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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.
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468:. 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."
675:
38:
386:"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."
1119:
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.
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339:, 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
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1332:, 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.
832:
277:'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
504:, 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.
531:. 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
313:
820:; 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,
2412:"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"
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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
370:'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.
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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
808:
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
373:
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
571:, 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.
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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
414:, (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
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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
1279:, although again this is poorly documented in the Caslon-era specimens for his foundry because Caslon III seemingly took duplicate matrices for exotic types on leaving the family business which he tended to show on his specimens.
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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".
205:, 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
181:
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.
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241:. 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
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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
249:. 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;
4795:
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
1319:
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'
3897:"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) …"
917:. 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
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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.
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343:, 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.
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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
862:, a Caslon family friend. However, the foundry switched from casting some of Caslon's original types, now branded as Caslon Old Face, with facsimiles that could be cast by machine.
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858:
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."
263:
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
166:
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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1240:
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
260:. 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.
555:
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,
451:
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.
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987:, 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.
201:
Type foundries operated in London from the early days of printing. Some punchcutters worked in London in the seventeenth century, including Arthur Nicholls and
483:
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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870:
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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
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563:. 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
4831:
A dissertation upon English typographical founders and founderies (1778) : with a catalogue and specimen of the type-foundry of John James (1782)
940:, meanwhile, bought up many of the other punches, including many nineteenth-century types and sets of decorated wood alphabets it had bought from the
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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.
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4757:(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.).
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Feeling, naturally, regret that the honoured and historical name of "Caslon" should die out...my sons, at my request and recommendation, took the
567:. Caslon apparently became bankrupt on January 5, 1793, but later rebuilt the business, moving it back to Salisbury Square. (Jackson's apprentice
2627:
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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582:, the first ever, which was branded as "Egyptian". In 1819, Caslon sold the foundry and it was bought by Blake, Garnett & Co., which became
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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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1244:. If Hansard's information is correct, she may be the Elizabeth Strong with a memorial in the cathedral who died March 3rd, 1809.
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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.
5136:(1964). "Caslon Architectural: On the origin and design of the large letters cut and cast by William Caslon II".
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960:, while as of 2022 the printing equipment division, Caslon Ltd., continues in business, now based in St. Albans.
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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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944:. These were later taken over by the St Bride Library, while Stephenson Blake's materials passed to the
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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
618:. Henry Caslon was Henry Bessemer's godfather and namesake. Bessemer later set up his own foundry.
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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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4875:"Dusting Latin Type History #1 on the Origin of Bold and Fat Faces with Sébastien Morlighem"
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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
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4780:. Amsterdam: Special Collections of the University of Amsterdam. pp. 70–86, 211–213.
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on John James' death in 1772 it was purchased by the antiquarian and insurance pioneer
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4614:
3391:
Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model – I".
3097:
5174:
1089:
1009:
993:
973:
325:
306:
4928:
Mosley, James (1993a). "The Caslon Type Foundry in 1902: Selections from an Album".
4195:
2895:"Comments on Typophile thread – "Unborn: sans serif lower case in the 19th century""
1297:
has speculated that Jackson began work on them but the Caslons finished the project.
1132:
he cut the foundry's Anglo-Saxon characters which appeared on its specimens by 1734.
233:
William Caslon (1692 – 23 January 1766) was an engraver who had come to London from
213:
in 1670–2 and the London typefounder John James in 1710 imported matrices from it.
4894:
4754:
4702:
4633:
4591:
4587:
4557:
Typographia: An Historical Sketch of the Origin and Progress of the Art of Printing
3362:
2839:
2156:
2033:
1294:
1290:
945:
905:
The Caslon foundry continued to be prosperous for some more decades, licensing the
840:
641:
display typefaces, besides its range of text faces. Example pages are shown below:
560:
465:
302:
274:
226:
202:
191:
148:
136:
55:
43:
4984:
4718:
3528:
2361:
1439:
1074:
Briot, who was based in Amsterdam, is not to be confused with the French engraver
805:
Johnson notes that "very few types are the same" in the 1857 specimen as in 1841.
4992:
Musson, A. E. (1955). "The London Society of Master Letter-Founders, 1793–1820".
4380:
3730:
3578:
3542:
1511:
1166:, published by T. Evans and with an introduction credited to an anonymous editor.
293:
notes that his 1764 specimen "might have been produced a hundred years earlier".
5005:
4863:
4565:
4253:
3976:. International Typeface Corporation. Archived from the original on 29 July 2012
1102:
298:
4976:
4943:
Ornamented types: twenty-three alphabets from the foundry of Louis John Poucheé
3520:
1721:
4809:
1682:
922:
794:
668:
Fat face italic; the sample text "VANWAYMAN" shows its range of swash capitals
638:
634:
379:
246:
171:
144:
119:
17:
4726:
Lane, John A. (1993). "The Caslon Type Specimen in the Museum Van Het Boek".
4136:
2949:
270:
made it well-known. By 1763 its stock had expanded to be shown in book form.
4739:
4705:(1991). "Arthur Nicholls and his Greek Type for the King's Printing House".
4600:"A to Z of Founder's London: A showing and synopsis of ITC Founder's Caslon"
3766:
3404:
1195:
918:
887:
848:
817:
587:
536:
407:
286:
160:
4571:
Notes on a Century of Typography at the University Press, Oxford, 1693–1794
886:
By the late nineteenth century it was clear that for large-run printing of
5020:
Number of Eminent Writers and Ingenious Artists; with a Very Copious Index
894:, which cast fresh new type for each printing job, and in the case of the
2682:[Untitled fragment of a specimen book of printing types, c. 1816]
630:
610:
During the early nineteenth century, the foundry employed as punchcutter
257:
5023:. Vol. 2. Printed for the author , by Nichols, Son, and Bentley ...
4328:
3762:"Best of British: A historic type firm that's still at the cutting edge"
874:
Materials of the Fonderie Caslon at the Musée de l'imprimerie de Nantes.
382:, the foundry's last owner, commented that the foundry began operations
312:
4443:
Sir Henry Bessemer, F.R.S.: an autobiography; with a concluding chapter
3904:
2419:
4457:
Greek Printing Types in Britain in the Nineteenth Century: A Catalogue
2902:
2168:
969:
957:
461:
250:
140:
123:
102:
4055:
4053:
4051:
2702:
2700:
163:, was the oldest type foundry in London, and the most prestigious.
4945:. I.M. Imprimit in association with the St. Bride Printing Library.
3862:(1st ed.). Nottingham, England: Plough Press. pp. 101–2.
42:
Painting of William Caslon, founder of the Caslon type foundry, by
1003:
877:
869:
830:
825:
771:
597:
546:
485:
470:
428:
397:
311:
220:
4009:
Mosley, James (1982). "Eric Gill and the Golden Cockerel Type".
4950:
Mosley, James (2001). "Memories of an Apprentice Typefounder".
2652:
John Cheney and His Descendants: Printers in Banbury Since 1767
1109:
in Birmingham that appeared towards the end of Caslon's career.
976:
based on the Caslon Foundry's later types have been published.
551:
William Caslon IV's Egyptian typeface in an early specimen book
305:
model and his Armenian type on types cut in the Netherlands by
256:
Caslon's premises as a gun engraver were based in Vine Street,
209:
was one of the largest centres of printing expertise, and both
4874:
4165:
1683:"John Lane & Mathieu Lommen: ATypI Amsterdam Presentation"
1162:
The specimen is included in a reprint edition of John Smith's
3729:
Squire, Sir John Collings; Scott-James, Rolfe Arnold (1923).
3357:
3355:
3353:
1494:
1492:
898:
cast each line in rigid blocks. In 1897 James Figgins of the
1065:
suggests that the foundry opened "probably in 1722 or 1723".
155:, probably in 1720. For most of its history it was based at
5152:
4865:
Robert Thorne and the Introduction of the 'modern' fat face
2389:[Untitled fragment of a specimen of printing types]
2240:
2238:
535:, an attempt to create a new paper-saving typeface with no
508:
Much of Drury's work survives intact in the collection of
4026:
4024:
2987:
2985:
2983:
2981:
2004:
2002:
2000:
1975:
1973:
1971:
1969:
621:
In 1821, a Caslon & Catherwood specimen introduced a
3449:
3447:
3445:
2822:
2820:
2496:
2494:
174:. The type foundry section of the company was bought by
4923:. Oxford Bibliographical Society/University of Reading.
