Stephenson Blake Typefaces _________________________________________ As listed by Roy Millington in "Stephenson Blake The Last of the Old English Typefounders", Oak Knoll Press, The British Library, London, 2002. Small misprints were corrected by Luc Devroye, but no date was changed, although sometimes there is confusion as to whether a date indicates the time of the creation of the original, or the time of publication by Stephenson Blake. _________________________________________ Abbey Text 1919 Purchased from U.S. Adonis 1971 Designed for photocomposition by Andrea Cretton for the Typefoundry Amsterdam. Acquired by Stephenson Blake and cast in type. Albion 1919 Created in 1910 for Monotype, acquired by Stephenson Blake. Alexandra 1911 Acquired from Reed foundry. Algerian 1908 Stephenson Blake created shaded Latin style. Amanda Ronde 1939 Purchased design known as Undine Ronde. Ancient Black 1904 Acquired via Reed foundry. Originally English No.2 from the stock of Wolf, London printer, 1582. Passed to John James foundry, bought by Fry and then passed to Sir Charles Reed foundry. Athenian 1889 Punches cut at Stephenson Blake by William Kirkwood. Antique Old Style No.2 1869 Purchased from Aubert Freres, Paris. Antiques Nos. 1,2,3,4 1904 Stephenson Blake Punches cut by William Kirkwood. Arabian 1912 Stephenson Blake stylised sans serif. Art and Craft 1914 Purchased from U.S. Augustan Black 1905 Acquired from the Reed foundry purchse. Auriol 1907 Purchased from Deberny and Peignot. Baskerville Old Face 1906 Acquired from Reed foundry. Original cut at Fry's foundry about 1764. The larger sizes were used to complete the Georgian Old Face series. Most of the body sizes were the originals. Basuto 1927 Stephenson Blake created. Bell 1932 Searched out from the Sir Charles Reed stock at the request of Stanley Morison in 1926. Original cut by Richard Austin for Dr. Joseph Fry about 1790 and shown in the Fry and Steele specimen book of 1803. Benedictine 1925 Reproduction rights purchased from Linotype Ltd. Black No.3 1880 Purchased from the Bauer Typefoundry, Frankfurt. Bodoni 1927 Original Stephenson Blake version bought from a German typefounder. The issued version purchased from Linotype Ltd. and matrices prepared from a series of electrotypes. Bodoni also acquired from H. W. Caslon by purchase. Bologna 1946 Petrarch from the American Type Founders. Based on the 15th century handwriting of Antonio Sinibaldi. Design modified and cut at Stephenson Blake. Bold Latin 1885 Purchased from Deberny and Peignot. Booklet Italic 1904 Stephenson Blake Designed by Elisha Pechey. Punches cut by William Kirkwood. Britannic 1906 Stephenson Blake Derived from Rothbury see Rothbury. Champleve 1911 Purchased from Deberny Peignot See Naudin Charlemagne 1886 Stephenson Blake created. Caslon Old Face 1937 Acquired by Stephenson Blake as a result of purchase. Stephenson Blake had problems with the italic due to overhanging characters and kerning. Charlemagne 1902 A stylised roman purchased by Stephenson Blake. Chantry 1896 Stephenson Blake in-house condensed based on De Vinne Chatsworth 1914 Designed and cut by Stephenson Blake. Begun in 1914 but not completed until 1921 due to war and staff shortages. Cheltenham 1937 Acquired by purchase, H. W. Caslon Ltd. Cochin 1937 Acquired by purchase, H. W Caslon Ltd. Chippendale 1915 Stephenson Blake designed in company. Work delayed due to war. Not completed until1919. The matching series of Chippendale Initials designed by J. Naylor, the staff compositor in the London Office. Chisel 1935 Stephenson Blake Created by Robert Harling. Punches cut by Karl Gomer. Clarendon 1906 Reissued by Stephenson Blake from originals acquired from Reed foundry purchase. Clearface 1907 Purchased from American Type Founders. Punches cut by M. F. Benton at A. T.F. Condensed Latin 1869 Purchased from Davies. Condensed Sans No.5 1879 Reissued, 1955 Condensed Sans No.7 1893 Reissued, 1955 Condensed Sans No.8 1913 Reissued, 1955 Consort 1956 Original Clarendon punch cut