Caslon Type Foundry - Knowledge (XXG)

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foundry; so that when the entire care devolved upon her, she manifested powers of mind beyond expectation from a female not then in very early life. In a few years her son, the present Mr. William Caslon, became an active co-partner with his mother, but a misunderstanding between them caused a secession, and they separated their concerns...the urbanity of her manners, and her diligence and activity in the conduct of so extensive a concern, attached to her interest all who had dealings with her, and the steadiness of her friendship rendered her death highly lamented by all who had the happiness of being in the extensive circle of her acquaintance.

640: 762: 476: 457:. Both Elizabeth Caslons attended for the Caslon foundry. William Caslon, now running his own foundry, also joined for his company. Elizabeth Caslon, the wife of William Caslon II, died in 1795. According to Hansard "the foundry was put up for auction in March 1799 and was bought by Mrs. Henry Caslon for £520. Such was the depreciation of the Caslon letter foundry, of which a third share, in 1792, sold for £3000." A. E. Musson felt that although the foundry had depreciated, this value exaggerated the situation and the price "was doubtless because she and her young son already had a large share in the firm." 664: 27: 375:"about the year 1764, commencing with improved imitations of Baskerville's fonts...but they did not meet the encouraging approbation of the Printers, whose offices generally, throughout the kingdom, were stored from the London and Glasgow Founderies with types of the form introduced by the celebrated William Caslon...By the recommendation, therefore, of several of the most respectable printers of the Metropolis, Doctor Fry, the proprietor, commenced his imitation of the Chiswell Street Foundery...at vast expense, and with very satisfactory encouragement, during the completion of it." 1108:

similar matrices. The type was shown in the OUP 1707 specimen and in a c. 1665 British specimen possibly from the foundry of Nicholas Nicholls. (According to Mosley Caslon’s punches survive at St Bride’s.) Other copies or duplicate matrices proliferated; the Wilson foundry showed one in 1786 (many of his texturas were purchased from James) and William Caslon III in his breakaway foundry had one; his texturas came from the Caslon foundry as duplicate matrices or from the James foundry via Jackson. A near copy was sold by the Fry foundry; according to Edmund Fry this was cut in house.

419: 688: 461: 328:, when Jackson showed a punch he had made to William Caslon II, Caslon II hit him and threatened him with gaol. Jackson had in fact secretly drilled a hole through a wall to observe Caslon I teaching his son how to cut punches. Nichols wrote that after a dispute over the price of labour, Caslon II dismissed Cottrell and Jackson on suspicion of organising a deputation of workmen appealing to his retired father. They later set up as type founders themselves, first jointly before Jackson established his own foundry. According to 537: 868: 211: 1321:, an artist, architect and explorer who was John Catherwood's son, had left him for Henry W. Caslon. The episode became a well-known court case after Catherwood sued. Caslon countered that they had never been validly married under Church of England law because they were married in Beirut by an American missionary. A jury found for Catherwood, but the House of Lords ruled for Caslon four years later. H. W. Caslon married Gertrude in 1853. 821: 266:'s view, they were intended as "unobtrusive substitutes" for specific types his clients already used, and closely resembled them. Besides this, some types he sold came from other founders. He jointly valued the Grover type foundry in 1728 with John James of the James Foundry, although ultimately he did not buy it, and he did buy part of the foundry of Robert Mitchell in 1739. Some older types were sold by the foundry, including a 493:, was particularly admired, and had a most extensive sale. Finding herself, however, from the impaired state of her health...unable to sustain the exertions required in conducting so extensive a concern, she resolved, after the purchase of the foundry, to take as an active partner Mr. Nathaniel Catherwood, who by his energy and knowledge of business fully equalled her expectations. 520:. The design became successful and was widely imitated. The foundry seemingly had no input into the design of the punches (it did strike the matrices) and the Porson types were apparently exclusive to Cambridge, but the Caslon foundry later issued types from its own punchcutters in similar design (see below). Less successfully, around 1802–4, the foundry was commissioned to make 302: 809:; he was the last lineal male descendant of William Caslon. Despite the reports of labour unrest, his employees donated a memorial window to the local church commemorating him. The foundry was taken over by its manager, Thomas White Smith. He proved to be extremely successful as a promoter of the company, establishing a company magazine, 2401:"The first moderns of the Eliz. Caslon & the Caslon foundry are here: https://digitalcollections.nypl.org/collections/a-specimen-of-printing-types#/?tab=about Largest size Canon (48 pt) is more a transitional and shows a hesitation in design not found in the text sizes. This face seems to disappear from all specimens known" 489:

longer efficacious in securing the sale of his types, she resolved to have new fonts cut. She commenced the work of renovation with a new canon, double pica, and pica, having the good fortune to secure the services of John Isaac Drury, a very able engraver, since deceased. The Pica, an improvement on the style of

359:'s 1757 edition of Virgil, printed in new types taking inspiration from calligraphy, attracted considerable attention. Baskerville's types were proprietary to him and only used by him and some printers he was connected with in Birmingham, but other founders rapidly began to create types in the same style. 1264:

other punchcutter, and it is known that his foundry burned down in 1790 and he was in poor health for the last two years of his life. He had materials from the James foundry including texturas and Stephenson Blake in the twentieth century still had his matrices for a sixteenth-century Greek type cut by

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also a most extensive modern foundry". The sale did not reach the reserve price and the foundry continued under the ownership of the Caslon family. The sale catalogue which survives is however historically notable, as it lists the punchcutters of each of the foundry's more modern types from about 1795.

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design, the first known, which it named 'Italian'. It had also issued new Greek typefaces by 1821 influenced by the Porson style; in Bowman's view they are "largely Porsonic, but never entirely so". Catherwood left the firm in 1821 and later joined the Bessemer foundry, and the company foreman Martin

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It will not appear extraordinary that a property so divided and under the management of two ladies, though both superior and indeed extraordinary women, should be unable to maintain its ground triumphantly against the active competition which had for some time existed against it. In fact, the fame of

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Jackson, although apparently very talented, is extremely poorly documented: no complete specimen survives from his foundry in his lifetime. William Caslon III issued specimens and it seems likely that most of the types shown are Jackson's, but according to Vincent Figgins II he employed at least one

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William Caslon later left, but the Caslon foundry remained as a member for the rest of the association's existence. It remained in operation intermittently until at least 1820, although a witness to a Select Committee in 1824 reported informal collusion between foundries to keep wages of workmen low

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On Henry Caslon's death in 1850, the foundry was taken over by his son, Henry William Caslon. In the same year, the Caslon foundry bought up the London branch of the Wilson foundry. Yet again, changing tastes and probably the acquisitions of types from Wilson led to expansion in the foundry's stock;

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However, in 1846 the foundry was put up for auction because of Henry Caslon's declining health. The sale catalogue offered "to capitalists...a most valuable property for investment...containing the original works of its founder, William Caslon, which have been recently much in request for reprints,

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Both Elizabeth Caslon (now Elizabeth Strong, since her remarriage) and Nathaniel Catherwood died in 1809, and the business was taken over by her son Henry Caslon and Catherwood's brother, John Hames Catherwood. In the view of James Mosley, they renewed the foundry's material "completely, making the

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The anonymous introduction to a 1787 Fry foundry specimen frankly admitted "The plan on which they first sat out, was an improvement of the Types of the late Mr Baskerville of Birmingham...but the shape of Mr. Caslon's Type has since been copied by them with such accuracy as not to be distinguished

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The firm's competitors evolved over its existence. At the start of its existence, its main competitors were in London, especially the James foundry, which through purchasing the Grover and other foundries took over almost all the other London foundries which preceded Caslon, but gradually declined;

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Literary Anecdotes of the Eighteenth Century: Comprizing Biographical Memoirs of William Bowyer, Printer, F.S.A., and Many of His Learned Friends; an Incidental View of the Progress and Advancement of Literature in this Kingdom During the Last Century; and Biographical Anecdotes of a Considerable

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Casting large letters from punched matrices was difficult to do due to the complexity of driving in a large punch. Other methods were previously used including casting type or matrices in sand, but sans-pareil matrices were reusuable and much easier than sand-casting. An 1820s source claimed that

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Henry William Caslon was not successful as an owner of the company; its manager Thomas White Smith later wrote that Caslon was a man "of generous impulse, but of little wisdom in business matters" and losses led to an attempt to cut the wages of workers, leading to a strike. A later article wrote

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The management of the foundry devolved on Mrs. Henry Caslon, who, possessing an excellent understanding, and being seconded by servants of zeal and ability, was enabled, though suffering severely under ill health, in a great measure to retrieve its credit. Finding the renown of William Caslon no

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The foundry issued a new specimen book in 1785 and separate specimen of its large capitals, showcasing a range of complex printers' flowers and interlocking designs. James Mosley felt that the specimen of 1785 contained "little that is really new", with only two new typefaces compared to 1766, a

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As an example, his Two-Line Great Primer Black was based on an original perhaps from Paris or Rouen and dating back to around 1504, of which Harry Carter believed at least one copy existed. One was used by Wynkyn de Worde, and Plantin and the type foundries of Voskens, and James in London, had

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In 1807 William Caslon III's son, William Caslon IV took over the business. In 1810 he introduced a new kind of matrix, which he called Sans-pareil. These were made by cutting out the letter form in sheet metal and riveting it to a backing plate. This allowed very large letters to be cast more

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An arduous task now devolved on Mrs. Elizabeth Caslon...the entire management of a very large concern did not, however, come with that weight which it would have borne upon one unaccustomed to the habits of business. Mrs Caslon...had for many years habituated herself to the arrangements of the

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Despite this, the Caslon style continued to be popular with printers. The Fry foundry of Bristol first entered the market in 1764 with copies of Baskerville's types, but finding them not commercially successful, proceeded to then produce copies of Caslon's, to the outrage of the Caslon family.