3690:"Eminent Living Printers No. IX: Mr Henry James Tucker"
1785:
1783:
1781:
1779:
913:
and issuing a specimen designed by the leading printer
378:
from those of that celebrated Founder." Decades later,
2719:
2717:
2715:
2352:
2350:
2110:
2108:
1253:
Most of Austin's punches survive at St. Bride library.
816:
On 14 July 1874, Henry William Caslon died at home in
410:
in 1778, ownership of the foundry was divided between
5201:
Companies based in the City and District of St Albans
5120:
Treadwell, Michael (1980). "The Grover typefoundry".
4965:
Mosley, James (2004). "Jackson, Joseph (1733–1792)".
2229:
Freemason's Magazine, Or General and Complete Library
824:, developing a French branch of the company based in
5102:
Revival Type: Digital Typefaces Inspired by the Past
3755:
3753:
2630:. University of California Press. pp. 141–142.
1860:
1858:
1453:
1451:
1449:
1411:
1409:
1407:
1145:
also ran a chocolate business. Its name survives in
253:
is the name now given to designs based on his work.
3882:
2765:
2706:
1960:
1884:
1882:
475:In the 1790s the Caslon foundry began to introduce
194:, carefully cutting punches in steel used to stamp
115:
97:
87:
79:
69:
61:
51:
5186:Companies based in the London Borough of Islington
3504:
3070:"A. Bessemer's Specimen of Printing Types, 1830".
2795:William Caslon, of Finsbury-square, letter-founder
1428:Mosley, James (2008). "William Caslon the elder".
3152:"Arbor, a Fresh Interpretation of Caslon Italian"
2944:
2942:
2446:"Strong, Elizabeth, d. 1809; BRSBC.M428 on eHive"
1175:The Glasgow foundry is presumably the foundry of
797:for high-class printing in a traditional style.
335:. According to Jackson's later client and friend
5181:Letterpress font foundries of the United Kingdom
3663:"Atelier de Typographie de Défense de la France"
1516:The Printers' Journal and Typographical Magazine
4921:British type specimens before 1831: a hand-list
3045:"Sir Henry Bessemer's Connection with Printing"
1016:1809–1821: Henry Caslon II and F. F. Catherwood
948:collection when it ceased to cast metal type.
4897:(1967). "The Early Career of William Caslon".
2870:Letters of credit : a view of type design
1821:"Type Designs of the Past and Present, Part 3"
578:Some time before 1816, Caslon IV introduced a
515:From 1807 the foundry was paid to cast a new "
5057:A History of the Old English Letter Foundries
5034:A History of the Old English Letter Foundries
1350:
902:commented "the Lino is ruining us entirely".
8:
4971:(online ed.). Oxford University Press.
4778:The Diaspora of Armenian Printing, 1512-2012
3637:
3515:(online ed.). Oxford University Press.
2954:. Caslon & Catherwood/Henry Caslon. 1821
2616:
2614:
2198:Sherman, Nick; Mosley, James (9 July 2012).
1547:
1545:
1000:List of names and proprietors of the foundry
30:
4607:Friends of the St. Bride's Printing Library
4538:(1965). "Caslon Punches: An Interim Note".
4042:
3565:
3465:
1900:
1633:
1597:
1498:
1434:(online ed.). Oxford University Press.
5122:Journal of the Printing Historical Society
4908:Journal of the Printing Historical Society
4899:Journal of the Printing Historical Society
4540:Journal of the Printing Historical Society
4459:. Oxford: Oxford Bibliographical Society.
4166:"The Past is the Present with Paul Barnes"
3839:. London: H. W. Caslon & Co. Ltd. 1915
3182:Ultrabold: The Journal of St Bride Library
3072:Journal of the Printing Historical Society
2664:: CS1 maint: location missing publisher (
1093:type of the previous century, the work of
36:
29:
5105:. Yale University Press. pp. 79–84.
4636:(2000). "Caslon's punches and matrices".
3003:
1758:
1558:. Yale University Press. pp. 63–64.
811:parade ground at the rear of the premises
5196:British companies disestablished in 1937
4474:Bigmore, E. C.; Wyman, C. W. H. (1880).
3419:"[Advertisement] To Capitalists"
3197:Letters of Credit: A View of Type Design
3031:
2933:Newsletter of the Camden History Society
2225:"Mrs. Elizabeth Caslon, with a portrait"
4968:Oxford Dictionary of National Biography
4123:
4030:
3821:
3716:
3649:
3512:Oxford Dictionary of National Biography
2991:
2813:. W. Clarke and Sons. pp. 379–380.
2329:
2244:
2008:
1979:
1431:Oxford Dictionary of National Biography
1343:
1034:
646:
602:Porsonic Greek typefaces, 1821 specimen
523:based on the handwriting of classicist
198:, the moulds used to cast metal type.
5088:Practical Hints on Decorative Printing
3987:
3453:
3255:
3243:
3219:
2826:
2657:
2605:
2536:
2524:
2512:
2500:
2432:
2341:
2317:
2305:
2293:
2256:
2068:
1948:
1912:
1789:
1770:
1746:
1669:
1657:
1645:
1621:
1609:
1585:
1536:
1472:"A lost Caslon type: Long Primer No 1"
1457:
1398:
1328:In 1840, Gertrude Catherwood, wife of
492:Practical Hints in Decorative Printing
4759:Greek Letters: From Tablets to Pixels
4685:Selected essays on books and printing
4501:. Oak Knoll Press. pp. 129–144.
4499:Greek Letters: From Tablets to Pixels
4085:
2127:Smith, John (1787). Anonymous (ed.).
2020:
1991:
1864:
1849:
190:Metal type was traditionally made by
46:. He holds his specimen of his types.
27:English type foundry, founded c. 1720
7:
4477:A Bibliography of Printing: Volume I
3809:
3319:
3267:
3231:
2972:
2723:
2114:
2083:"Old and New Fashions in Typography"
2056:
1936:
1924:
1888:
1707:
1415:
1386:
1374:
1362:
728:Condensed sans-serif italic capitals
626:William Livermore became a partner.
527:, which had been cut by punchcutter
412:his widow, Elizabeth (née Cartlitch)
3506:"Catherwood, Frederick (1799–1854)"
3049:The Printing Times and Lithographer
2844:"The Nymph and the Grot: an Update"
2362:"Brunel Collection: Read the story"
1128:And possibly earlier: according to
752:Italian (reverse-contrast) typeface
539:. The type did not become popular.
3970:"Eric Gill and the Cockerel Press"
2410:@commerclassics (March 15, 2019).
1552:Macmillan, Neil (1 January 2006).
968:Besides the many digitisations of
882:The Caslon foundry's 1915 specimen
614:, the father of the industrialist
25:
4574:. Oxford: Oxford University Press
4433:William Caslon, Master of Letters
3883:Howes, Mosley & Chartres 1998
3860:George W. Jones: Printer Laureate
2766:Howes, Mosley & Chartres 1998
2707:Howes, Mosley & Chartres 1998
1961:Howes, Mosley & Chartres 1998
970:William Caslon I's original types
446:, his 1825 textbook on printing:
3944:"William Caslon, Letter Founder"
3178:"A Short History of the Italian"
2654:. Banbury. 1936. pp. 26–31.
1728:. TYPO, republished by PampaType
1512:"Messrs. Caslon and Co's Dinner"
757:
745:
733:
721:
709:
697:
685:
673:
661:
649:
316:The Caslon family chest tomb at
5161:library of metal type specimens
4062:"The materials of typefounding"
3895:@GraphicGirl (April 19, 2021).
3688:Bassett, John (November 1890).
3667:Musée de la résistance en ligne
3610:. Amberley Publishing Limited.
3547:. H.W. Caslon and Company. 1857
3309:. 29 August 1828. p. 1638.
2736:Fraas, Mitch (9 January 2014).
2036:(2004). "Caslon's Patagonian".
1025:1850–1873: H. W. Caslon and Co.
5191:1720 establishments in England
3919:"At The Caslon Letter Foundry"
3604:Tucker, Joan (15 March 2012).