by Robert Besley of the Fann Street Foundry. Acquired as a result of purchase of Sir Charles Reed typefoundry. Stephenson Blake Consort Bold is the 1845 original design. Copperplate Bold 1953 Stephenson Blake A bolder version of Youthline Script. Coronation 1937 Stephenson Blake R. G. Blake contended that this was a version of Bodoni but he was challenged on this. Others said it had been plagiarised from the Corvinus design. Couchman 1920 A six point, financial listing typeface acquired from Stevens Shanks. De Vinne 1896 Purchased from the Central Typefoundry, U.S. Punches cut by Gustav Schroder. Diamond Pendant 1912 Purchased from a German typefounder. Display Script 1884 Purchased from Deberny and Peignot. Dominus 1925 Stephenson Blake created Doric 12 1870 Stephenson Blake reissue. The first example of a sans serif letter taken from the William Caslon N 1816 specimen book. Doric Italic 1892 Purchase of punches cut in Hamburg by H. John. Echo 1956 Stephenson Blake Designed by Peter Bell. Egyptian Expanded 1950 Purchased from Miller and Richard, Edinburgh. Electra 1921 Stephenson Blake a light upright script based on Typefoundry Amsterdam's Ella cut by de Roos Elongated Roman 1955 Stephenson Blake Victorian reissue Elzivir titling 1908 Stephenson Blake reissue of an 1840s Modern Emery 1935 Stephenson Blake purchased from the designer and punch cutter, Imre Reiner of Lugano Switzerland. Stephenson Blake tried to negotiate cost of development with Monotype Corporation. Stephenson Blake undertook extensive work rejustifying but finally abandoned the face. Engadine 1890 A light pen letter. Punches of French origin. Engravers Roman 1912 Purchased from the Inland Type Foundry, U.S. Etrurian 1881 Stephenson Blake created. Fancy Text 1871 Purchased from McKellar, Smiths & Jordan, Philadelphia, Farley 1907 Purchased from the Western Type Foundry, U.S. Flemish Condensed 1905 Purchased from the Inland Type Foundry, U.S. Designed and punches cut by N. J. Werner. Francesca Ronde 1948 Stephenson Blake created. Based on the handwriting of Lady Frances Stephenson. Fry's Ornamented 1907 Acquired via the Reed foundry purchase. Original cut by Richard Austin for Dr. Joseph Fry in 1796. Fry's Baskerville 1907 Acquired via the Reed foundry purchase. Originally Ornamented No.2. Punches cut by Isaac Moore for Baskerville in 1768. Ganton 1927 Stephenson Blake created series of titling and ranging figures. Georgian 1909 Stephenson Blake a recreation of the original believed to have been cut by Joseph Fry around 1790. Allegedly Caslon's destroyed original Marr's Old Style. Stephenson Blake pressed its punch cutters and justifiers to speed production in order to beat issue of H. W Caslon's Cheltenham. Glenmoy 1931 Stephenson Blake designed heavy pen script. Gondola Old Face 1921 Stephenson Blake designed. Granby 1930 Stephenson Blake hybrid design using Monotype Gill Sans and Bauer Foundry's Futura. Like Gill had extended type family. The Ludlow Typograph Company, Chicago objected to Granby Shadow claiming that it was plagiarised from Umbra. R. G. Blake claimed it was derived from Tempo, which is a design close to Granby. Graphic 1912 Purchased from the Bauer Type Foundry. Grotesque 1955 A recut based on Thorowgood's 1832 version, acquired from the Reed Foundry purchase. Grotesque No.6 1880 Stephenson Blake originated. Grotesque No.7 1890 Stephenson Blake originated. Grotesque No.8 1920 Stephenson Blake Punches cut for Stephenson Blake by Prince. Grotesque No.9 1907 Stephenson Blake originated. Guildford 1937 Purchased from H. W Caslon's stock. Hallamshire Old Style 1904 Originally the Avil series purchased from the Inland Type Foundry, U.S. Hogarth 1904 Purchased. Impact 1965 Stephenson Blake designed by Geoffrey Lee. Imperial Script 1905 Stephenson Blake created medium weight script cut by Karl Gomer. Invitation Script 1949 Stephenson Blake created from merging Marina script capitals and Youthline lowercase. Italian Old Style 1896 Purchased from American Type Founders. Punches