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Making metal type required a range of techniques which could easily go wrong, including justifying matrices (carefully filing them down so the letters would be properly spaced) and pouring metal into the mould so it filled every space and no air bubbles were left to spoil the types'

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Mosley identifies other non-Caslon types as the Samaritan and Syriac, and "it is difficult to believe that the lower case of the Small Pica no. 1...can be Caslon's work unless it is an early attempt. It was replaced in 1742, the only one of the roman types to be abandoned in this

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The main 1785 specimen does not show William Caslon II's titling capitals. Whereas William Caslon II certainly cut punches, it is not clear if the later Caslon men did. One of the ship designs in the specimen appeared heading the "Shipping" column on the first front page of the

560:, who had hoped to take the foundry over, received support to set his own foundry up from his old client John Nichols.) He apparently was able to take matrices for non-Latin and textura types from his family foundry on leaving the business, and these appear in his specimens. 2170:

In about 1770 the Fry foundry, whose first types in the 1760s were what they called an 'improvement' of Baskerville's, had also made an imitation of the smaller sizes of the Caslon Old Face types – a very close copy that is not easy to tell from the original. In 1907

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Caslon trained his son William Caslon II (1720–1778) to also be a punchcutter. He was cutting his own types at the latest by 1738 and by 1746 the firm was styled as "W. Caslon & Son". William Caslon I retired from the business in 1758 and moved out of the city to

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By the end of Caslon's life his types were quite conservative in design, although very popular. They therefore did not follow the more delicate, stylised and experimental "transitional" styles gaining ground in Europe taking inspiration from calligraphy and

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that "during one of these disagreements...Caslon was so apprehensive of personal violence that, to avoid a bombardment of rotten eggs and other objectionable missiles, he took the prudent course of leaving the foundry by a window which opened on to the

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comments that this size (Canon or 48pt) only has some features of late eighteenth-century transitional typefaces: " is more a transitional and shows a hesitation in design not found in the text sizes. This face seems to disappear from all specimens

403:, (1730–1795) and their two sons: William Caslon III (1754–1833), and his younger brother Henry until his death in 1788. Henry Caslon's widow was Elizabeth, née Rowe. An obituary of William Caslon II's widow Elizabeth Caslon in the 980:

published a blackletter typeface, Parliament, based on the ultra-bold Caslon Foundry blackletter types of the early nineteenth century; another blackletter font family based on the Caslon Foundry's blackletter types is Avebury by

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William Caslon III decided to leave the family business in 1792, buying up the foundry of Joseph Jackson (see below). In 1793, the major type founders in London formed a society or association, with the goal of functioning as a

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script and an extra size of Syriac, although new flowers had been added. It attacked imitators of the Caslon foundry's types, writing that "the acknowledged excellence of this foundry...has excited the jealousy of the envious".

194:, who wrote a manual of how type was made. However, London was seemingly not a hub of skill in typefounding and many of the types available in London were of poor quality. In the second half of the seventeenth century the 170:

From 1793 to 1819 a separate Caslon foundry was operated by William Caslon III and then his son William Caslon IV, who split off from the family business. This was also bought by a predecessor company of Stephenson Blake.

723: 651: 230:. He began a career in London with work like cutting the royal coat of arms into government firearms and tooling for bookbinders. The quality of his work came to the attention of printers, who engaged him to cut first 430:

saw the fifteen years of the foundry's history after William Caslon II died in 1778 (the period of Hansard's childhood) as a period of stagnation, with "little augmentation" to its stock of punches. Hansard wrote in

238:. Specimens of the Caslon foundry published under the management of William Caslon II but in William Caslon I's lifetime wrote that he established his type foundry in 1720. His first roman type appeared around 1725; 4784:

Lane, John A. (2013). "The Printing Office of Gerrit Harmansz van Riemsdijck, Israël Abrahamsz de Paull, Abraham Olofsz, Andries Pietersz, Jan Claesz Groenewoudt & Elizabeth Abrahams Wiaer c. 1660–1709".

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The printing equipment division and the French branch of the company became separate companies after the takeover. Materials of the Paris branch of the company, the Fonderie Caslon, are now held by the

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On the 1821 specimen the title page is undated but 1821 is on the front board. On both of the two surviving copies, the name is changed in pen from "Caslon and Catherwood" to "Henry Caslon"; see below.

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We now know that Caslon moved from Old Street to Chiswell Street in 1737/8. As far as we know, all of the Chiswell Street specimens dated "1734" were issued in various editions of the Chambers'

3886:"Dammit, the newspaper archive is the perfect procrastination tool 😱 From 1999 article on desktop publishing to Caslon and Stephenson Blake merge (1937), the history of Caslon foundry (1910) …" 906:. The old house that had been the foundry's base for over 170 years was demolished in 1910 and replaced by modern premises. During the 1920s and 1930s it manufactured several types designed by 5174: 5169: 335:

William Caslon II continued the business with success until his death in 1778. In c. 1774 – 1778, he introduced some very large poster-size types, likely intended for stagecoach services.

711: 332:, Caslon's brother Samuel worked at the foundry for a time as a mould maker before quitting following a dispute and moving back to Birmingham to work for another type founder, Anderton. 214:

William Caslon's specimen sheet (dated 1734 but actually issued from 1738 onwards). Some of the types shown were not cut by Caslon, most notably the French Canon roman (probably cut by

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Report of the Committee of the Society of Arts (etc.) Together with the Approved Communications and Evidence Upon the Same, Relative to the Mode of Preventing the Forgery of Bank Notes

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Caslon's type designs were based closely on the seventeenth-century Dutch types popular in London at the time, cut by punchcutters including Nicolaes Briot and the Voskens family. In

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His family later had a tradition that he established his foundry in 1716, although 1720 is the date on William Caslon II's specimens made in his father's lifetime. Neil Macmillan in

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In the late nineteenth century, the foundry's historic materials and building remained largely intact, retaining an eighteenth-century sales ledger and a letter from the eccentric

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A Sequel to An Enquiry into the Nature of Certain Nineteenth Century Pamphlets by John Carter and Graham Pollard.; The Forgeries of H. Buxton Forman & T.J. Wise Re-examined

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The company name and many punches and matrices were bought up by Stephenson Blake, especially those of its best-selling types including the Caslon Old Face materials. The

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firm a credible competitor in the sale of modern-face text types and the big new commercial letters which had been developed during the first two decades of the century."

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The foundry was successful by 1730 and issued a first specimen around that time. Its first dated specimen appeared in 1734 and the inclusion of a specimen of its types in

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In the nineteenth century, the company established a division selling printing equipment. This section of the company continues to operate as of 2021, and is now branded

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Hansard wrote that Elizabeth Caslon, after remarrying Mr. Strong, died in Bristol in March 1809 after facing illness with "truly admirable" fortitude and is buried in

249:. He later moved to Helmet Row, then Ironmonger Row from 1727 to 1736, and in 1737 had moved to Chiswell Street, where it would remain for the next two hundred years. 544:

William Caslon III decided to move out of the family business. William Caslon I's apprentice Joseph Jackson had established a successful foundry at Dorset Street,

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the first William Caslon was peculiarly disadvantageous to Mrs. Caslon, as she never could be persuaded that any attempt to rival him could possibly be successful.

2654: 976:, under the imprint Commercial Classics. This includes Brunel, a large family based on the work of John Isaac Drury and revivals of many other Caslon typefaces. 190:

Type foundries operated in London from the early days of printing. Some punchcutters worked in London in the seventeenth century, including Arthur Nicholls and

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Elizabeth Caslon decided to renew the foundry's materials, moving on from the types of William Caslon I which were going out of fashion. According to Hansard:

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The Caslon-Smith family (now named Caslon) continued to own the Caslon type foundry for the rest of its existence, and as of 2021 continue to own Caslon Ltd.

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in particular has published a large series of digitisations of types from Caslon and other early nineteenth century British foundries through his company

5075: 552:. When he died childless in 1792, William Caslon III bought up the Jackson foundry and sold his shares in the family business. He moved the foundry to 4820:

A dissertation upon English typographical founders and founderies (1778) : with a catalogue and specimen of the type-foundry of John James (1782)

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to add the prefix Caslon to their own, and are now known as Caslon-Smiths. For myself I retain my own name and still subscribe myself Thos. W. Smith.