2161:"Comments on Typophile thread"
2087:Journal of the Society of Arts
543:The second Caslon type foundry
1:
4873:Morlighem, Sébastien (2021).
4862:Morlighem, Sébastien (2020).
4847:Morlighem, Sébastien (2014).
3289:. 18 April 1826. p. 913.
3150:Shaw, Paul (5 October 2010).
2386:Caslon, Elizabeth (c. 1799).
764:Ultra-bold modern blackletter
740:Rounded and shaded sans-serif
406:Since William Caslon II died
4985:UK public library membership
4520:. Thessaloniki: Typophilia.
3731:"The Late Mr. Sydney Caslon"
3669:. Fondation de la Résistance
3529:UK public library membership
3484:. S. Sweet. pp. 431–433
2926:"The Dutton Street Gasworks"
2738:"Always check the endpapers"
2551:"Porson's Greek type design"
2272:A Specimen of Printing Types
2081:Reed, Talbot Baines (1890).
1939:, pp. 104–107, 129–130.
1440:UK public library membership
783:The Diary of Lady Willoughby
4719:10.1093/library/s6-13.4.297
4560:. Baldwin, Cradock and Joy.
4279:"Caslon Rounded Collection"
3698:. Chicago. pp. 150–151
3607:Ferries of the Upper Thames
3579:"The Caslon Letter Foundry"
3427:. W. Lewer. 10 October 1846
3367:"Recasting Caslon Old Face"
3199:. Boston: David R. Godine.
3126:"Caslon Italian Collection"
2872:. Boston: David R. Godine.
2685:. London: William Caslon IV
2679:Caslon, William IV (1816).
1722:"The Briot project. Part I"
1022:1840–1850: Caslon & Son
776:Title and last page of the
692:Antique (slab-serif) italic
5217:
4654:"A Note on William Caslon"
4196:"Isambard: read the story"
4100:"Pouchee's lost alphabets"
2951:Specimen of Printing Types
2807:Christian, Edward (1818).
2746:University of Pennsylvania
1876:Type Specimen Facsimiles 2
1308:Gas Light and Coke Company
839:on an 1877 Caslon-branded
521:Cambridge University Press
5006:10.1093/library/s5-X.2.86
4834:. Oxford University Press
4810:10.1163/15700690-12341283
3994:: CS1 maint: unfit URL (
3858:Wallis, Lawrence (2004).
1819:Morison, Stanley (1937).
1351:Barker & Collins 1983
623:reverse-contrast typeface
35:
4440:Bessemer, Henry (1905).
4416:. London: Scolar Press.
4412:; Collins, John (1983).
4354:"Parliament: How to use"
3638:Bigmore & Wyman 1880
3503:Aguirre, Robert (2009).
2269:Caslon, William (1785).
1555:An A–Z of Type Designers
1191:Daily Universal Register
1063:An A–Z of Type Designers
420:of March 1796 felt that:
147:. It was founded by the
4941:Mosley, James (1993b).
4740:10.1163/157006993X00235
4304:"Caslon French Antique"
4043:Reed & Johnson 1974
3566:Reed & Johnson 1974
3466:Reed & Johnson 1974
3405:10.1163/157006971X00301
3176:Shields, David (2008).
1901:Reed & Johnson 1974
1827:: 17–81. Archived from
1634:Reed & Johnson 1974
1598:Reed & Johnson 1974
1499:Reed & Johnson 1974
580:new sans-serif typeface
217:William Caslon I and II
211:Oxford University Press
4977:10.1093/ref:odnb/14539
4919:Mosley, James (1984).
4776:Lane, John A. (2012).
4687:. Van Gendt & Co.
4552:Hansard, Thomas Curson
4516:Bowman, J. H. (1998).
4455:Bowman, J. H. (1992).
4435:. The Roundwood Press.
4431:Ball, Johnson (1973).
3974:Upper & Lower Case
3521:10.1093/ref:odnb/38316
3332:Caslon, Henry (1841).
3195:Tracy, Walter (2003).
3021:. 1819. pp. 68–9.
2868:Tracy, Walter (2003).
2577:"Porson's Greek Types"
2575:Mosley, James (1960).
2200:"The Dunlap Broadside"
1141:The company's founder
1012:
911:American Type Founders
883:
875:
853:
843:
789:In the mid-1840s, the
786:
603:
552:
506:
495:
480:
453:
434:
427:
403:
388:
359:for historical value.
320:
230:
5091:. London. p. 72.
5050:Reed, Talbot Baines;
4855:University of Reading
3652:, pp. 36–37, 42.
2472:"New bottle old wine"
2130:The Printer's Grammar
1164:The Printer's Grammar
1151:Fry's Turkish Delight
1147:Fry's Chocolate Cream
1101:in Amsterdam and the
1095:Pierre-Simon Fournier
1007:
954:Musée de l'imprimerie
892:hot metal typesetting
881:
873:
849:necessary legal steps
845:
834:
775:
601:
550:
497:
489:
474:
448:
439:Thomas Curson Hansard
432:
422:
401:
384:
318:St Luke's, Old Street
315:
224:
2924:Mills, Mary (2001).
2899:Typophile (archived)
2231:. J.W. Bunney. 1796.
2171:on 28 September 2017
1330:Frederick Catherwood
938:Monotype Corporation
533:Rusher's Patent Type
417:Freemason's Magazine
143:which cast and sold
5029:Reed, Talbot Baines
4761:. Oak Knoll Press.
4250:Schwartz, Christian
3468:, pp. 250–251.
3270:, pp. 359–360.
3246:, pp. 119–124.
3094:Schwartz, Christian
2539:, pp. 131–134.
1852:, pp. 113–115.
1518:. September 3, 1866
1476:Type Foundry (blog)
1365:, pp. 301–303.
437:The London printer
133:Caslon type foundry
32:
31:Caslon Type Foundry
5052:Johnson, Alfred F.
4826:Ricks, Christopher
4818:Mores, Edward Rowe
4748:from 1738 to 1753.
4681:Johnson, Alfred F.
4650:Johnson, Alfred F.
4620:on 1 November 2005
4484:. pp. 103–109
4258:Christian Schwartz
3736:The London Mercury
3695:The Inland Printer
3306:The London Gazette
3286:The London Gazette
2783:Universal Magazine
2768:, pp. 20, 30.
2624:(1 January 1977).
2581:The Penrose Annual
1648:, pp. 74, 76.
1389:, p. 162–166.
1013:
884:
876:
844:
795:fine book printers
787:
616:Sir Henry Bessemer
604:
553:
496:
481:
435:
404:
321:
231:
5140:. pp. 57–72.
5112:978-0-300-21929-6
4983:(Subscription or
4661:Monotype Recorder
4596:Chartres, Richard
3948:Spitalfields Life
3923:Spitalfields Life
3791:. Companies House
3617:978-1-4456-2007-7
3527:(Subscription or
2637:978-0-520-03308-5
2296:, pp. 89–90.
2247:, pp. 351–2.
2184:Stephenson, Blake
2023:, pp. 59–62.
1915:, pp. 86–87.
1761:, pp. 48–53.
1710:, pp. 408–9.
1624:, pp. 73–74.
1565:978-0-300-11151-4
1438:(Subscription or
1242:Bristol Cathedral
1130:Edward Rowe Mores
1087:For instance the
866:Twentieth century
860:Philip Thicknesse
822:Caslon's Circular
716:Shaded slab-serif
704:Shaded slab serif
656:Fat-face typeface
490:William Savage's
357:Edward Rowe Mores
341:Edward Rowe Mores
291:Alfred F. Johnson
129:
128:
16:(Redirected from
5208:
5166:Photograph, 1910
5141:
5129:
5116:
5092:
5078:
5076:
5074:
5046:
5044:
5042:
5024:
5009:
4988:
4980:
4961:
4946:
4937:
4924:
4915:
4902:
4890:
4888:
4886:
4869:
4858:
4843:
4841:
4839:
4813:
4791:
4772:
4750:
4722:
4698:
4676:
4674:
4672:
4658:
4645:
4629:
4627:
4625:
4619:
4613:. Archived from
4611:St Bride Library
4604:
4583:
4581:
4579:
4561:
4547:
4531:
4512:
4493:
4491:
4489:
4482:Bernard Quaritch
4470:
4451:
4436:
4427:
4402:Cited literature
4396:
4395:
4393:
4391:
4379:Parkinson, Jim.
