Klingspor (or: Gebrüder Klingspor)

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Klingspor (or: Gebrüder Klingspor) [Karl Klingspor] German foundry established in 1906 by brothers Karl Klingspor (1868-1950) and Wilhelm Klingspor (1871-1925) in Offenbach am Main. About half of its catalog consists of blackletter types (as listed in 2000 by Harald Süß), and many of its typefaces were designed by German über-designer Rudolf Koch. History (in German, PDF), resummarized here: 1892: Carl Klingspor (1839-1903), the father, buys the Rudhardsche Gießerei in Offenbach am Main in 1892, which was originally founded in 1842 by Johann Peter Nees, Phillip Rudhard and Johann Michael Huck. 1899: Heinz König designs Walthari (a light Fraktur font). 1900: Otto Eckmann designs the Fraktur font Eckmann Schrift, and Kurt Wanschura (from Leipzig) designs the Fraktur font Offenbacher Schwabacher. Reform appears! 1901: Peter Behrens publishes Behrensschrift (art nouveau style). Offenbacher Fraktur appears too. 1902: Behrens Schrift by Peter Behrens. Fette Eckmann Schrift und Ziermaterial by Peter Behrens. Vignetten by Emil Doepler d.J., and Schmuck für Bücher und Akzidenzen by Robert Engels, München. 1903: Reform Kursiv. 1904: Karl and Wilhelm Klingspor become the sole owners of the Rudhardsche Gießerei. As a private typeface, they decide on Munthe Schrift by Norwegian Gerhard Munthe. 1905: Heinz König designs König Antiqua. Breitkopf Fraktur is published, based on the original design of Joh. Gottl. Immanuel Breitkopf (1719-1794). Also new is Auszeichnungsschriften für Fraktur, as well as Die Leidensstationen by Robert Engels. 1906: The form is renamed Gebr. Klingspor. Otto Hupp makes Liturgisch (another Fraktur font). Jugendschrift is published. 1907: Peter Behrens publishes Behrens-Kursiv. 1908: Peter Behrens publishes Behrens Antiqua. Otto Hupp makes Neue Anzeigen Schriften. Halbfette Reform is published. 1909: Otto Hupp makes Hupp Antiqua (a Basque "A" in here!), Hupp Unziale. Walter Tiemann designs Tiemann Mediäval. 1910: Rudolf Koch designs Fette Deutsche Schrift (Fraktur) and Fette Kochschrift (are these not the same?). Hupp Fraktur appears. The company publishes Kalender Bilder by Heinrich Vogeler. 1911: Tiemann makes Halbfette Tiemann Mediäval. 1912: Tiemann makes Tiemann Mediäval. Kursiv and Tiemann-Kursiv. Koch makes Halbfette Deutsche Schrift and Deutsche Schrägschrift. 1913: Peter Behrens publishes Behrens Mediäval. Koch makes Schmale deutsche Schrift. 1914: Rudolf Koch publishes Frühling, Maximilian Gotisch, Maximilian-Antiqua and Maximilian. Walter Tiemann makes Peter Schlemihl and Tiemann Fraktur. 1915: Klingspor acquires F. W. Aßmann and Wilhelm Gronau in Berlin. 1917: Albert Windisch makes Windisch Kursiv. 1919: Karl Michel designs Schraffierte Antiqua. Some cooperation is established with D. Stempel AG, which acquires some shares. 1920: Tierbilder-Probe is published. 1921: Rudolf Koch publishes Deutsche Zierschrift (Fraktur) and Magere deutsche Schrift. Walter Tiemann makes Narziß. The company publishes Elfenschmucjk, as well as Schräge Schwabacher. Leo Wackerle makes Kalender Bilder. 1922: Rudolf Koch designs Koch Antiqua and Koch Antiqua Kursiv. Otto Hupp publishes Deutsche Schrägschrift. Ernst Engel designs Mörike Fraktur, a private typeface just created for the Ernst Engel Presse. 1923: Rudolf Koch designs Koch Antiqua Kursiv and Neuland. Walter Tiemann designs Tiemann Antiqua. 1924: Koch designs Grosse Koch Antiqua, and Tiemann makes Tiemann Gotisch. 1925: Wilhelm Klingspor dies. Rudolf Koch designs Wilhelm-Klingspor-Schrift (Fraktur), and Victor Hammer creates an uncial font, Hammerschrift. 1926: Tiemann makes Tiemann Antiqua Kursiv and Koch publishes Klingsporschrift. 1927: Rudolf Koch designs Kabel. 1928: Rudolf Koch designs Neuland Licht. Walter Tiemann makes Kleist Fraktur. 1929: Rudolf Koch creates Zeppelin. 1930: Rudolf Koch designs Wallau (rotunda) and Jessen-Schrift (Fraktur). 1931: Heinrich Maehler makes Salut. 1932: Rudolf Koch designs Holla. 1934: Walter Tiemann makes Fichte Fraktur. 1935: Rudolf Koch creates Koch Kurrent. 1937: Rudolf Koch publishes Claudius. 1940: Rudo Spemann's Gavotte appears. 1944: A bombardment destroys a lot of material and drawings. 1950: Karl Klingspor dies. Walter Tiemann makes Offizin. According to Chronik und Stammfolge der Familie Klingspor (1989, Reinhard Klingspor and Gerhard Moisel), Karl Klingspor died on January 1, 1951, but everywhere on the web we find 1950. 