2914: 3750: 5179: 4746:(1996). "From the Grecs du Roi to the Homer Greek: Two Centuries of Greek Printing Types in the Wake of Garamond". In Macrakis, Michael S. (ed.). 836:

Feeling, naturally, regret that the honoured and historical name of "Caslon" should die out...my sons, at my request and recommendation, took the

556:. Caslon apparently became bankrupt on January 5, 1793, but later rebuilt the business, moving it back to Salisbury Square. (Jackson's apprentice 2616:

Typologia: Studies in Type Design & Type Making, with Comments on the Invention of Typography, the First Types, Legibility, and Fine Printing

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Jackson had worked on large types, although no specimen of them is known, and Vincent Figgins is recorded as stating that they were new in 1810.

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During the late 18th century the poster began to appear, creating a new market for printing. A watercolour of a theatre shows posters outside

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By the time of William Caslon I's death, and certainly by the death of William Caslon II, aesthetic tastes were on the verge of changing.

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thought that the new non-descending characters had been poorly made, with different stroke widths to the modern-face they were added to.

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James Mosley describes the Fry Foundry imitation of the Caslon types as "a very close copy that is not easy to tell from the original."

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described Caslon's type as "a happy archaism". His other types were also close copies of earlier designs: his blackletter types on

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Mosley, James (1981). "A specimen of printing types cut by William Caslon, London 1766; A facsimile with introduction and notes".

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Specimen of Printing Types by Henry Caslon, Chiswell Street, London: Letter-Founder to Her Majesty's Honourable Board of Trade

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Caslon is known to have had other industrial interests, which apparently included a gasworks, later amalgamated into the

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set up a Scottish type foundry in the 1740s and the low cost of labour in Scotland allowed it to undercut London prices.

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The present proprietor, by whose ancestor it was established...is induced to part with from his increasing infirmities.

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The Caslon foundry's 1910 premises were destroyed by bombing in WWII; Chiswell Street is pictured in a 1941 painting by

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had recast this Caslon look-alike from original matrices and began to sell it under the name of Georgian Old Face.

1460: 5125:(1964). "Caslon Architectural: On the origin and design of the large letters cut and cast by William Caslon II". 2883: 2149: 1131: 949:, while as of 2022 the printing equipment division, Caslon Ltd., continues in business, now based in St. Albans. 903: 611: 3140: 1282:

has speculated that this is a confusion with the fact that the successors to his foundry introduced them, while

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Reports of Cases Argued and Ruled at Nisi Prius: In the Courts of Queen's Bench, Common Pleas, & Exchequer

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began using the original Caslon types again for book printing, and they gradually returned to popularity with

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designs, originally French and long standard in British printing, his Greek types on the sixteenth century

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Carrington, Frederick Augustus; Marshman, Joshua Ryland; Court, Great Britain Central Criminal (1843).

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The firm's labour history was not always harmonious. The firm had two apprentices, Thomas Cottrell and

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Bowman, J. H. (1996). "Greek Type Design: the British Contribution". In Macrakis, Michael S. (ed.).

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Modernised to avoid confusion. Hansard wrote 520l and 3000l, a common way of writing £ at the time.

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1821–1840: Henry Caslon II, H. W. Caslon and M. W. Livermore (trading as Caslon, Son and Livermore)

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In 1841, the Caslon foundry issued a specimen book showing its large range of typefaces, including

607:. Henry Caslon was Henry Bessemer's godfather and namesake. Bessemer later set up his own foundry. 490: 465: 4544: 2123: 483:

compares the Double Pica (22pt) types cut by William Caslon and for Elizabeth Caslon in the 1790s.

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Greek Printing Types in Britain: from the late eighteenth century to the early twentieth century

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Elizabeth Caslon, widow of William Caslon II, was one of the foundry's owners from 1778 to 1795

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The Origin, Progress, and Present Practice of the Bankrupt Law: Both in England and in Ireland

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Specimens of types & borders and illustrated catalogue of printers' joinery and materials

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The Caslon foundry ceased trading at the end of 1936 and was liquidated the following year.

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The 'modern face' in France and Great Britain, 1781-1825: typography as an ideal of progress

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Specimen of Printing Types of the Caslon and Glasgow Letter Foundry, Chiswell Street, London

3505: 3389: 3289: 2172: 2027: 1095: 977: 930: 926: 884: 600: 572: 545: 498: 400: 356: 267: 164: 80: 3269: 4769:. Amsterdam: Special Collections of the University of Amsterdam. pp. 70–86, 211–213. 4296: 4271: 4267: 4217: 4188: 3118: 3114: 2452: 2400: 2354: 973: 888: 820: 817:, and licensing display types from abroad. He wrote in a privately printed autobiography: 568: 557: 553: 283: 145: 4430: 4342: 3494: 2259: 5021: 4213: 2188: 2117: 5122: 5044: 4398: 3885: 3091: 2610: 2465: 1265: 1251: 1064: 779: 766: 513: 344:

on John James' death in 1772 it was purchased by the antiquarian and insurance pioneer

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Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model – I".

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Mosley, James (1993a). "The Caslon Type Foundry in 1902: Selections from an Album".

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has speculated that Jackson began work on them but the Caslons finished the project.

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he cut the foundry's Anglo-Saxon characters which appeared on its specimens by 1734.

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William Caslon (1692 – 23 January 1766) was an engraver who had come to London from

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in 1670–2 and the London typefounder John James in 1710 imported matrices from it.

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Typographia: An Historical Sketch of the Origin and Progress of the Art of Printing

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The Caslon foundry continued to be prosperous for some more decades, licensing the

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display typefaces, besides its range of text faces. Example pages are shown below:

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Briot, who was based in Amsterdam, is not to be confused with the French engraver

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Johnson notes that "very few types are the same" in the 1857 specimen as in 1841.

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Musson, A. E. (1955). "The London Society of Master Letter-Founders, 1793–1820".

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notes that his 1764 specimen "might have been produced a hundred years earlier".

4994: 4852: 4554: 4242: 3965:. International Typeface Corporation. Archived from the original on 29 July 2012 1091: 287: 4965: 4932:

Ornamented types: twenty-three alphabets from the foundry of Louis John Poucheé

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Fat face italic; the sample text "VANWAYMAN" shows its range of swash capitals

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Lane, John A. (1993). "The Caslon Type Specimen in the Museum Van Het Boek".

4125: 2938: 259:

made it well-known. By 1763 its stock had expanded to be shown in book form.

4728: 4694:(1991). "Arthur Nicholls and his Greek Type for the King's Printing House". 4589:"A to Z of Founder's London: A showing and synopsis of ITC Founder's Caslon" 3755: 3393: 1184: 907: 876: 837: 806: 576: 525: 396: 275: 149: 4560:

Notes on a Century of Typography at the University Press, Oxford, 1693–1794

875:

By the late nineteenth century it was clear that for large-run printing of

5009:

Number of Eminent Writers and Ingenious Artists; with a Very Copious Index

883:, which cast fresh new type for each printing job, and in the case of the 2671:[Untitled fragment of a specimen book of printing types, c. 1816] 619: 599:

During the early nineteenth century, the foundry employed as punchcutter

246: 5012:. Vol. 2. Printed for the author , by Nichols, Son, and Bentley ... 4317: 3751:"Best of British: A historic type firm that's still at the cutting edge" 863:

Materials of the Fonderie Caslon at the Musée de l'imprimerie de Nantes.

371:, the foundry's last owner, commented that the foundry began operations 301: 4432:

Sir Henry Bessemer, F.R.S.: an autobiography; with a concluding chapter

3893: 2408: 4446:

Greek Printing Types in Britain in the Nineteenth Century: A Catalogue

2891: 2157: 958: 946: 450: 239: 129: 112: 91: 4044: 4042: 4040: 2691: 2689: 152:, was the oldest type foundry in London, and the most prestigious. 4934:. I.M. Imprimit in association with the St. Bride Printing Library. 3851:(1st ed.). Nottingham, England: Plough Press. pp. 101–2. 31:

Painting of William Caslon, founder of the Caslon type foundry, by

992: 866: 858: 819: 814: 760: 586: 535: 474: 459: 417: 386: 300: 209: 3998:

Mosley, James (1982). "Eric Gill and the Golden Cockerel Type".

4939:

Mosley, James (2001). "Memories of an Apprentice Typefounder".

2641:

John Cheney and His Descendants: Printers in Banbury Since 1767

1098:

in Birmingham that appeared towards the end of Caslon's career.

965:

based on the Caslon Foundry's later types have been published.

540:

William Caslon IV's Egyptian typeface in an early specimen book

294:

model and his Armenian type on types cut in the Netherlands by

245:

Caslon's premises as a gun engraver were based in Vine Street,

198:

was one of the largest centres of printing expertise, and both

4863: 4154: 1672:"John Lane & Mathieu Lommen: ATypI Amsterdam Presentation" 1151:

The specimen is included in a reprint edition of John Smith's

3718:

Squire, Sir John Collings; Scott-James, Rolfe Arnold (1923).