4376:
4370:
4369:
4367:
4365:
4358:Hoefler & Co
4350:
4344:
4343:
4341:
4339:
4333:Jonathan Hoefler
4325:
4319:
4318:
4316:
4314:
4300:
4294:
4293:
4291:
4289:
4275:
4269:
4268:
4266:
4264:
4246:
4240:
4239:
4237:
4235:
4225:"Notes on Notes"
4217:
4211:
4210:
4208:
4206:
4188:
4182:
4181:
4179:
4177:
4164:(10 July 2019).
4158:
4152:
4151:
4149:
4147:
4133:
4127:
4121:
4115:
4114:
4112:
4110:
4095:
4089:
4083:
4077:
4076:
4074:
4072:
4057:
4046:
4040:
4034:
4028:
4019:
4018:
4006:
4000:
3999:
3993:
3985:
3983:
3981:
3965:
3959:
3958:
3956:
3954:
3940:
3934:
3933:
3931:
3929:
3915:
3909:
3908:
3892:
3886:
3880:
3874:
3873:
3855:
3849:
3848:
3846:
3844:
3831:
3825:
3819:
3813:
3807:
3801:
3800:
3798:
3796:
3789:"Caslon Limited"
3785:
3779:
3778:
3776:
3774:
3757:
3748:
3747:
3745:
3743:
3726:
3720:
3714:
3708:
3707:
3705:
3703:
3685:
3679:
3678:
3676:
3674:
3659:
3653:
3647:
3641:
3635:
3629:
3628:
3626:
3624:
3601:
3595:
3594:
3592:
3590:
3575:
3569:
3563:
3557:
3556:
3554:
3552:
3539:
3533:
3532:
3524:
3508:
3500:
3494:
3493:
3491:
3489:
3475:
3469:
3463:
3457:
3451:
3440:
3439:
3434:
3432:
3415:
3409:
3408:
3388:
3382:
3381:
3379:
3377:
3359:
3348:
3347:
3345:
3343:
3329:
3323:
3317:
3311:
3310:
3297:
3291:
3290:
3277:
3271:
3265:
3259:
3253:
3247:
3241:
3235:
3229:
3223:
3217:
3211:
3210:
3192:
3186:
3185:
3173:
3167:
3166:
3164:
3162:
3147:
3141:
3140:
3138:
3136:
3121:
3115:
3114:
3112:
3110:
3086:
3080:
3079:
3067:
3061:
3060:
3058:
3056:
3041:
3035:
3029:
3023:
3022:
3013:
3007:
3001:
2995:
2989:
2976:
2970:
2964:
2963:
2961:
2959:
2946:
2937:
2936:
2930:
2921:
2915:
2914:
2912:
2910:
2901:. Archived from
2890:
2884:
2883:
2865:
2859:
2858:
2856:
2854:
2848:Typefoundry blog
2836:
2830:
2824:
2815:
2814:
2804:
2798:
2797:
2792:
2790:
2775:
2769:
2763:
2757:
2756:
2754:
2752:
2733:
2727:
2721:
2710:
2704:
2695:
2694:
2692:
2690:
2676:
2670:
2669:
2663:
2655:
2648:
2642:
2641:
2618:
2609:
2603:
2597:
2596:
2594:
2592:
2572:
2566:
2565:
2563:
2561:
2546:
2540:
2534:
2528:
2522:
2516:
2510:
2504:
2498:
2489:
2488:
2486:
2484:
2460:
2454:
2453:
2442:
2436:
2430:
2424:
2423:
2407:
2401:
2400:
2398:
2396:
2383:
2377:
2376:
2374:
2372:
2354:
2345:
2339:
2333:
2327:
2321:
2315:
2309:
2303:
2297:
2291:
2285:
2284:
2282:
2280:
2266:
2260:
2254:
2248:
2242:
2233:
2232:
2221:
2215:
2214:
2212:
2210:
2195:
2189:
2188:
2178:
2176:
2167:. Archived from
2153:
2147:
2146:
2144:
2142:
2124:
2118:
2112:
2103:
2102:
2100:
2098:
2078:
2072:
2066:
2060:
2054:
2048:
2047:
2030:
2024:
2018:
2012:
2006:
1995:
1989:
1983:
1977:
1964:
1958:
1952:
1946:
1940:
1934:
1928:
1922:
1916:
1910:
1904:
1898:
1892:
1886:
1877:
1874:
1868:
1862:
1853:
1847:
1841:
1840:
1838:
1836:
1816:
1810:
1809:
1808:. pp. 52–3.
1799:
1793:
1787:
1774:
1768:
1762:
1756:
1750:
1744:
1738:
1737:
1735:
1733:
1720:de Jong, Feike.
1717:
1711:
1705:
1699:
1698:
1696:
1694:
1679:
1673:
1667:
1661:
1655:
1649:
1643:
1637:
1631:
1625:
1619:
1613:
1607:
1601:
1595:
1589:
1583:
1577:
1576:
1574:
1572:
1549:
1540:
1534:
1528:
1527:
1525:
1523:
1508:
1502:
1496:
1487:
1486:
1484:
1482:
1467:
1461:
1455:
1444:
1443:
1435:
1425:
1419:
1413:
1402:
1396:
1390:
1384:
1378:
1372:
1366:
1360:
1354:
1348:
1333:
1326:
1320:
1317:
1311:
1304:
1298:
1286:
1280:
1272:
1266:
1260:
1254:
1251:
1245:
1238:
1232:
1225:
1219:
1216:
1210:
1206:
1200:
1186:
1180:
1177:Alexander Wilson
1173:
1167:
1160:
1154:
1139:
1133:
1126:
1120:
1116:
1110:
1107:John Baskerville
1103:Baskerville type
1085:
1079:
1072:
1066:
1059:
1053:
1049:
1043:
1039:
989:Jonathan Hoefler
896:Linotype machine
761:
749:
737:
725:
713:
701:
689:
677:
665:
653:
612:Anthony Bessemer
584:Stephenson Blake
557:Salisbury Square
519:" for Greek for
510:St Bride Library
368:John Baskerville
361:Alexander Wilson
279:display typeface
176:Stephenson Blake
153:William Caslon I
151:and typefounder
92:Stephenson Blake
40:
33:
21:
5216:
5215:
5211:
5210:
5209:
5207:
5206:
5205:
5171:
5170:
5149:
5144:
5134:Wolpe, Berthold
5132:
5119:
5113:
5095:
5083:Savage, William
5081:
5072:
5070:
5068:
5049:
5040:
5038:
5027:
5012:
4991:
4982:
4964:
4949:
4940:
4927:
4918:
4905:
4893:
4884:
4882:
4872:
4861:
4846:
4837:
4835:
4816:
4794:
4788:
4775:
4769:
4753:
4725:
4701:
4695:
4679:
4670:
4668:
4656:
4648:
4632:
4623:
4621:
4617:
4602:
4586:
4577:
4575:
4564:
4550:
4534:
4528:
4515:
4509:
4496:
4487:
4485:
4473:
4467:
4454:
4439:
4430:
4424:
4410:Barker, Nicolas
4408:
4404:
4399:
4389:
4387:
4378:
4377:
4373:
4363:
4361:
4352:
4351:
4347:
4337:
4335:
4327:
4326:
4322:
4312:
4310:
4308:Commercial Type
4302:
4301:
4297:
4287:
4285:
4283:Commercial Type
4277:
4276:
4272:
4262:
4260:
4248:
4247:
4243:
4233:
4231:
4229:Commercial Type
4219:
4218:
4214:
4204:
4202:
4200:Commercial Type
4190:
4189:
4185:
4175:
4173:
4160:
4159:
4155:
4145:
4143:
4135:
4134:
4130:
4122:
4118:
4108:
4106:
4097:
4096:
4092:
4084:
4080:
4070:
4068:
4060:Mosley, James.
4059:
4058:
4049:
4041:
4037:
4029:
4022:
4008:
4007:
4003:
3986:
3979:
3977:
3968:Mosley, James.