1951: Karl Hermann Klingspor (1903-1986), son of Wilhelm, takes over the company. 1952: Karlgeorg Hoefer makes Salto. 1953: Karlgeorg Hoefer publishes Saltino. Victor Hammer makes Hammer Unziale. The Klingspor Museum in Offenbach is created. 1954: Hans Kühne designs Andreas Schrift (Fraktur) and Kühne Schrift (Fraktur). Joachim Romann makes Constanze (a formal script) and Queen. Alfred Finsterer designs Duo Licht and Duo Dunkel. 1955: Karlgeorg Hoefer makes Monsun. 1956: D. Stempel AG buys the remaining shares of Klingspor, and incorporates many of its types in its own catalog. That library included typefaces by these designers: H. Kühne: Andreas Schrift (1954, carried by Delbanco and Gerhard Helzel), Kühne Antiqua (1954), Kühne Schrift (1954), Stahl (1933-1939). P. Behrens: Behrens Antiqua (1907), Behrensschrift (offered by Intecsas as Sprecher Gothic), Behrens Initialen (called Sprecher Initials at Intecsas). Rudolf Koch: Claudius (carried by Delbanco), Deutsche Schrift (1910), Frühling (1917, carried by Delbanco), Deutsche Zierschrift (1921, offered by Delbanco and Gerhard Helzel), Holla (1932), Jessen-Schrift (1924-1929, carried by Delbanco), Kabel (1927, at Linotype now; called Geometric 231 at Bitstream, and Kalten at PrimaFont, and Koch Original at LetterPerfect), Koch Antiqua (1922, published by Linotype now; available from Alphabets Inc as AI Koch Antiqua MM; called Eva Antiqua SG at Spiece Graphics), Zeppelin (1929, available from Agfa now), Koch Kurrent (1935, offered by Delbanco), Koch Fraktur (offered by Delbanco, Gerhard Helzel, and Christian Richter), Marathon (1938), Maximilian (1917, available at Castle Systems, and carried by Delbanco), Maximilian-Gotisch (carried by Gerhard Helzel and by Walden Font), Neuland (1923, available from Linotype; available from Alphabets Inc as AI Koch Neuland, and at Bitstream as Informal 011, and at PrimaFont as Newfish, and at Keystrokes as Neuland inline), Prisma (1928; a multiline typeface revived in 2003 by Dieter Steffmann, and extended in the large family LL Prismaset at Lineto), Wallau (1926-1934, carried by Delbanco, and called Wal at PrimaFont), Wilhelm Klingspor-Schrift (1925, carried by Delbanco and Linotype; Wilhelm Klingspor-Gotisch is called Wilson at PrimaFont). J. Romann: Constanze (1954), Queen (1954, called Ferrante by Intecsas). Walter Tiemann: Daphnis (1929), Fichte Fraktur (1934-1939, carried by Delbanco and Gerhard Helzel), Kleist Fraktur (1928, revived by Dieter Steffmann in 2002, and carried by Delbanco), Narziss (1921, available from Font Bureau and Spiece Graphics as Narcissus), Offizin (1952), Peter Schlemihl (revived by Walden Font, and by Dieter Steffmann in 2002), Tiemann Mediäval (carried by Gerhard Helzel), Tiemann Antiqua (1923, now at Linotype). A. Finsterer: Duo licht/Duo dunkel (1954). O. Eckmann: Eckmann Schrift (1900, called Freeform 710 at Bitstream, and called Eckmann at Elsner&Flake, ScanGraphic, Linotype, URW++, Gerhard Helzel and Delbanco), Eckmann Initialen (called Jan Bent at Intecsas). Kurt Wanschura: Offenbacher Schwabacher (1900, Offered at Delbanco). H. König: Falstaff (1906). H. Schardt: Folkwang (1949). R. Spemann: Gavotte (1940, available from Linotype). V. Hammer: Hammerschrift (1923, available as Martel at Scriptorium), Hammer Unziale (1953). [Linotype has it as Neue Hammer Unziale. Agfa carries Uncial, which is really Neue Hammer Unziale. The Electric Typographer calls it Electric Uncial. Elsner&Flake have a version called American Uncial.] O. H. W. Hadank: Ornata (1943). H. Bohn: Orplid (1929). O. Hupp: Liturgisch (1906, carried by Gerhard Helzel), Hupp Antiqua (1909). F.K. Sallwey: Information breitfett (1958). A. Kumlien: Kumlien Antiqua. R. Bauer: Magnet (1906). K. Hoefer: Monsun (1955), Salto (1952, now at Linotype), Saltino (1953, carried by TypeRevivals), Saltarello (1954). H. Maehler: Salut (1931, version available from Agfa). An unclassified condensed elongated Victorian fat face, Slimback-style, is Figura. No date known. View the Klingspor typeface library.	EXTERNAL LINKS Klingspor (or: Gebrüder Klingspor) [Buy fonts] [Designer info] MyFonts search Monotype search Fontspring search Google search INTERNAL LINKS Foundries of the 19th century ⦿ Extinct 20th century foundries ⦿ German type scene ⦿ Bastarda / Bâtarde / Schwabacher ⦿ Uncial typefaces ⦿ Prismatic typefaces ⦿ Rotunda / Rundgotisch ⦿ Art Nouveau typefaces ⦿ Victorian typefaces ⦿ Dieter Steffmann ⦿