cut by Jos. W Phinney and originally named Jenson. Italian Old Style 1906 Acquired from Reed's Foundry purchase. Jubilee 1952 Designed by Eric Gill as Cunard and sold on to L. E. Deval, Elkin Matthews Limited. June 1927 Stephenson Blake design. Keyboard 1951 Redrawn by Robert Harling Kennerley 1937 Purchased from the H. W Caslon sale. Designed by Frederic Goudy. Kensington Old Style 1919 Purchased from American Type Founders. Originally known as Cloister, designed by Morris Benton. Kingston 1924 Stephenson Blake created. Klang 1955 Designed by Will Carter and purchased from Monotype. Latin Antique 1880 Stephenson Blake Punches cut by Rochaix. Latin Elongated 1879 Stephenson Blake Punches cut by Rochaix. Lectura 1962 Designed by Dick Doojes for Typefoundry Amsterdam. Acquired by Stephenson Blake. Lining Old Style No.5 1909 Stephenson Blake series designed and punch cut from the original Caslon Old Face but with bolder strokes specifically to meet American Point Body measure. London Script 1957 Stephenson Blake Pen letter designed by Imrie Reiner. Long Imperial Script 1906 Stephenson Blake Script designed by Elisha Pechey. Punches cut by Karl Gomer. Macauley 1905 Stephenson Blake created stylised pen letter. Madonna Ronde 1925 Purchased from the Bauer Typefoundry, Frankfort. Designed by Lucien Bernhard. Marina Script 1936 Stephenson Blake designed Mazarin 1926 Purchased from Deberny and Peignot, Paris. Designed by Robert Girard and engraved by M. Bourreau. Mercury Script 1950 Purchased from Stevens, Shanks. Metropole Condensed 1902 A condensed Latin Missal 1880 Stephenson Blake designed Moderne Italique 1904 Purchased. Designed and engraved by M. Tuleu. Modern Caslon 1907 Purchased from the Western Type Foundry, U.S. A design almost the same as Plantin Old Style. Modern No. 20 1828 Revived and recut from an earlier mid-ninetenth century version. Restyled from English No: 20 about 1910, with shortened descenders. Issued as modem No. 20 in 1955. Mole Foliate 1960 Stephenson Blake redrawn by S. L. Hartz from a design by the Parisian typefounder Mole. Monumental 1896 Purchased from McKellar, Smiths & Jordan. Naudin 1911 Purchased from Deberny and Peignot. Designed by George and Lucien Peignot both of whom were killed in First World War. Champleve also purchased. Norman 1878 Purchased from Phelps and Dalton, London. Old face Open 1904 Acquired through amalgamation with Sir Charles Reed, Limited. Part of the Joseph Fry collection, dated 1788. Old Roman 1937 Purchased from H. W. Caslon and sons. A Venetian Roman designed by T. W. Smith in 1895. Old Roman Stephenson Blake 1878 Purchased from Beaudoire and Company, France. Old Style No.2 1878 Stephenson Blake Recreated from Old Style No.1. Old Style No.5 1912 Stephenson Blake Recreated Caslon Old Face but designed with short descenders. Old Style No. 18 1884 Purchased from Ferguson, Glasgow. Old Style Grotesque 1879 Stephenson Blake created. Old Style Condensed 1876 Purchased from Phelps and Dalton, Boston, Mass. Old Style Ornamented 1872 Purchased from Bruce and Company, New York. Olympian 1906 Stephenson Blake stylised semibold pen letter. Pabst Old Style 1904 Purchased from American Type Founders. ' Palace Script 1923 Stephenson Blake created. Parisian Ronde 1878 Purchased from Chappelle, Paris. Pen Hand 1912 Purchased from the Bauer Typefoundry, Frankfort. Perpetua 1930 Stephenson Blake Joint venture with the Monotype Corporation. Eric Gill designed and supervised the engraving of the matrices. Stephenson Blake version altered and slightly emboldened. Plantin 1942 Rights acquired from Monotype Corporation Limited. It was designed and engraved by F. H. Pierpoint from a 16th century model. Stephenson Blake adapted it and Karl Gomer cut the Plantin italic which was leaner than the Monotype version. Playbill 1938 Stephenson Blake modified Victorian revival designed by Robert Harling. Recherche 1919 A light pen letter acquired by purchase. Renaissance 1922 Purchased from Deberny and Peignot. Ribbonface Typewriter 