3967:
3966:
3962:
3952:
3950:
3942:
3941:
3937:
3927:
3925:
3917:
3916:
3912:
3894:
3893:
3889:
3881:
3877:
3870:
3857:
3856:
3852:
3842:
3840:
3833:
3832:
3828:
3820:
3816:
3808:
3804:
3794:
3792:
3787:
3786:
3782:
3772:
3770:
3760:Eccles, Simon.
3759:
3758:
3751:
3741:
3739:
3728:
3727:
3723:
3715:
3711:
3701:
3699:
3687:
3686:
3682:
3672:
3670:
3661:
3660:
3656:
3648:
3644:
3636:
3632:
3622:
3620:
3618:
3603:
3602:
3598:
3588:
3586:
3583:British Printer
3577:
3576:
3572:
3564:
3560:
3550:
3548:
3541:
3540:
3536:
3526:
3502:
3501:
3497:
3487:
3485:
3477:
3476:
3472:
3464:
3460:
3452:
3443:
3430:
3428:
3417:
3416:
3412:
3390:
3389:
3385:
3375:
3373:
3361:
3360:
3351:
3341:
3339:
3331:
3330:
3326:
3318:
3314:
3299:
3298:
3294:
3279:
3278:
3274:
3266:
3262:
3254:
3250:
3242:
3238:
3230:
3226:
3218:
3214:
3207:
3194:
3193:
3189:
3175:
3174:
3170:
3160:
3158:
3149:
3148:
3144:
3134:
3132:
3130:Commercial Type
3123:
3122:
3118:
3108:
3106:
3088:
3087:
3083:
3069:
3068:
3064:
3054:
3052:
3043:
3042:
3038:
3034:, pp. 4–8.
3030:
3026:
3015:
3014:
3010:
3002:
2998:
2990:
2979:
2971:
2967:
2957:
2955:
2948:
2947:
2940:
2928:
2923:
2922:
2918:
2908:
2906:
2905:on 28 June 2014
2893:Mosley, James.
2892:
2891:
2887:
2880:
2867:
2866:
2862:
2852:
2850:
2838:
2837:
2833:
2825:
2818:
2806:
2805:
2801:
2788:
2786:
2777:
2776:
2772:
2764:
2760:
2750:
2748:
2735:
2734:
2730:
2722:
2713:
2705:
2698:
2688:
2686:
2678:
2677:
2673:
2656:
2650:
2649:
2645:
2638:
2622:Goudy, Frederic
2620:
2619:
2612:
2604:
2600:
2590:
2588:
2574:
2573:
2569:
2559:
2557:
2549:Mosley, James.
2548:
2547:
2543:
2535:
2531:
2523:
2519:
2511:
2507:
2499:
2492:
2482:
2480:
2462:
2461:
2457:
2444:
2443:
2439:
2431:
2427:
2409:
2408:
2404:
2394:
2392:
2385:
2384:
2380:
2370:
2368:
2366:Commercial Type
2356:
2355:
2348:
2340:
2336:
2332:, pp. 352.
2328:
2324:
2316:
2312:
2304:
2300:
2292:
2288:
2278:
2276:
2268:
2267:
2263:
2255:
2251:
2243:
2236:
2223:
2222:
2218:
2208:
2206:
2197:
2196:
2192:
2174:
2172:
2155:
2154:
2150:
2140:
2138:
2126:
2125:
2121:
2113:
2106:
2096:
2094:
2080:
2079:
2075:
2067:
2063:
2055:
2051:
2032:
2031:
2027:
2019:
2015:
2007:
1998:
1990:
1986:
1978:
1967:
1959:
1955:
1947:
1943:
1935:
1931:
1923:
1919:
1911:
1907:
1899:
1895:
1887:
1880:
1875:
1871:
1863:
1856:
1848:
1844:
1834:
1832:
1818:
1817:
1813:
1801:
1800:
1796:
1788:
1777:
1769:
1765:
1757:
1753:
1745:
1741:
1731:
1729:
1719:
1718:
1714:
1706:
1702:
1692:
1690:
1681:
1680:
1676:
1668:
1664:
1656:
1652:
1644:
1640:
1632:
1628:
1620:
1616:
1608:
1604:
1596:
1592:
1584:
1580:
1570:
1568:
1566:
1551:
1550:
1543:
1535:
1531:
1521:
1519:
1510:
1509:
1505:
1497:
1490:
1480:
1478:
1470:Mosley, James.
1469:
1468:
1464:
1456:
1447:
1437:
1427:
1426:
1422:
1414:
1405:
1397:
1393:
1385:
1381:
1373:
1369:
1361:
1357:
1349:
1345:
1341:
1336:
1327:
1323:
1318:
1314:
1305:
1301:
1287:
1283:
1273:
1269:
1261:
1257:
1252:
1248:
1239:
1235:
1226:
1222:
1217:
1213:
1209:was continuing.
1207:
1203:
1187:
1183:
1174:
1170:
1161:
1157:
1140:
1136:
1127:
1123:
1117:
1113:
1086:
1082:
1073:
1069:
1060:
1056:
1050:
1046:
1040:
1036:
1032:
1002:
985:Commercial Type
966:
942:Pouchée foundry
931:
915:George W. Jones
900:Figgins foundry
890:the future was
868:
770:
769:
768:
765:
762:
753:
750:
741:
738:
729:
726:
717:
714:
705:
702:
693:
690:
681:
678:
669:
666:
657:
654:
596:
569:Vincent Figgins
565:Finsbury Square
545:
517:Porson typeface
396:
352:
295:Stanley Morison
219:
188:
157:Chiswell Street
124:Caslon typeface
122:
111:
105:
47:
28:
23:
22:
15:
12:
11:
5:
5214:
5212:
5204:
5203:
5198:
5193:
5188:
5183:
5173:
5172:
5169:
5168:
5163:
5155:
5148:
5147:External links
5145:
5143:
5142:
5130:
5117:
5111:
5099:(April 2017).
5093:
5079:
5066:
5047:
5037:. Elliot Stock
5025:
5010:
4989:
4962:
4947:
4938:
4925:
4916:
4903:
4891:
4870:
4859:
4844:
4814:
4804:(4): 311–439.
4792:
4786:
4773:
4767:
4751:
4723:
4713:(4): 297–322.
4699:
4693:
4677:
4646:
4630:
4584:
4562:
4548:
4532:
4526:
4513:
4507:
4494:
4471:
4465:
4452:
4437:
4428:
4422:
4405:
4403:
4400:
4398:
4397:
4371:
4345:
4320:
4295:
4270:
4241:
4212:
4183:
4153:
4128:
4116:
4098:Daines, Mike.
4090:
4078:
4047:
4045:, p. 253.
4035:
4020:
4001:
3960:
3935:
3910:
3903:) – via
3887:
3875:
3868:
3850:
3826:
3814:
3812:, p. 245.
3802:
3780:
3749:
3721:
3709:
3680:
3654:
3642:
3640:, p. 105.
3630:
3616:
3596:
3570:
3568:, p. 251.
3558:
3534:
3495:
3470:
3458:
3441:
3410:
3383:
3349:
3324:
3322:, p. 254.
3312:
3292:
3272:
3260:
3258:, p. 133.
3248:
3236:
3234:, p. 124.
3224:
3212:
3205:
3187:
3168:
3142:
3124:Barnes, Paul.
3116:
3098:"Type Tuesday"
3081:
3062:
3036:
3024:
3008:
3004:Morlighem 2020
2996:
2977:
2975:, p. 253.
2965:
2938:
2916:
2885:
2878:
2860:
2831:
2816:
2799:
2770:
2758:
2742:Unique at Penn
2728:
2726:, p. 320.
2711:
2696:
2671:
2643:
2636:
2610:
2608:, p. 119.
2598:
2567:
2541:
2529:
2527:, p. 118.
2517:
2515:, p. 114.
2505:
2503:, p. 108.
2490:
2455:
2437:
2425:
2418:) – via
2402:
2378:
2346:
2334:
2322:
2320:, p. 101.
2310:
2298:
2286:
2261:
2249:
2234:
2216:
2190:
2148:
2119:
2117:, p. 310.
2104:
2073:
2061:
2059:, p. 319.
2049:
2025:
2013:
2011:, p. 351.
1996:
1984:
1982:, p. 359.