3346: 3344: 3342: 1483: 1481: 887:

cast each line in rigid blocks. In 1897 James Figgins of the

1054:

suggests that the foundry opened "probably in 1722 or 1723".

144:, probably in 1720. For most of its history it was based at 5141: 4854:

Robert Thorne and the Introduction of the 'modern' fat face

2378:[Untitled fragment of a specimen of printing types] 2229: 2227: 524:, an attempt to create a new paper-saving typeface with no 497:

Much of Drury's work survives intact in the collection of

4015: 4013: 2976: 2974: 2972: 2970: 1993: 1991: 1989: 1964: 1962: 1960: 1958: 610:

In 1821, a Caslon & Catherwood specimen introduced a

3438: 3436: 3434: 2811: 2809: 2485: 2483: 163:. The type foundry section of the company was bought by 4912:. Oxford Bibliographical Society/University of Reading. 3679:"Eminent Living Printers No. IX: Mr Henry James Tucker" 1774: 1772: 1770: 1768: 902:

and issuing a specimen designed by the leading printer

367:

from those of that celebrated Founder." Decades later,

2708: 2706: 2704: 2341: 2339: 2099: 2097: 1242:

Most of Austin's punches survive at St. Bride library.

805:

On 14 July 1874, Henry William Caslon died at home in

399:

in 1778, ownership of the foundry was divided between

5190:

Companies based in the City and District of St Albans

5109:

Treadwell, Michael (1980). "The Grover typefoundry".

4954:

Mosley, James (2004). "Jackson, Joseph (1733–1792)".

2218:

Freemason's Magazine, Or General and Complete Library

813:, developing a French branch of the company based in 5091:

Revival Type: Digital Typefaces Inspired by the Past

3744: 3742: 2619:. University of California Press. pp. 141–142. 1849: 1847: 1442: 1440: 1438: 1400: 1398: 1396: 1134:

also ran a chocolate business. Its name survives in

242:

is the name now given to designs based on his work.

