has been used in modern times for museum retrospectives of the designer’s work.
A product of the Inland Type Foundry, some say stolen from a hand lettering job done by Goudy. (Goudy was one of those who said it!)
This came from a shop near Munich, Germany, and was a very poor proof with no font name on it. Never did identify it. When we cleaned it up, we liked it pretty well. We think it is typical of some early twentieth century art nouveau fonts.
This is a simplified Tuscan, free from excessive ruffles and flourishes.
Types of this general design began to appear in profusion in the 1830, and continued as a popular form until the end of the nineteenth century.
We added the lowercase to this one for increased usefulness.
This font began life as a metal type called Duerer, from the Boston Type Foundry about 1890. A wood type maker copied it, and that’s where we got it (in Guadalajara, Mexico, already! Some people travel to see the sights; we travel to collect type.)
An old wood type we picked up in London from the Fredrick Ullmer Company. It’s not marked, and we've never seen it in a catalog, so we don't know who made it.
We like it for antique-looking western posters and playbills. We added the lowercase. We have seen it used on British music hall bills.
This would be a Clarendon if it weren't for the cute serifs, which set it apart.
Reads well in copy blocks.
This is one of the Victorian standards for job printing issued by the Barnhart Brothers and Spindler Foundry about 1891. It looks old without being decorative, a good counterpoint to fancier types in todayÂ¹s old fashioned typography.
Charles Beeler Jr. designed this in 1895 for Mackellar, Smiths and Jordan, which was part of the American Type Founders combine.
The font had a short life because five years later ATF began an “off with the old, on with the new” program, and this font was an early victim.
Many years ago, we bought a bunch of proofs that had apparently come from the defunct Van Loey-Nouri foundry in Belgium. Cognac was an incomplete alphabet among them, which we completed.
Just a guess, but 1910 seems like a probable date for this art nouveau design.
From an early 20th century sign painter’s copy book.
We gave it a softer treatment than many of the faux-Asian faces have.
We also added a lowercase, as is our wont.