1965:
1953:
1941:
1929:
1917:
1905:
1893:
1878:
1869:
1854:
1842:
1811:
1794:
1775:
1763:
1759:Treadwell 1980
1751:
1739:
1712:
1700:
1674:
1662:
1650:
1638:
1636:, p. 233.
1626:
1614:
1612:, pp. 68.
1602:
1600:, p. 256.
1590:
1578:
1564:
1541:
1529:
1503:
1501:, p. 239.
1488:
1462:
1445:
1420:
1403:
1391:
1379:
1377:, p. 297.
1367:
1355:
1342:
1340:
1337:
1335:
1334:
1321:
1312:
1299:
1281:
1277:Pierre Haultin
1267:
1263:Frederic Goudy
1255:
1246:
1233:
1220:
1211:
1201:
1181:
1168:
1155:
1143:Dr. Joseph Fry
1134:
1121:
1111:
1080:
1076:Nicholas Briot
1067:
1054:
1044:
1033:
1031:
1028:
1027:
1026:
1023:
1020:
1017:
1001:
998:
965:
962:
930:
927:
909:typeface from
867:
864:
791:Chiswick Press
778:Chiswick Press
767:
766:
763:
756:
754:
751:
744:
742:
739:
732:
730:
727:
720:
718:
715:
708:
706:
703:
696:
694:
691:
684:
682:
679:
672:
670:
667:
660:
658:
655:
648:
645:
644:
643:
595:
592:
544:
541:
529:Richard Austin
525:Richard Porson
395:
392:
380:Dr. Edmund Fry
351:
348:
333:Joseph Jackson
281:cut by Moxon.
239:Worcestershire
218:
215:
207:Dutch Republic
187:
184:
127:
126:
117:
113:
112:
109:United Kingdom
107:
101:
99:
95:
94:
89:
85:
84:
81:
77:
76:
74:William Caslon
71:
67:
66:
63:
59:
58:
53:
49:
48:
41:
26:
24:
18:Caslon foundry
14:
13:
10:
9:
6:
4:
3:
2:
5213:
5202:
5199:
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5067:9780712906357
5063:
5059:
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5053:
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5036:
5035:
5030:
5026:
5022:
5021:
5015:
5014:Nichols, John
5011:
5007:
5003:
5000:(2): 86–102.
4999:
4995:
4990:
4986:
4978:
4974:
4970:
4969:
4963:
4959:
4955:
4954:
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4939:
4935:
4931:
4926:
4922:
4917:
4913:
4909:
4904:
4900:
4896:
4895:Mosley, James
4892:
4881:. Type@Cooper
4880:
4876:
4871:
4867:
4866:
4860:
4856:
4852:
4851:
4845:
4833:
4832:
4827:
4823:
4822:Carter, Harry
4819:
4815:
4811:
4807:
4803:
4799:
4793:
4789:
4787:9789081926409
4783:
4779:
4774:
4770:
4768:9781884718274
4764:
4760:
4756:
4755:Lane, John A.
4752:
4749:
4747:
4741:
4737:
4733:
4729:
4724:
4720:
4716:
4712:
4708:
4704:
4703:Lane, John A.
4700:
4696:
4694:9789063000165
4690:
4686:
4682:
4678:
4666:
4662:
4655:
4651:
4647:
4643:
4639:
4635:
4634:Howes, Justin
4631:
4616:
4612:
4608:
4601:
4597:
4593:
4592:Mosley, James
4589:
4588:Howes, Justin
4585:
4573:
4572:
4567:
4563:
4559:
4558:
4553:
4549:
4545:
4541:
4537:
4536:Carter, Harry
4533:
4529:
4527:9789607285201
4523:
4519:
4514:
4510:
4508:9781884718274
4504:
4500:
4495:
4483:
4479:
4478:
4472:
4468:
4466:9780901420503
4462:
4458:
4453:
4449:
4445:
4444:
4438:
4434:
4429:
4425:
4423:9780859676380
4419:
4415:
4411:
4407:
4406:
4401:
4386:
4385:Jim Parkinson
4382:
4375:
4372:
4359:
4355:
4349:
4346:
4334:
4330:
4324:
4321:
4309:
4305:
4299:
4296:
4284:
4280:
4274:
4271:
4259:
4255:
4251:
4245:
4242:
4230:
4226:
4222:
4216:
4213:
4201:
4197:
4193:
4187:
4184:
4172:. Type@Cooper
4171:
4167:
4163:
4157:
4154:
4142:
4138:
4132:
4129:
4125:
4120:
4117:
4105:
4101:
4094:
4091:
4087:
4082:
4079:
4067:
4063:
4056:
4054:
4052:
4048:
4044:
4039:
4036:
4033:, p. 34.
4032:
4027:
4025:
4021:
4016:
4012:
4005:
4002:
3997:
3991:
3975:
3971:
3964:
3961:
3949:
3945:
3939:
3936:
3924:
3920:
3914:
3911:
3906:
3902:
3898:
3891:
3888:
3885:, p. 14.
3884:
3879:
3876:
3871:
3869:9780972563673
3865:
3861:
3854:
3851:
3838:
3837:
3830:
3827:
3824:, p. 37.
3823:
3818:
3815:
3811:
3806:
3803:
3790:
3784:
3781:
3769:
3768:
3763:
3756:
3754:
3750:
3738:
3737:
3732:
3725:
3722:
3719:, p. 42.
3718:
3713:
3710:
3697:
3696:
3691:
3684:
3681:
3668:
3664:
3658:
3655:
3651:
3646:
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3609:
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3597:
3584:
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3574:
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3562:
3559:
3546:
3545:
3538:
3535:
3530:
3522:
3518:
3514:
3513:
3507:
3499:
3496:
3483:
3482:
3474:
3471:
3467:
3462:
3459:
3456:, p. 58.
3455:
3450:
3448:
3446:
3442:
3438:
3426:
3425:
3424:The Athenaeum
3420:
3414:
3411:
3406:
3402:
3398:
3394:
3387:
3384:
3372:
3368:
3364:
3363:Mosley, James
3358:
3356:
3354:
3350:
3337:
3336:
3328:
3325:
3321:
3316:
3313:
3308:
3307:
3302:
3296:
3293:
3288:
3287:
3282:
3276:
3273:
3269:
3264:
3261:
3257:
3252:
3249:
3245:
3240:
3237:
3233:
3228:
3225:
3222:, p. 29.
3221:
3216:
3213:
3208:
3206:9781567922400
3202:
3198:
3191:
3188:
3183:
3179:
3172:
3169:
3157:
3153:
3146:
3143:
3131:
3127:
3120:
3117:
3105:
3104:
3099:
3095:
3091:
3085:
3082:
3077:
3073:
3066:
3063:
3051:: 226–7. 1880
3050:
3046:
3040:
3037:
3033:
3032:Bessemer 1905
3028:
3025:
3020:
3019:
3012:
3009:
3005:
3000:
2997:
2994:, p. 35.
2993:
2988:
2986:
2984:
2982:
2978:
2974:
2969:
2966:
2953:
2952:
2945:
2943:
2939:
2934:
2927:
2920:
2917:
2904:
2900:
2896:
2889:
2886:
2881:
2879:9781567922400
2875:
2871:
2864:
2861:
2849:
2845:
2841:
2840:Mosley, James
2835:
2832:
2829:, p. 99.
2828:
2823:
2821:
2817:
2812:
2811:
2803:
2800:
2796:
2784:
2780:
2774:
2771:
2767:
2762:
2759:
2747:
2743:
2739:
2732:
2729:
2725:
2720:
2718:
2716:
2712:
2709:, p. 30.
2708:
2703:
2701:
2697:
2684:
2683:
2675:
2672:
2667:
2661:
2653:
2647:
2644:
2639:
2633:
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2623:
2617:
2615:
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2607:
2602:
2599:
2586:
2582:
2578:
2571:
2568:
2556:
2552:
2545:
2542:
2538:
2533:
2530:
2526:
2521:
2518:
2514:
2509:
2506:
2502:
2497:
2495:
2491:
2479:
2478:
2473:
2469:
2465:
2464:Walters, John
2459:
2456:
2451:
2447:
2441:
2438:
2435:, p. 20.
2434:
2429:
2426:
2421:
2417:
2413:
2406:
2403:
2391:
2390:
2382:
2379:
2367:
2363:
2359:
2353:
2351:
2347:
2344:, p. 86.