3871: 2754: 2695: 1949: 1873: 1871: 464:In the 1790s the Caslon foundry began to introduce 183:, carefully cutting punches in steel used to stamp 104: 86: 76: 68: 58: 50: 40: 5175:Companies based in the London Borough of Islington 3493: 3059:"A. Bessemer's Specimen of Printing Types, 1830". 2784:William Caslon, of Finsbury-square, letter-founder 1417:Mosley, James (2008). "William Caslon the elder". 3141:"Arbor, a Fresh Interpretation of Caslon Italian" 2933: 2931: 2435:"Strong, Elizabeth, d. 1809; BRSBC.M428 on eHive" 1164:The Glasgow foundry is presumably the foundry of 786:for high-class printing in a traditional style. 324:. According to Jackson's later client and friend 5170:Letterpress font foundries of the United Kingdom 3652:"Atelier de Typographie de Défense de la France" 1505:The Printers' Journal and Typographical Magazine 4910:British type specimens before 1831: a hand-list 3034:"Sir Henry Bessemer's Connection with Printing" 1005:1809–1821: Henry Caslon II and F. F. Catherwood 937:collection when it ceased to cast metal type. 4886:(1967). "The Early Career of William Caslon". 2859:Letters of credit : a view of type design 1810:"Type Designs of the Past and Present, Part 3" 567:Some time before 1816, Caslon IV introduced a 504:From 1807 the foundry was paid to cast a new " 5046:A History of the Old English Letter Foundries 5023:A History of the Old English Letter Foundries 1339: 891:commented "the Lino is ruining us entirely". 8: 4960:(online ed.). Oxford University Press. 4767:The Diaspora of Armenian Printing, 1512-2012 3626: 3504:(online ed.). Oxford University Press. 2943:. Caslon & Catherwood/Henry Caslon. 1821 2605: 2603: 2187:Sherman, Nick; Mosley, James (9 July 2012). 1536: 1534: 989:List of names and proprietors of the foundry 19: 4596:Friends of the St. Bride's Printing Library 4527:(1965). "Caslon Punches: An Interim Note". 4031: 3554: 3454: 1889: 1622: 1586: 1487: 1423:(online ed.). Oxford University Press. 5111:Journal of the Printing Historical Society 4897:Journal of the Printing Historical Society 4888:Journal of the Printing Historical Society 4529:Journal of the Printing Historical Society 4448:. Oxford: Oxford Bibliographical Society. 4155:"The Past is the Present with Paul Barnes" 3828:. London: H. W. Caslon & Co. Ltd. 1915 3171:Ultrabold: The Journal of St Bride Library 3061:Journal of the Printing Historical Society 2653:: CS1 maint: location missing publisher ( 1082:type of the previous century, the work of 25: 18: 5094:. Yale University Press. pp. 79–84. 4625:(2000). "Caslon's punches and matrices". 2992: 1747: 1547:. Yale University Press. pp. 63–64. 800:parade ground at the rear of the premises 5185:British companies disestablished in 1937 4463:Bigmore, E. C.; Wyman, C. W. H. (1880). 3408:"[Advertisement] To Capitalists" 3186:Letters of Credit: A View of Type Design 3020: 2922:Newsletter of the Camden History Society 2214:"Mrs. Elizabeth Caslon, with a portrait" 4957:Oxford Dictionary of National Biography 4112: 4019: 3810: 3705: 3638: 3501:Oxford Dictionary of National Biography 2980: 2802:. W. Clarke and Sons. pp. 379–380. 2318: 2233: 1997: 1968: 1420:Oxford Dictionary of National Biography 1332: 1023: 635: 591:Porsonic Greek typefaces, 1821 specimen 512:based on the handwriting of classicist 187:, the moulds used to cast metal type. 5077:Practical Hints on Decorative Printing 3976: 3442: 3244: 3232: 3208: 2815: 2646: 2594: 2525: 2513: 2501: 2489: 2421: 2330: 2306: 2294: 2282: 2245: 2057: 1937: 1901: 1778: 1759: 1735: 1658: 1646: 1634: 1610: 1598: 1574: 1525: 1461:"A lost Caslon type: Long Primer No 1" 1446: 1387: 1317:In 1840, Gertrude Catherwood, wife of 481:Practical Hints in Decorative Printing 4748:Greek Letters: From Tablets to Pixels 4674:Selected essays on books and printing 4490:. Oak Knoll Press. pp. 129–144. 4488:Greek Letters: From Tablets to Pixels 4074: 2116:Smith, John (1787). Anonymous (ed.). 2009: 1980: 1853: 1838: 179:Metal type was traditionally made by 35:. He holds his specimen of his types. 16:English type foundry, founded c. 1720 7: 4466:A Bibliography of Printing: Volume I 3798: 3308: 3256: 3220: 2961: 2712: 2103: 2072:"Old and New Fashions in Typography" 2045: 1925: 1913: 1877: 1696: 1404: 1375: 1363: 1351: 717:Condensed sans-serif italic capitals 615:William Livermore became a partner. 516:, which had been cut by punchcutter 401:his widow, Elizabeth (née Cartlitch) 3495:"Catherwood, Frederick (1799–1854)" 3038:The Printing Times and Lithographer 2833:"The Nymph and the Grot: an Update" 2351:"Brunel Collection: Read the story" 1117:And possibly earlier: according to 741:Italian (reverse-contrast) typeface 528:. The type did not become popular. 3959:"Eric Gill and the Cockerel Press" 2399:@commerclassics (March 15, 2019). 1541:Macmillan, Neil (1 January 2006). 957:Besides the many digitisations of 871:The Caslon foundry's 1915 specimen 603:, the father of the industrialist 14: 4563:. Oxford: Oxford University Press 4422:William Caslon, Master of Letters 3872:Howes, Mosley & Chartres 1998 3849:George W. Jones: Printer Laureate 2755:Howes, Mosley & Chartres 1998 2696:Howes, Mosley & Chartres 1998 1950:Howes, Mosley & Chartres 1998 959:William Caslon I's original types 435:, his 1825 textbook on printing: 3933:"William Caslon, Letter Founder" 3167:"A Short History of the Italian" 2643:. Banbury. 1936. pp. 26–31. 1717:. TYPO, republished by PampaType 1501:"Messrs. Caslon and Co's Dinner" 746: 734: 722: 710: 698: 686: 674: 662: 650: 638: 305:The Caslon family chest tomb at 5150:library of metal type specimens 4051:"The materials of typefounding" 3884:@GraphicGirl (April 19, 2021). 3677:Bassett, John (November 1890). 3656:Musée de la résistance en ligne 3599:. Amberley Publishing Limited. 3536:. H.W. Caslon and Company. 1857 3298:. 29 August 1828. p. 1638. 2725:Fraas, Mitch (9 January 2014). 2025:(2004). "Caslon's Patagonian". 1014:1850–1873: H. W. Caslon and Co. 5180:1720 establishments in England 3908:"At The Caslon Letter Foundry" 3593:Tucker, Joan (15 March 2012). 2150:"Comments on Typophile thread" 2076:Journal of the Society of Arts 532:The second Caslon type foundry 1: 4862:Morlighem, Sébastien (2021). 4851:Morlighem, Sébastien (2020). 4836:Morlighem, Sébastien (2014). 3278:. 18 April 1826. p. 913. 3139:Shaw, Paul (5 October 2010). 2375:Caslon, Elizabeth (c. 1799). 753:Ultra-bold modern blackletter 729:Rounded and shaded sans-serif 395:Since William Caslon II died 4974:UK public library membership 4509:. Thessaloniki: Typophilia. 3720:"The Late Mr. Sydney Caslon" 3658:. Fondation de la Résistance 3518:UK public library membership 3473:. S. Sweet. pp. 431–433 2915:"The Dutton Street Gasworks" 2727:"Always check the endpapers" 2540:"Porson's Greek type design" 2261:A Specimen of Printing Types 2070:Reed, Talbot Baines (1890). 1928:, pp. 104–107, 129–130. 1429:UK public library membership 772:The Diary of Lady Willoughby 4708:10.1093/library/s6-13.4.297 4549:. Baldwin, Cradock and Joy. 4268:"Caslon Rounded Collection" 3687:. Chicago. pp. 150–151 3596:Ferries of the Upper Thames 3568:"The Caslon Letter Foundry" 3416:. W. Lewer. 10 October 1846 3356:"Recasting Caslon Old Face" 3188:. Boston: David R. Godine. 3115:"Caslon Italian Collection" 2861:. Boston: David R. Godine. 2674:. London: William Caslon IV 2668:Caslon, William IV (1816). 