Barnhart Brothers & Spindler Type Foundry was an American company based in
Chicago.
History
Arthur Middleton Barnhart
In 1869, the brothers Alson E., Arthur Middleton, George W., and Warren Barnhart purchased the Great Western Type Foundry.[1] They subsequently incorporated as Barnhart Brothers & Spindler. It was a successful foundry known for innovative type design and well designed type catalogs.
Oz Cooper,
Will Ransom,
Robert Wiebking, and
Sidney Gaunt all designed for BB&S. It was bought out by
American Type Founders in 1911 with the proviso that the merger would not take effect for twenty years, so that the employees would have a chance to find new work or retire over time. The foundry was finally closed in 1933.
Bank Script, Spencerian script, design: James West in 1895 for BB&S, 14-48pt, ATF 1540, the next lower case scripts can be used with the capitals of no.1:
Bank Script no.2, lower case alphabet with a larger x-height, 14-38pt, ATF 1712
Bank Script no.3, lower case alphabet wider and with a larger x-height, 14-48pt, ATF 1713
Barnhart Oldstype No.2, (1907) same capitals, larger lower case and shorter descenders, (6-72pt), ATF 1545
Barnhart Oldstype Italic, (6-72pt) ATF 1546
Barnhart Lightface, (~1914) BB&S
Bizarre Bold, designed as Edwards in 1895 by
Nicolas J. Werner for
Inland Type Foundry, in 1925 renamed by BB&S when the Inland-foundry was taken over, 6-60pt, ATF 1548, Inland, Iland (8-60pt)
Cardstyle, design: Sidney Gaunt (1914), no lowercase, intended for use in announcements, capitals are cast in several sizes on all of the three bodies. (6s-15L), ATF 1558 [9]
Caslon Oldstyle, 6-72pt, ATF 1569
Caslon Oldstyle Italic, (6-72pt), ATF 1570
Caslon Italic Specials, (12-72pt), design:
Carl S. Junge, 1924
Caslon Clearface, (6-72pt), ATF 1565
Caslon Clearface Italic, (6-48pt), ATF 1566
Caslon Catalog, (6-72pt), ATF 1564
Caslon Medium, (6-72pt), ATF 1567
Caslon Medium Italic, (6-72pt), ATF 1568
Caslon Black, (6-72pt), ATF 1561
Caslon Black Italic, (6-72pt), ATF 1563
Caslon Black Condensed, (6-72pt), ATF 1562
Caslon Openface, (6-72pt), ATF 1571
Caslon Open Title, (6-72pt), ATF 1572
Caslon Antique, (8-48pt), ATF 1559
Caslon Antique Italic, (8-48pt), ATF 1560
(Caslon) Old Roman, (6-48pt), ATF 1804
(Caslon) Old Roman Italic, (6-48pt),
Century Roman, (6-24pt), design:
Linn Boyd Benton, 1894 for Century Magazine. ATF 1576
Engravers Upright Script, (8-30pt), ATF 1631, original: Pen Text No.5 (~1879) of the
Cincinnati Type Foundry, renamed by BB&S, while dropping the fancy capitals[14]
Engravers Gothic, (6s-30pt), ATF 1622, earlier name: Olympia from
Inland Type Foundry At ATF classified as a "Typo-face" [15]
F
Faust Text, (8-36pt), based on uncial lettering, in 1925 renamed: Missal Text[16]
French Clarendon was a nineteenth-century BB&S face that was re-released in 1938 by
ATF as P. T. Barnum.[17]
Modern Condensed Gothic Title, (6-120pt), ATF 1664
Modern No.4 and Italic, (6-12pt)
Modern Roman Bold Condensed, (Lining Aldine), (6-48pt), ATF 1781
Modern Roman Bold Extra Condensed, (Lining Aldine Condensed),(6-48pt), ATF 1781
Modern Roman Condensed, (Condensed No. 54), (5-48pt), ATF 1782
Modern Roman Extra Condensed, (Extra Condensed No. 56),(6-48pt), ATF 1783
Modern Roman Italic, (6-12pt), (Title Italic No.19), ATF 1784
Modern Roman Lightface, (Lightface No.7), (6-48pt), ATF 1785
Modern Roman Medium, (5-48pt), (Title No.5), ATF 1786
Modern Roman Wide, (6-16pt.), (Expanded No.5 or Title Expanded), ATF 1787
Modern Roman No.64 and Italic, (5-18pt), ATF 1916, ATF 1914
Modern Roman No.80 and Italic, (5-12pt), ATF 1918, ATF 1915
Modern Text, (6-36pt), design:
Robert Wiebking (?) ~1913, ATF 1788
Morris Romanized Black, (6-60pt), introduced as Tell Text in 1895, adaptation of the Troy- and Chaucer types of
William Morris, renamed in 1925, ATF 1791
Murder Venezian, (6-72pt), ATF 1795, design: Robert Wiebking, first shown as: Laclede Oldstyle (1922) by the Laclede Type Foundry in
St. Louis
Pastel, (6-72pt), ATF 1822, design: 1892 by
Nicolas J. Werner and
Gustav Schroeder first named Era, Lightface Era and Era Open were added in 1895, Era Condensed about 1898.