2343:
2338:
2335:
2331:
2326:
2323:
2319:
2314:
2311:
2308:, p. 90.
2307:
2302:
2299:
2295:
2290:
2287:
2274:
2273:
2265:
2262:
2259:, p. 27.
2258:
2253:
2250:
2246:
2241:
2239:
2235:
2230:
2226:
2220:
2217:
2205:
2201:
2194:
2191:
2187:
2185:
2170:
2166:
2162:
2158:
2157:Mosley, James
2152:
2149:
2136:
2132:
2131:
2123:
2120:
2116:
2111:
2109:
2105:
2092:
2088:
2084:
2077:
2074:
2071:, p. 89.
2070:
2065:
2062:
2058:
2053:
2050:
2045:
2041:
2040:
2035:
2034:Howes, Justin
2029:
2026:
2022:
2017:
2014:
2010:
2005:
2003:
2001:
1997:
1994:, p. 80.
1993:
1988:
1985:
1981:
1976:
1974:
1972:
1970:
1966:
1963:, p. 12.
1962:
1957:
1954:
1951:, p. 10.
1950:
1945:
1942:
1938:
1933:
1930:
1926:
1921:
1918:
1914:
1909:
1906:
1902:
1897:
1894:
1890:
1885:
1883:
1879:
1873:
1870:
1866:
1861:
1859:
1855:
1851:
1846:
1843:
1831:on 2017-09-04
1830:
1826:
1822:
1815:
1812:
1807:
1804:
1803:Johnson, A.F.
1798:
1795:
1792:, p. 14.
1791:
1786:
1784:
1782:
1780:
1776:
1773:, p. 22.
1772:
1767:
1764:
1760:
1755:
1752:
1748:
1743:
1740:
1727:
1723:
1716:
1713:
1709:
1704:
1701:
1688:
1684:
1678:
1675:
1672:, p. 11.
1671:
1666:
1663:
1660:, p. 76.
1659:
1654:
1651:
1647:
1642:
1639:
1635:
1630:
1627:
1623:
1618:
1615:
1611:
1606:
1603:
1599:
1594:
1591:
1588:, p. 73.
1587:
1582:
1579:
1567:
1561:
1557:
1556:
1548:
1546:
1542:
1539:, p. 67.
1538:
1533:
1530:
1517:
1513:
1507:
1504:
1500:
1495:
1493:
1489:
1477:
1473:
1466:
1463:
1459:
1454:
1452:
1450:
1446:
1441:
1433:
1432:
1424:
1421:
1418:, p. 78.
1417:
1412:
1410:
1408:
1404:
1400:
1395:
1392:
1388:
1383:
1380:
1376:
1371:
1368:
1364:
1359:
1356:
1353:, p. 87.
1352:
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1344:
1338:
1331:
1325:
1322:
1316:
1313:
1309:
1303:
1300:
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1135:
1131:
1125:
1122:
1115:
1112:
1108:
1104:
1100:
1096:
1092:
1091:
1090:romain du roi
1084:
1081:
1077:
1071:
1068:
1064:
1058:
1055:
1048:
1045:
1038:
1035:
1029:
1024:
1021:
1018:
1015:
1014:
1011:
1010:Louisa Puller
1006:
999:
997:
995:
994:Jim Parkinson
990:
986:
982:
977:
975:
974:digital fonts
971:
964:Digital fonts
963:
961:
959:
955:
949:
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371:
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364:
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349:
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326:Bethnal Green
319:
314:
310:
308:
304:
300:
296:
292:
288:
282:
280:
276:
271:
269:
268:
267:Encyclopaedia
261:
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228:
223:
216:
214:
212:
208:
204:
199:
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185:
183:
179:
177:
173:
170:and based in
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68:
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60:
57:
54:
50:
45:
39:
34:
19:
5159:Typographica
5158:
5137:
5125:
5121:
5101:
5087:
5071:. Retrieved
5056:
5039:. Retrieved
5033:
5018:
4997:
4993:
4966:
4957:
4951:
4942:
4933:
4929:
4920:
4911:
4907:
4898:
4883:. Retrieved
4878:
4864:
4849:
4836:. Retrieved
4830:
4801:
4797:
4777:
4758:
4745:
4743:
4734:(1): 78–79.
4731:
4727:
4710:
4709:. Series 6.
4706:
4684:
4669:. Retrieved
4664:
4660:
4641:
4637:
4624:28 September
4622:. Retrieved
4615:the original
4606:
4576:. Retrieved
4570:
4566:Hart, Horace
4556:
4543:
4539:
4517:
4498:
4486:. Retrieved
4476:
4456:
4442:
4432:
4413:
4388:. Retrieved
4384:
4374:
4362:. Retrieved
4357:
4348:
4336:. Retrieved
4332:
4323:
4311:. Retrieved
4298:
4286:. Retrieved
4273:
4261:. Retrieved
4257:
4244:
4232:. Retrieved
4221:Barnes, Paul
4215:
4203:. Retrieved
4192:Barnes, Paul
4186:
4174:. Retrieved
4169:
4162:Barnes, Paul
4156:
4144:. Retrieved
4141:Fonts In Use
4140:
4131:
4126:, p. 1.
4124:Mosley 1993b
4119:
4107:. Retrieved
4104:Eye Magazine
4103:
4093:
4081:
4069:. Retrieved
4065:
4038:
4031:Mosley 1993a
4014:
4010:
4004:
3978:. Retrieved
3973:
3963:
3951:. Retrieved
3947:
3938:
3926:. Retrieved
3922:
3913:
3890:
3878:
3859:
3853:
3841:. Retrieved
3835:
3829:
3822:Mosley 1993a
3817:
3805:
3793:. Retrieved
3783:
3771:. Retrieved
3765:
3740:. Retrieved
3734:
3724:
3717:Mosley 1993a
3712:
3700:. Retrieved
3693:
3683:
3671:. Retrieved
3666:
3657:
3650:Mosley 1993a
3645:
3633:
3621:. Retrieved
3606:
3599:
3587:. Retrieved
3582:
3573:
3561:
3549:. Retrieved
3543:
3537:
3510:
3498:
3486:. Retrieved
3480:
3473:
3461:
3436:
3429:. Retrieved
3422:
3413:
3399:(2): 18–31.
3396:
3392:
3386:
3374:. Retrieved
3371:Type Foundry
3370:
3340:. Retrieved
3334:
3327:
3315:
3304:
3295:
3284:
3275:
3263:
3251:
3239:
3227:
3215:
3196:
3190:
3181:
3171:
3159:. Retrieved
3155:
3145:
3133:. Retrieved
3119:
3107:. Retrieved
3103:Eye magazine
3101:
3090:Barnes, Paul
3084:
3075:
3071:
3065:
3053:. Retrieved
3048:
3039:
3027:
3017:
3011:
3006:, p. 9.
2999:
2992:Mosley 1993a
2968:
2956:. Retrieved
2950:
2932:
2919:
2907:. Retrieved
2903:the original
2898:
2888:
2869:
2863:
2851:. Retrieved
2847:
2834:
2809:
2802:
2794:
2787:. Retrieved
2782:
2773:
2761:
2749:. Retrieved
2741:
2731:
2687:. Retrieved
2681:
2674:
2651:
2646:
2626:
2601:
2589:. Retrieved
2584:
2580:
2570:
2558:. Retrieved
2555:Type Foundry
2554:
2544:
2532:
2520:
2508:
2481:. Retrieved
2475:
2468:Barnes, Paul
2458:
2449:
2440:
2428:
2405:
2393:. Retrieved
2388:
2381:
2369:. Retrieved
2358:Barnes, Paul
2337:
2330:Hansard 1825
2325:
2313:
2301:
2289:
2277:. Retrieved
2271:
2264:
2252:
2245:Hansard 1825
2228:
2219:
2207:. Retrieved
2204:Fonts in Use
2203:
2193:
2180:
2175:28 September
2173:. Retrieved
2169:the original
2164:
2151:
2139:. Retrieved
2129:
2122:
2097:17 September
2095:. Retrieved
2090:
2086:
2076:
2064:
2052:
2043:
2037:
2028:
2016:
2009:Hansard 1825
1987:
1980:Nichols 1812
1956:
1944:
1932:
1920:
1908:
1896:
1872:
1845:
1833:. Retrieved
1829:the original
1824:
1814:
1806:Type Designs
1805:
1797:
1766:
1754:
1749:, p. 9.