1711:"The Briot project. Part I" 1011:1840–1850: Caslon & Son 765:Title and last page of the 681:Antique (slab-serif) italic 5206: 4643:"A Note on William Caslon" 4185:"Isambard: read the story" 4089:"Pouchee's lost alphabets" 2940:Specimen of Printing Types 2796:Christian, Edward (1818). 2735:University of Pennsylvania 1865:Type Specimen Facsimiles 2 1297:Gas Light and Coke Company 828:on an 1877 Caslon-branded 510:Cambridge University Press 4995:10.1093/library/s5-X.2.86 4823:. Oxford University Press 4799:10.1163/15700690-12341283 3983:: CS1 maint: unfit URL ( 3847:Wallis, Lawrence (2004). 1808:Morison, Stanley (1937). 1340:Barker & Collins 1983 612:reverse-contrast typeface 24: 4429:Bessemer, Henry (1905). 4405:. London: Scolar Press. 4401:; Collins, John (1983). 4343:"Parliament: How to use" 3627:Bigmore & Wyman 1880 3492:Aguirre, Robert (2009). 2258:Caslon, William (1785). 1544:An A–Z of Type Designers 1180:Daily Universal Register 1052:An A–Z of Type Designers 409:of March 1796 felt that: 136:. It was founded by the 4930:Mosley, James (1993b). 4729:10.1163/157006993X00235 4293:"Caslon French Antique" 4032:Reed & Johnson 1974 3555:Reed & Johnson 1974 3455:Reed & Johnson 1974 3394:10.1163/157006971X00301 3165:Shields, David (2008). 1890:Reed & Johnson 1974 1816:: 17–81. Archived from 1623:Reed & Johnson 1974 1587:Reed & Johnson 1974 1488:Reed & Johnson 1974 569:new sans-serif typeface 206:William Caslon I and II 200:Oxford University Press 4966:10.1093/ref:odnb/14539 4908:Mosley, James (1984). 4765:Lane, John A. (2012). 4676:. Van Gendt & Co. 4541:Hansard, Thomas Curson 4505:Bowman, J. H. (1998). 4444:Bowman, J. H. (1992). 4424:. The Roundwood Press. 4420:Ball, Johnson (1973). 3963:Upper & Lower Case 3510:10.1093/ref:odnb/38316 3321:Caslon, Henry (1841). 3184:Tracy, Walter (2003). 3010:. 1819. pp. 68–9. 2857:Tracy, Walter (2003). 2566:"Porson's Greek Types" 2564:Mosley, James (1960). 2189:"The Dunlap Broadside" 1130:The company's founder 1001: 900:American Type Founders 872: 864: 842: 832: 778:In the mid-1840s, the 775: 592: 541: 495: 484: 469: 442: 423: 416: 392: 377: 348:for historical value. 309: 219: 5080:. London. p. 72. 5039:Reed, Talbot Baines; 4844:University of Reading 3641:, pp. 36–37, 42. 2461:"New bottle old wine" 2119:The Printer's Grammar 1153:The Printer's Grammar 1140:Fry's Turkish Delight 1136:Fry's Chocolate Cream 1090:in Amsterdam and the 1084:Pierre-Simon Fournier 996: 943:Musée de l'imprimerie 881:hot metal typesetting 870: 862: 838:necessary legal steps 834: 823: 764: 590: 539: 486: 478: 463: 437: 428:Thomas Curson Hansard 421: 411: 390: 373: 307:St Luke's, Old Street 304: 213: 2913:Mills, Mary (2001). 2888:Typophile (archived) 2220:. J.W. Bunney. 1796. 2160:on 28 September 2017 1319:Frederick Catherwood 927:Monotype Corporation 522:Rusher's Patent Type 406:Freemason's Magazine 132:which cast and sold 5018:Reed, Talbot Baines 4750:. Oak Knoll Press. 4239:Schwartz, Christian 3457:, pp. 250–251. 3259:, pp. 359–360. 3235:, pp. 119–124. 3083:Schwartz, Christian 2528:, pp. 131–134. 1841:, pp. 113–115. 1507:. September 3, 1866 1465:Type Foundry (blog) 1354:, pp. 301–303. 426:The London printer 122:Caslon type foundry 21: 20:Caslon Type Foundry 5041:Johnson, Alfred F. 4815:Ricks, Christopher 4807:Mores, Edward Rowe 4737:from 1738 to 1753. 4670:Johnson, Alfred F. 4639:Johnson, Alfred F. 4609:on 1 November 2005 4473:. pp. 103–109 4247:Christian Schwartz 3725:The London Mercury 3684:The Inland Printer 3295:The London Gazette 3275:The London Gazette 2772:Universal Magazine 2757:, pp. 20, 30. 2613:(1 January 1977). 2570:The Penrose Annual 1637:, pp. 74, 76. 1378:, p. 162–166. 1002: 873: 865: 833: 784:fine book printers 776: 605:Sir Henry Bessemer 593: 542: 485: 470: 424: 393: 310: 220: 5129:. pp. 57–72. 5101:978-0-300-21929-6 4972:(Subscription or 4650:Monotype Recorder 4585:Chartres, Richard 3937:Spitalfields Life 3912:Spitalfields Life 3780:. Companies House 3606:978-1-4456-2007-7 3516:(Subscription or 2626:978-0-520-03308-5 2285:, pp. 89–90. 2236:, pp. 351–2. 2173:Stephenson, Blake 2012:, pp. 59–62. 1904:, pp. 86–87. 1750:, pp. 48–53. 1699:, pp. 408–9. 1613:, pp. 73–74. 1554:978-0-300-11151-4 1427:(Subscription or 1231:Bristol Cathedral 1119:Edward Rowe Mores 1076:For instance the 855:Twentieth century 849:Philip Thicknesse 811:Caslon's Circular 705:Shaded slab-serif 693:Shaded slab serif 645:Fat-face typeface 479:William Savage's 346:Edward Rowe Mores 330:Edward Rowe Mores 280:Alfred F. Johnson 118: 117: 5197: 5155:Photograph, 1910 5130: 5118: 5105: 5081: 5067: 5065: 5063: 5035: 5033: 5031: 5013: 4998: 4977: 4969: 4950: 4935: 4926: 4913: 4904: 4891: 4879: 4877: 4875: 4858: 4847: 4832: 4830: 4828: 4802: 4780: 4761: 4739: 4711: 4687: 4665: 4663: 4661: 4647: 4634: 4618: 4616: 4614: 4608: 4602:. Archived from 4600:St Bride Library 4593: 4572: 4570: 4568: 4550: 4536: 4520: 4501: 4482: 4480: 4478: 4471:Bernard Quaritch 4459: 4440: 4425: 4416: 4391:Cited literature 4385: 4384: 4382: 4380: 4368:Parkinson, Jim. 4365: 4359: 4358: 4356: 4354: 4347:Hoefler & Co 4339: 4333: 4332: 4330: 4328: 4322:Jonathan Hoefler 4314: 4308: 4307: 4305: 4303: 4289: 4283: 4282: 4280: 4278: 4264: 4258: 4257: 4255: 4253: 4235: 4229: 4228: 4226: 4224: 4214:"Notes on Notes" 4206: 4200: 4199: 4197: 4195: 4177: 4171: 4170: 4168: 4166: 4153:(10 July 2019). 4147: 4141: 4140: 4138: 4136: 4122: 4116: 4110: 4104: 4103: 4101: 4099: 4084: 4078: 4072: 4066: 4065: 4063: 4061: 4046: 4035: 4029: 4023: 4017: 4008: 4007: 3995: 3989: 3988: 3982: 3974: 3972: 3970: 3954: 3948: 3947: 3945: 3943: 3929: 3923: 3922: 3920: 3918: 3904: 3898: 3897: 3881: 3875: 3869: 3863: 3862: 3844: 3838: 3837: 3835: 3833: 3820: 3814: 3808: 3802: 3796: 3790: 3789: 3787: 3785: 3778:"Caslon Limited" 3774: 3768: 3767: 3765: 3763: 3746: 3737: 3736: 3734: 3732: 3715: 3709: 3703: 3697: 3696: 3694: 3692: 3674: 3668: 3667: 3665: 3663: 3648: 3642: 3636: 3630: 3624: 3618: 3617: 3615: 3613: 3590: 3584: 3583: 3581: 3579: 3564: 3558: 3552: 3546: 3545: 3543: 3541: 3528: 3522: 3521: 3513: 3497: 3489: 3483: 3482: 3480: 3478: 3464: 3458: 3452: 3446: 3440: 3429: 3428: 3423: 3421: 3404: 3398: 3397: 3377: 3371: 3370: 3368: 3366: 3348: 3337: 3336: 3334: 3332: 3318: 3312: 3306: 3300: 3299: 3286: 3280: 3279: 3266: 3260: 3254: 3248: 3242: 3236: 3230: 3224: 3218: 3212: 3206: 3200: 3199: 3181: 3175: 3174: 3162: 3156: 3155: 3153: 3151: 3136: 3130: 3129: 3127: 3125: 3110: 3104: 3103: 3101: 3099: 3075: 3069: 3068: 3056: 3050: 3049: 3047: 3045: 3030: 3024: 3018: 3012: 3011: 3002: 2996: 2990: 2984: 2978: 2965: 2959: 2953: 2952: 2950: 2948: 2935: 2926: 2925: 2919: 2910: 2904: 2903: 2901: 2899: 2890:. 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Archived from 2142: 2136: 2135: 2133: 2131: 2113: 2107: 2101: 2092: 2091: 2089: 2087: 2067: 2061: 2055: 2049: 2043: 2037: 2036: 2019: 2013: 2007: 2001: 1995: 1984: 1978: 1972: 1966: 1953: 1947: 1941: 1935: 1929: 1923: 1917: 1911: 1905: 1899: 1893: 1887: 1881: 1875: 1866: 1863: 1857: 1851: 1842: 1836: 1830: 1829: 1827: 1825: 1805: 1799: 1798: 1797:. pp. 52–3. 1788: 1782: 1776: 1763: 1757: 1751: 1745: 1739: 1733: 1727: 1726: 1724: 1722: 1709:de Jong, Feike. 