1907 Purchased. Designed and cut in 1894 by George Weaver. Roman No. 13 1910 Purchased from Bruce and Company, New York. Romany 1967 Reissued from late-nineteenth century stock. Originally derived from Schelter and Giesecke's Romanisch. Ronaldson 1905 Acquired on the purchase of the Sir Charles Reed typefoundry. This was one of the Reed foundry's best selling types and Stephenson Blake quickly modified the matrices and moulds in order to take advantage of its popularity. Rothbury 1937 Acquired by H. W. Caslon in 1906 from the Inland Type Foundry. Designed by J. Matthews. Runnymede 1908 Acquired from American Type Founders. Design based on Italian 15th century manuscript. Roman Compressed No.3 1937 H.W Caslon fount. Substituted for Cas1on No.3. Sans Serif Shaded 1948 Stephenson Blake Revival of a design engraved by Thorowgood and first shown in 1839. Sans Serif Condensed 1885 Stephenson Blake Mid-19th century sans serif. Reissued 1952 Sans Serif No. 5 1881 Stephenson Blake created design. Sans Serif Shaded 1948 Stephenson Blake revival. Original engraved by Thorowgood and first shown in 1839 as Sans Surryphs Shaded. Saxon Black 1884 Stephenson Blake Created fount. Punches cut by Rochaix. Scarab 1937 Stephenson Blake A version of Monotype Corporation's Rockwell. Shaded Latin 1888 Stephenson Blake designed in house. Shadow 1892 Stephenson Blake created from an 1834 Ionic design Shakespeare 1890 Stephenson Blake brush letter Society Script 1912 Acquired from Deberny and Peignot, Paris. Known as Calligraphique and, in the large sizes, as Ecriture Taille Douche. Spartan 1912 Acquired from Western Typefoundry, US. A light Copperplate Gothic series acquired between 1909-12. St. George 1914 Acquired from a foreign source. The series was prepared and launched at the Printing Trades Exhibition held in London in 1914. Sylvan 1884 Acquired from Deberny and Peignot. Tea Chest 1939 Stephenson Blake Design developed on the advice of Robert Harling. Thorowgood 1953 Stephenson Blake Reissued design engraved by Robert Thorne, 1820-36. From Reed Foundry collection. Thorne Shaded 1938 Stephenson Blake Taken from Robert Thorne's collection of 1820, part of the Reed foundry material. R. G. Blake searched for the pre-1890s versions at the request of Lund Humphries, of Bradford. The original Thorne matrices were defective so the series was recut by Karl Gomer in the period 1938-48. Times New Roman 1955 Series prepared from Stanley Morison's 1931 typeface design for The Times newspaper. Typewriter 1907 Acquired from the American Type Founders. Union Pearl 1700 Reivived in 1931 and cast to order. The earliest known decorated English typeface cut by the Grover foundry in 1700. Acquired by Stephenson Blake via the Sir Charles Reed amalgamation. Previously via Fry's and Fann Street Foundry. Verona 1923 Acquired on advice of R. B. Fishenden from Leclede Type Foundry, St. Louis prior to its merger with Barnard Brothers and Spindler. Veronese 1902 Stephenson Blake purchased. Eccentric style of Engraver's Roman. Venezia 1927 Designed by George W Jones and cut by Edward P. Prince for Jones as the Dolphin series. Jones had the matching italic designed by Frederic Goudy. Jones dissatisfied and sold the punches and matrices to Stephenson Blake for £200. Vogue 1939 Stephenson Blake created. Waring 1904 Acquired from American Type Founders. Washington Text 1905 Acquired from Keystone Foundry, USA. Waverley 1907 Stephenson Blake created medium weight brush letter. Wedding Text 1934 Acquired from American Type Founders in the form of a fount ofunrubbed letter. Westminster Old Style 1907 Acquired from American Type Founders. Designed by T. M. Cleland in 1903 and known as Della Robbia. Wide Latin 1883 Stephenson Blake created. Winchester Old Style 1908 Stephenson Blake created. Based on Inland Type Foundry's Cheltenham. Engraved at Stephenson Blake by J. E. Uttley. Windsor 1905 Stephenson Blake Designed by Elisha Pechey and engraved by William Kirkwood. Youthline Script 1952 Stephenson Blake created.