1742:
1730:. Retrieved
1725:
1715:
1703:
1691:. Retrieved
1686:
1677:
1665:
1653:
1641:
1629:
1617:
1605:
1593:
1581:
1569:. Retrieved
1554:
1532:
1520:. Retrieved
1515:
1506:
1479:. Retrieved
1475:
1465:
1429:
1423:
1401:, p. 8.
1394:
1382:
1370:
1358:
1346:
1324:
1315:
1302:
1295:James Mosley
1291:Justin Howes
1284:
1270:
1258:
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1137:
1124:
1114:
1088:
1083:
1070:
1062:
1057:
1047:
1037:
978:
967:
950:
946:Type Archive
935:
932:
923:fine presses
904:
885:
857:
854:
846:
841:Albion press
837:maker's mark
821:
815:
807:
803:
799:
788:
781:
628:
620:
609:
605:
594:1809 onwards
577:
573:
561:Fleet Street
554:
514:
507:
498:
491:
482:
466:price fixing
458:
454:
449:
443:
436:
423:
415:
405:
394:1778 to 1809
389:
385:
376:
372:
365:
353:
345:
337:John Nichols
330:
322:
303:Grecs du roi
283:
275:James Mosley
272:
266:
262:
255:
232:
227:Joseph Moxon
203:Joseph Moxon
200:
192:punchcutting
189:
180:
167:
165:
137:type foundry
132:
130:
98:Headquarters
56:Type foundry
44:Francis Kyte
5153:Caslon Ltd.
4994:The Library
4707:The Library
4578:6 September
4448:Engineering
4364:24 February
4338:24 February
4329:"Typefaces"
4313:16 February
4288:16 February
4263:16 February
4146:16 February
4071:20 December
4066:Typefoundry
3953:20 December
3928:20 December
3795:21 December
3773:21 December
3673:19 December
3623:21 December
3589:22 December
3551:22 December
3488:22 December
3454:Mosley 1984
3431:18 December
3301:"No. 18500"
3281:"No. 18239"
3256:Bowman 1996
3244:Bowman 1998
3220:Mosley 1984
3184:(4): 22–27.
3135:19 November
3055:11 February
2958:31 December
2853:12 December
2827:Musson 1955
2789:20 December
2779:"Bankrupts"
2751:20 December
2606:Bowman 1998
2591:31 December
2560:31 December
2537:Bowman 1996
2525:Bowman 1998
2513:Bowman 1998
2501:Bowman 1998
2483:19 December
2433:Savage 1822
2395:18 December
2371:17 December
2342:Musson 1955
2318:Musson 1955
2306:Musson 1955
2294:Musson 1955
2279:21 December
2257:Mosley 1984
2133:. pp.
2069:Musson 1955
1949:Mosley 1981
1913:Bowman 1998
1790:Mosley 1981
1771:Mosley 1981
1747:Mosley 1981
1670:Mosley 1981
1658:Mosley 1967
1646:Mosley 1967
1622:Mosley 1967
1610:Mosley 1967
1586:Mosley 1967
1571:29 December
1537:Mosley 1967
1522:19 December
1458:Mosley 1981
1399:Mosley 1981
1228:Paul Barnes
1099:Fleischmann
1042:appearance.
981:Paul Barnes
477:modern face
444:Typographia
350:Competitors
289:engraving.
287:copperplate
168:Caslon Ltd.
149:punchcutter
5175:Categories
5097:Shaw, Paul
5041:27 October
4987:required.)
4746:Cyclopedia
4671:19 October
4480:. London:
4446:. London:
4360:. Monotype
4086:Howes 2000
3843:10 January
3531:required.)
3161:30 October
2909:15 October
2209:6 November
2021:Wolpe 1964
1992:Mores 1961
1865:Mores 1961
1850:Mores 1961
1481:2 February
1442:required.)
1339:References
1097:in Paris,
972:, several
907:Cheltenham
639:sans-serif
635:slab-serif
537:descenders
479:typefaces.
307:Miklós Kis
265:Chambers'
247:roman type
186:Background
178:in 1937.
172:St. Albans
145:metal type
120:Metal type
4798:Quaerendo
4728:Quaerendo
4381:"Avebury"
3980:7 October
3810:Reed 1887
3767:Printweek
3742:9 January
3393:Quaerendo
3342:9 January
3320:Reed 1887
3268:Reed 1887
3232:Shaw 2017
3109:10 August
2973:Reed 1887
2724:Lane 1991
2660:cite book
2165:Typophile
2115:Reed 1887
2093:: 527–538
2057:Lane 1991
1937:Lane 2012
1925:Lane 1996
1889:Lane 1991
1726:PampaType
1708:Lane 2013
1416:Lane 1993
1387:Hart 1900
1375:Lane 1991
1363:Lane 1991
1196:The Times
979:Designer
919:Eric Gill
888:body text
818:Medmenham
588:Sheffield
408:intestate
245:and then
161:Islington
88:Successor
5138:Alphabet
5128:: 36–53.
5085:(1822).
5054:(1974).
5031:(1887).
5016:(1812).
4936:: 34–42.
4914:: 1–113.
4901:: 66–81.
4828:(eds.).
4820:(1961).
4683:(1970).
4667:(4): 3–7
4652:(1936).
4598:(1998).
4568:(1900).
4554:(1825).
4546:: 68–70.
4390:15 April
4254:"Brunel"
4176:10 March
4137:"Caslon"
4109:12 March
4017:: 17–23.
3990:cite web
3376:1 August
3338:. London
2275:. London
2046:: 61–71.
1193:, later
631:fat face
575:easily.
258:Minories
196:matrices
116:Products
52:Industry
5073:21 July
4960:: 1–13.
4868:. Poem.
4853:(PhD).
4838:9 April
4488:21 June
3905:Twitter
3702:21 June
3078:. 1969.
2587:: 36–40
2420:Twitter
2141:16 June
1732:10 June
1693:12 July
1689:. ATypI
1687:YouTube
1231:known."
559:, near
299:textura
235:Cradley
80:Defunct
70:Founder
65:c. 1720
62:Founded
5109:
5064:
4981:
4953:Matrix
4930:Matrix
4885:13 May
4784:
4765:
4691:
4644:: 1–7.
4638:Matrix
4524:
4505:
4463:
4420:
4234:16 May
4205:16 May
4011:Matrix
3866:
3614:
3585:. 1905
3525:
3203:
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2876:
2785:. 1793
2689:19 May
2634:
2039:Matrix
1835:4 June
1562:
1436:
958:Nantes
929:Legacy
680:Shaded
502:Bodoni
462:cartel
251:Caslon
243:Arabic
141:London
135:was a
103:London
4879:Vimeo
4657:(PDF)
4618:(PDF)
4603:(PDF)
4170:Vimeo
3901:Tweet
3156:Print
2929:(PDF)
2450:eHive
2416:Tweet
1052:way."
1030:Notes
826:Paris
5107:ISBN
5075:2021
5062:ISBN
5043:2017
4998:s5-X
4887:2021
4840:2022
4782:ISBN
4763:ISBN
4689:ISBN
4673:2015
4626:2017
4580:2020
4522:ISBN
4503:ISBN
4490:2023
4461:ISBN
4418:ISBN
4392:2023
4366:2023
4340:2023
4315:2023
4290:2023
4265:2023
4236:2020
4207:2020
4178:2021
4148:2023
4111:2016
4073:2021
3996:link
3982:2016
3955:2021
3930:2021
3864:ISBN
3845:2023
3797:2021
3775:2021
3744:2022
3704:2023
3675:2021
3625:2021
3612:ISBN
3591:2021
3553:2021
3490:2021
3433:2021
3378:2015
3344:2022
3201:ISBN
3163:2015
3137:2021
3111:2015
3057:2019
2960:2021
2911:2016
2874:ISBN
2855:2015
2791:2021
2753:2021
2691:2020
2666:link
2632:ISBN
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2485:2021
2397:2021
2373:2021
2281:2021
2211:2017
2177:2017
2143:2018
2137:–316
2099:2016
1837:2017
1734:2018
1695:2019
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1483:2017
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