1706: 1700: 1694: 1688: 1687: 1685: 1683: 1668: 1662: 1656: 1650: 1644: 1638: 1632: 1626: 1620: 1614: 1608: 1602: 1596: 1590: 1584: 1578: 1572: 1566: 1565: 1563: 1561: 1538: 1529: 1523: 1517: 1516: 1514: 1512: 1497: 1491: 1485: 1476: 1475: 1473: 1471: 1456: 1450: 1444: 1433: 1432: 1424: 1414: 1408: 1402: 1391: 1385: 1379: 1373: 1367: 1361: 1355: 1349: 1343: 1337: 1322: 1315: 1309: 1306: 1300: 1293: 1287: 1275: 1269: 1261: 1255: 1249: 1243: 1240: 1234: 1227: 1221: 1214: 1208: 1205: 1199: 1195: 1189: 1175: 1169: 1166:Alexander Wilson 1162: 1156: 1149: 1143: 1128: 1122: 1115: 1109: 1105: 1099: 1096:John Baskerville 1092:Baskerville type 1074: 1068: 1061: 1055: 1048: 1042: 1038: 1032: 1028: 978:Jonathan Hoefler 885:Linotype machine 750: 738: 726: 714: 702: 690: 678: 666: 654: 642: 601:Anthony Bessemer 573:Stephenson Blake 546:Salisbury Square 508:" for Greek for 499:St Bride Library 357:John Baskerville 350:Alexander Wilson 268:display typeface 165:Stephenson Blake 142:William Caslon I 140:and typefounder 81:Stephenson Blake 29: 22: 5205: 5204: 5200: 5199: 5198: 5196: 5195: 5194: 5160: 5159: 5138: 5133: 5123:Wolpe, Berthold 5121: 5108: 5102: 5084: 5072:Savage, William 5070: 5061: 5059: 5057: 5038: 5029: 5027: 5016: 5001: 4980: 4971: 4953: 4938: 4929: 4916: 4907: 4894: 4882: 4873: 4871: 4861: 4850: 4835: 4826: 4824: 4805: 4783: 4777: 4764: 4758: 4742: 4714: 4690: 4684: 4668: 4659: 4657: 4645: 4637: 4621: 4612: 4610: 4606: 4591: 4575: 4566: 4564: 4553: 4539: 4523: 4517: 4504: 4498: 4485: 4476: 4474: 4462: 4456: 4443: 4428: 4419: 4413: 4399:Barker, Nicolas 4397: 4393: 4388: 4378: 4376: 4367: 4366: 4362: 4352: 4350: 4341: 4340: 4336: 4326: 4324: 4316: 4315: 4311: 4301: 4299: 4297:Commercial Type 4291: 4290: 4286: 4276: 4274: 4272:Commercial Type 4266: 4265: 4261: 4251: 4249: 4237: 4236: 4232: 4222: 4220: 4218:Commercial Type 4208: 4207: 4203: 4193: 4191: 4189:Commercial Type 4179: 4178: 4174: 4164: 4162: 4149: 4148: 4144: 4134: 4132: 4124: 4123: 4119: 4111: 4107: 4097: 4095: 4086: 4085: 4081: 4073: 4069: 4059: 4057: 4049:Mosley, James. 4048: 4047: 4038: 4030: 4026: 4018: 4011: 3997: 3996: 3992: 3975: 3968: 3966: 3957:Mosley, James. 3956: 3955: 3951: 3941: 3939: 3931: 3930: 3926: 3916: 3914: 3906: 3905: 3901: 3883: 3882: 3878: 3870: 3866: 3859: 3846: 3845: 3841: 3831: 3829: 3822: 3821: 3817: 3809: 3805: 3797: 3793: 3783: 3781: 3776: 3775: 3771: 3761: 3759: 3749:Eccles, Simon. 3748: 3747: 3740: 3730: 3728: 3717: 3716: 3712: 3704: 3700: 3690: 3688: 3676: 3675: 3671: 3661: 3659: 3650: 3649: 3645: 3637: 3633: 3625: 3621: 3611: 3609: 3607: 3592: 3591: 3587: 3577: 3575: 3572:British Printer 3566: 3565: 3561: 3553: 3549: 3539: 3537: 3530: 3529: 3525: 3515: 3491: 3490: 3486: 3476: 3474: 3466: 3465: 3461: 3453: 3449: 3441: 3432: 3419: 3417: 3406: 3405: 3401: 3379: 3378: 3374: 3364: 3362: 3350: 3349: 3340: 3330: 3328: 3320: 3319: 3315: 3307: 3303: 3288: 3287: 3283: 3268: 3267: 3263: 3255: 3251: 3243: 3239: 3231: 3227: 3219: 3215: 3207: 3203: 3196: 3183: 3182: 3178: 3164: 3163: 3159: 3149: 3147: 3138: 3137: 3133: 3123: 3121: 3119:Commercial Type 3112: 3111: 3107: 3097: 3095: 3077: 3076: 3072: 3058: 3057: 3053: 3043: 3041: 3032: 3031: 3027: 3023:, pp. 4–8. 3019: 3015: 3004: 3003: 2999: 2991: 2987: 2979: 2968: 2960: 2956: 2946: 2944: 2937: 2936: 2929: 2917: 2912: 2911: 2907: 2897: 2895: 2894:on 28 June 2014 2882:Mosley, James. 2881: 2880: 2876: 2869: 2856: 2855: 2851: 2841: 2839: 2827: 2826: 2822: 2814: 2807: 2795: 2794: 2790: 2777: 2775: 2766: 2765: 2761: 2753: 2749: 2739: 2737: 2724: 2723: 2719: 2711: 2702: 2694: 2687: 2677: 2675: 2667: 2666: 2662: 2645: 2639: 2638: 2634: 2627: 2611:Goudy, Frederic 2609: 2608: 2601: 2593: 2589: 2579: 2577: 2563: 2562: 2558: 2548: 2546: 2538:Mosley, James. 2537: 2536: 2532: 2524: 2520: 2512: 2508: 2500: 2496: 2488: 2481: 2471: 2469: 2451: 2450: 2446: 2433: 2432: 2428: 2420: 2416: 2398: 2397: 2393: 2383: 2381: 2374: 2373: 2369: 2359: 2357: 2355:Commercial Type 2345: 2344: 2337: 2329: 2325: 2321:, pp. 352. 2317: 2313: 2305: 2301: 2293: 2289: 2281: 2277: 2267: 2265: 2257: 2256: 2252: 2244: 2240: 2232: 2225: 2212: 2211: 2207: 2197: 2195: 2186: 2185: 2181: 2163: 2161: 2144: 2143: 2139: 2129: 2127: 2115: 2114: 2110: 2102: 2095: 2085: 2083: 2069: 2068: 2064: 2056: 2052: 2044: 2040: 2021: 2020: 2016: 2008: 2004: 1996: 1987: 1979: 1975: 1967: 1956: 1948: 1944: 1936: 1932: 1924: 1920: 1912: 1908: 1900: 1896: 1888: 1884: 1876: 1869: 1864: 1860: 1852: 1845: 1837: 1833: 1823: 1821: 1807: 1806: 1802: 1790: 1789: 1785: 1777: 1766: 1758: 1754: 1746: 1742: 1734: 1730: 1720: 1718: 1708: 1707: 1703: 1695: 1691: 1681: 1679: 1670: 1669: 1665: 1657: 1653: 1645: 1641: 1633: 1629: 1621: 1617: 1609: 1605: 1597: 1593: 1585: 1581: 1573: 1569: 1559: 1557: 1555: 1540: 1539: 1532: 1524: 1520: 1510: 1508: 1499: 1498: 1494: 1486: 1479: 1469: 1467: 1459:Mosley, James. 1458: 1457: 1453: 1445: 1436: 1426: 1416: 1415: 1411: 1403: 1394: 1386: 1382: 1374: 1370: 1362: 1358: 1350: 1346: 1338: 1334: 1330: 1325: 1316: 1312: 1307: 1303: 1294: 1290: 1276: 1272: 1262: 1258: 1250: 1246: 1241: 1237: 1228: 1224: 1215: 1211: 1206: 1202: 1198:was continuing. 1196: 1192: 1176: 1172: 1163: 1159: 1150: 1146: 1129: 1125: 1116: 1112: 1106: 1102: 1075: 1071: 1062: 1058: 1049: 1045: 1039: 1035: 1029: 1025: 1021: 991: 974:Commercial Type 955: 931:Pouchée foundry 920: 904:George W. Jones 889:Figgins foundry 879:the future was 857: 759: 758: 757: 754: 751: 742: 739: 730: 727: 718: 715: 706: 703: 694: 691: 682: 679: 670: 667: 658: 655: 646: 643: 585: 558:Vincent Figgins 554:Finsbury Square 534: 506:Porson typeface 385: 341: 284:Stanley Morison 208: 177: 146:Chiswell Street 113:Caslon typeface 111: 100: 94: 36: 17: 12: 11: 5: 5203: 5201: 5193: 5192: 5187: 5182: 5177: 5172: 5162: 5161: 5158: 5157: 5152: 5144: 5137: 5136:External links 5134: 5132: 5131: 5119: 5106: 5100: 5088:(April 2017). 5082: 5068: 5055: 5036: 5026:. Elliot Stock 5014: 4999: 4978: 4951: 4936: 4927: 4914: 4905: 4892: 4880: 4859: 4848: 4833: 4803: 4793:(4): 311–439. 4781: 4775: 4762: 4756: 4740: 4712: 4702:(4): 297–322. 4688: 4682: 4666: 4635: 4619: 4573: 4551: 4537: 4521: 4515: 4502: 4496: 4483: 4460: 4454: 4441: 4426: 4417: 4411: 4394: 4392: 4389: 4387: 4386: 4360: 4334: 4309: 4284: 4259: 4230: 4201: 4172: 4142: 4117: 4105: 4087:Daines, Mike. 4079: 4067: 4036: 4034:, p. 253. 4024: 4009: 3990: 3949: 3924: 3899: 3892:) – via 3876: 3864: 3857: 3839: 3815: 3803: 3801:, p. 245. 3791: 3769: 3738: 3710: 3698: 3669: 3643: 3631: 3629:, p. 105. 3619: 3605: 3585: 3559: 3557:, p. 251. 3547: 3523: 3484: 3459: 3447: 3430: 3399: 3372: 3338: 3313: 3311:, p. 254. 3301: 3281: 3261: 3249: 3247:, p. 133. 3237: 3225: 3223:, p. 124. 3213: 3201: 3194: 3176: 3157: 3131: 3113:Barnes, Paul. 3105: 3087:"Type Tuesday" 3070: 3051: 3025: 3013: 2997: 2993:Morlighem 2020 2985: 2966: 2964:, p. 253. 2954: 2927: 2905: 2874: 2867: 2849: 2820: 2805: 2788: 2759: 2747: 2731:Unique at Penn 2717: 2715:, p. 320. 2700: 2685: 2660: 2632: 2625: 2599: 2597:, p. 119. 2587: 2556: 2530: 2518: 2516:, p. 118. 2506: 2504:, p. 114. 2494: 2492:, p. 108. 2479: 2444: 2426: 2414: 2407:) – via 2391: 2367: 2335: 2323: 2311: 2309:, p. 101. 2299: 2287: 2275: 2250: 2238: 2223: 2205: 2179: 2137: 2108: 2106:, p. 310. 2093: 2062: 2050: 2048:, p. 319. 2038: 2014: 2002: 2000:, p. 351. 1985: 1973: 1971:, p. 359. 1954: 1942: 1930: 1918: 1906: 1894: 1882: 1867: 1858: 1843: 1831: 1800: 1783: 1764: 1752: 1748:Treadwell 1980 1740: 1728: 1701: 1689: 1663: 1651: 1639: 1627: 1625:, p. 233. 1615: 1603: 1601:, pp. 68. 1591: 1589:, p. 256. 1579: 1567: 1553: 1530: 1518: 1492: 1490:, p. 239. 1477: 1451: 1434: 1409: 1392: 1380: 1368: 1366:, p. 297. 1356: 1344: 1331: 1329: 1326: 1324: 1323: 1310: 1301: 1288: 1270: 1266:Pierre Haultin 1256: 1252:Frederic Goudy 1244: 1235: 1222: 1209: 1200: 1190: 1170: 1157: 1144: 1132:Dr. Joseph Fry 1123: 1110: 1100: 1069: 1065:Nicholas Briot 1056: 1043: 1033: 1022: 1020: 1017: 1016: 1015: 1012: 1009: 1006: 990: 987: 954: 951: 919: 916: 898:typeface from 856: 853: 780:Chiswick Press 767:Chiswick Press 756: 755: 752: 745: 743: 740: 733: 731: 728: 721: 719: 716: 709: 707: 704: 697: 695: 692: 685: 683: 680: 673: 671: 668: 661: 659: 656: 649: 647: 644: 637: 634: 633: 632: 584: 581: 533: 530: 518:Richard Austin 514:Richard Porson 384: 381: 369:Dr. Edmund Fry 340: 337: 322:Joseph Jackson 270:cut by Moxon. 228:Worcestershire 207: 204: 196:Dutch Republic 176: 173: 116: 115: 106: 102: 101: 98:United Kingdom 96: 90: 88: 84: 83: 78: 74: 73: 70: 66: 65: 63:William Caslon 60: 56: 55: 52: 48: 47: 42: 38: 37: 30: 15: 13: 10: 9: 6: 4: 3: 2: 5202: 5191: 5188: 5186: 5183: 5181: 5178: 5176: 5173: 5171: 5168: 5167: 5165: 5156: 5153: 5151: 5149: 5145: 5143: 5140: 5139: 5135: 5128: 5124: 5120: 5116: 5112: 5107: 5103: 5097: 5093: 5092: 5087: 5083: 5079: 5078: 5073: 5069: 5058: 5056:9780712906357 5052: 5048: 5047: 5042: 5037: 5025: 5024: 5019: 5015: 5011: 5010: 5004: 5003:Nichols, John 5000: 4996: 4992: 4989:(2): 86–102. 4988: 4984: 4979: 4975: 4967: 4963: 4959: 4958: 4952: 4948: 4944: 4943: 4937: 4933: 4928: 4924: 4920: 4915: 4911: 4906: 4902: 4898: 4893: 4889: 4885: 4884:Mosley, James 4881: 4870:. Type@Cooper 4869: 4865: 4860: 4856: 4855: 4849: 4845: 4841: 4840: 4834: 4822: 4821: 4816: 4812: 4811:Carter, Harry 4808: 4804: 4800: 4796: 4792: 4788: 4782: 4778: 4776:9789081926409 4772: 4768: 4763: 4759: 4757:9781884718274 4753: 4749: 4745: 4744:Lane, John A. 4741: 4738: 4736: 4730: 4726: 4722: 4718: 4713: 4709: 4705: 4701: 4697: 4693: 4692:Lane, John A. 4689: 4685: 4683:9789063000165 4679: 4675: 4671: 4667: 4655: 4651: 4644: 4640: 4636: 4632: 4628: 4624: 4623:Howes, Justin 4620: 4605: 4601: 4597: 4590: 4586: 4582: 4581:Mosley, James 4578: 4577:Howes, Justin 4574: 4562: 4561: 4556: 4552: 4548: 4547: 4542: 4538: 4534: 4530: 4526: 4525:Carter, Harry 4522: 4518: 4516:9789607285201 4512: 4508: 4503: 4499: 4497:9781884718274 4493: 4489: 4484: 4472: 4468: 4467: 4461: 4457: 4455:9780901420503 4451: 4447: 4442: 4438: 4434: 4433: 4427: 4423: 4418: 4414: 4412:9780859676380 4408: 4404: 4400: 4396: 4395: 4390: 4375: 4374:Jim Parkinson 4371: 4364: 4361: 4348: 4344: 4338: 4335: 4323: 4319: 4313: 4310: 4298: 4294: 4288: 4285: 4273: 4269: 4263: 4260: 4248: 4244: 4240: 4234: 4231: 4219: 4215: 4211: 4205: 4202: 4190: 4186: 4182: 4176: 4173: 4161:. Type@Cooper 4160: 4156: 4152: 4146: 4143: 4131: 4127: 4121: 4118: 4114: 4109: 4106: 4094: 4090: 4083: 4080: 4076: 4071: 4068: 4056: 4052: 4045: 4043: 4041: 4037: 4033: 4028: 4025: 4022:, p. 34. 4021: 4016: 4014: 4010: 4005: 4001: 3994: 3991: 3986: 3980: 3964: 3960: 3953: 3950: 3938: 3934: 3928: 3925: 3913: 3909: 3903: 3900: 3895: 3891: 3887: 3880: 3877: 3874:, p. 14. 3873: 3868: 3865: 3860: 3858:9780972563673 3854: 3850: 3843: 3840: 3827: 3826: 3819: 3816: 3813:, p. 37. 3812: 3807: 3804: 3800: 3795: 3792: 3779: 3773: 3770: 3758: 3757: 3752: 3745: 3743: 3739: 3727: 3726: 3721: 3714: 3711: 3708:, p. 42. 3707: 3702: 3699: 3686: 3685: 3680: 3673: 3670: 3657: 3653: 3647: 3644: 3640: 3635: 3632: 3628: 3623: 3620: 3608: 3602: 3598: 3597: 3589: 3586: 3573: 3569: 3563: 3560: 3556: 3551: 3548: 3535: 3534: 3527: 3524: 3519: 3511: 3507: 3503: 3502: 3496: 3488: 3485: 3472: 3471: 3463: 3460: 3456: 3451: 3448: 3445:, p. 58. 3444: 3439: 3437: 3435: 3431: 3427: 3415: 3414: 3413:The Athenaeum 3409: 3403: 3400: 3395: 3391: 3387: 3383: 3376: 3373: 3361: 3357: 3353: 3352:Mosley, James 3347: 3345: 3343: 3339: 3326: 3325: 3317: 3314: 3310: 3305: 3302: 3297: 3296: 3291: 3285: 3282: 3277: 3276: 3271: 3265: 3262: 3258: 3253: 3250: 3246: 3241: 3238: 3234: 3229: 3226: 3222: 3217: 3214: 3211:, p. 29. 3210: 3205: 3202: 3197: 3195:9781567922400 3191: 3187: 3180: 3177: 3172: 3168: 3161: 3158: 3146: 3142: 3135: 3132: 3120: 3116: 3109: 3106: 3094: 3093: 3088: 3084: 3080: 3074: 3071: 3066: 3062: 3055: 3052: 3040:: 226–7. 1880 3039: 3035: 3029: 3026: 3022: 3021:Bessemer 1905 3017: 3014: 3009: 3008: 3001: 2998: 2994: 2989: 2986: 2983:, p. 35. 2982: 2977: 2975: 2973: 2971: 2967: 2963: 2958: 2955: 2942: 2941: 2934: 2932: 2928: 2923: 2916: 2909: 2906: 2893: 2889: 2885: 2878: 2875: 2870: 2868:9781567922400 2864: 2860: 2853: 2850: 2838: 2834: 2830: 2829:Mosley, James 2824: 2821: 2818:, p. 99. 2817: 2812: 2810: 2806: 2801: 2800: 2792: 2789: 2785: 2773: 2769: 2763: 2760: 2756: 2751: 2748: 2736: 2732: 2728: 2721: 2718: 2714: 2709: 2707: 2705: 2701: 2698:, p. 30. 2697: 2692: 2690: 2686: 2673: 2672: 2664: 2661: 2656: 2650: 2642: 2636: 2633: 2628: 2622: 2618: 2617: 2612: 2606: 2604: 2600: 2596: 2591: 2588: 2575: 2571: 2567: 2560: 2557: 2545: 2541: 2534: 2531: 2527: 2522: 2519: 2515: 2510: 2507: 2503: 2498: 2495: 2491: 2486: 2484: 2480: 2468: 2467: 2462: 2458: 2454: 2453:Walters, John 2448: 2445: 2440: 2436: 2430: 2427: 2424:, p. 20. 2423: 2418: 2415: 2410: 2406: 2402: 2395: 2392: 2380: 2379: 2371: 2368: 2356: 2352: 2348: 2342: 2340: 2336: 2333:, p. 86. 2332: 2327: 2324: 2320: 2315: 2312: 2308: 2303: 2300: 2297:, p. 90. 2296: 2291: 2288: 2284: 2279: 2276: 2263: 2262: 2254: 2251: 2248:, p. 27. 2247: 2242: 2239: 2235: 2230: 2228: 2224: 2219: 2215: 2209: 2206: 2194: 2190: 2183: 2180: 2176: 2174: 2159: 2155: 2151: 2147: 2146:Mosley, James 2141: 2138: 2125: 2121: 2120: 2112: 2109: 2105: 2100: 2098: 2094: 2081: 2077: 2073: 2066: 2063: 2060:, p. 89. 2059: 2054: 2051: 2047: 2042: 2039: 2034: 2030: 2029: 2024: 2023:Howes, Justin 2018: 2015: 2011: 2006: 2003: 1999: 1994: 1992: 1990: 1986: 1983:, p. 80. 1982: 1977: 1974: 1970: 1965: 1963: 1961: 1959: 1955: 1952:, p. 12. 1951: 1946: 1943: 1940:, p. 10. 1939: 1934: 1931: 1927: 1922: 1919: 1915: 1910: 1907: 1903: 1898: 1895: 1891: 1886: 1883: 1879: 1874: 1872: 1868: 1862: 1859: 1855: 1850: 1848: 1844: 1840: 1835: 1832: 1820:on 2017-09-04 1819: 1815: 1811: 1804: 1801: 1796: 1793: 1792:Johnson, A.F. 1787: 1784: 1781:, p. 14. 1780: 1775: 1773: 1771: 1769: 1765: 1762:, p. 22. 1761: 1756: 1753: 1749: 1744: 1741: 1737: 1732: 1729: 1716: 1712: 1705: 1702: 1698: 1693: 1690: 1677: 1673: 1667: 1664: 1661:, p. 11. 1660: 1655: 1652: 1649:, p. 76. 1648: 1643: 1640: 1636: 1631: 1628: 1624: 1619: 1616: 1612: 1607: 1604: 1600: 1595: 1592: 1588: 1583: 1580: 1577:, p. 73. 1576: 1571: 1568: 1556: 1550: 1546: 1545: 1537: 1535: 1531: 1528:, p. 67. 1527: 1522: 1519: 1506: 1502: 1496: 1493: 1489: 1484: 1482: 1478: 1466: 1462: 1455: 1452: 1448: 1443: 1441: 1439: 1435: 1430: 1422: 1421: 1413: 1410: 1407:, p. 78. 1406: 1401: 1399: 1397: 1393: 1389: 1384: 1381: 1377: 1372: 1369: 1365: 1360: 1357: 1353: 1348: 1345: 1342:, p. 87. 1341: 1336: 1333: 1327: 1320: 1314: 1311: 1305: 1302: 1298: 1292: 1289: 1285: 1281: 1274: 1271: 1267: 1260: 1257: 1253: 1248: 1245: 1239: 1236: 1232: 1226: 1223: 1218: 1213: 1210: 1204: 1201: 1194: 1191: 1187: 1186: 1181: 1174: 1171: 1167: 1161: 1158: 1154: 1148: 1145: 1141: 1137: 1133: 1127: 1124: 1120: 1114: 1111: 1104: 1101: 1097: 1093: 1089: 1085: 1081: 1080: 1079:romain du roi 1073: 1070: 1066: 1060: 1057: 1053: 1047: 1044: 1037: 1034: 1027: 1024: 1018: 1013: 1010: 1007: 1004: 1003: 1000: 999:Louisa Puller 995: 988: 986: 984: 983:Jim Parkinson 979: 975: 971: 966: 964: 963:digital fonts 960: 953:Digital fonts 952: 950: 948: 944: 938: 936: 932: 928: 923: 917: 915: 913: 909: 905: 901: 897: 892: 890: 886: 882: 878: 869: 861: 854: 852: 850: 845: 841: 839: 831: 827: 822: 818: 816: 812: 808: 803: 801: 795: 791: 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