Steelplate Gothic Heavy Condensed, (6s-24L), ATF 1870
Steelplate Gothic Heavy Extended, (6s-24L), ATF 1866
Steelplate Gothic Bold, (6s-24L), ATF 1873
Steelplate Gothic Shaded, (6s-24L), ATF 1872, (1918), in England known as: Spartan Outline
Stillson, (6s-36pt), introduced around 1899, patented in 1900 by
R. L. Stillson
Swagger Capitals or: Swagger Initials, (36pt), design:
Carl S. Junge 1925, elongated flourish scripts, without X and Z. To be used with various typefaces.[30]
T
Ternholm Oldstyle, (6-72pt), ATF 1886, design:
George F. Trenholm around 1925–1927, after 1929, when BB&S merged with ATF, there is no evidence these matrices were used to cast. Although they were listed in the ATF vaults.
Woodward, (6-60pt), ATF 1608, designed for
Inland Type Foundry in 1894 by
William A. Schraustädter, named for a
Saint Louis printer. In 1911 Inland was taken over by ATF, the equipment was divided between ATF and BB&S. Some time later this face was renamed by BB&S as DeVinne Recut and DeVinne Recut Outline
^Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983,
ISBN0-7137-1347-X, p. 2408-249
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 3
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 5-7
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 17
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 21
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 23
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 47
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 61
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 63-77
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 83-93
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 105,107,111,113
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 117-123
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 131-133
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 319
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 137
^Provan, Archie, and Alexander S. Lawson, 100 Type Histories (volume 1), National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 145
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 143
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 157, 159, 177
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 173
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 175. 177
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 185, 187, 189
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 195
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 199
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 213, 219, 221, 223, 225, 227
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 237
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 245, 247, 249, 251, 253, 255, 261
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 275
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 281, 285, 289, 291, 293, 301
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 313, 317
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 329, 333, 337
Barnhart Brothers & Spindler Type Foundry was an American company based in
Chicago.
History
Arthur Middleton Barnhart
In 1869, the brothers Alson E., Arthur Middleton, George W., and Warren Barnhart purchased the Great Western Type Foundry.[1] They subsequently incorporated as Barnhart Brothers & Spindler. It was a successful foundry known for innovative type design and well designed type catalogs.
Oz Cooper,
Will Ransom,
Robert Wiebking, and
Sidney Gaunt all designed for BB&S. It was bought out by
American Type Founders in 1911 with the proviso that the merger would not take effect for twenty years, so that the employees would have a chance to find new work or retire over time. The foundry was finally closed in 1933.
Bank Script, Spencerian script, design: James West in 1895 for BB&S, 14-48pt, ATF 1540, the next lower case scripts can be used with the capitals of no.1:
Bank Script no.2, lower case alphabet with a larger x-height, 14-38pt, ATF 1712
Bank Script no.3, lower case alphabet wider and with a larger x-height, 14-48pt, ATF 1713
Barnhart Oldstype No.2, (1907) same capitals, larger lower case and shorter descenders, (6-72pt), ATF 1545
Barnhart Oldstype Italic, (6-72pt) ATF 1546
Barnhart Lightface, (~1914) BB&S
Bizarre Bold, designed as Edwards in 1895 by
Nicolas J. Werner for
Inland Type Foundry, in 1925 renamed by BB&S when the Inland-foundry was taken over, 6-60pt, ATF 1548, Inland, Iland (8-60pt)
Cardstyle, design: Sidney Gaunt (1914), no lowercase, intended for use in announcements, capitals are cast in several sizes on all of the three bodies. (6s-15L), ATF 1558 [9]
Caslon Oldstyle, 6-72pt, ATF 1569
Caslon Oldstyle Italic, (6-72pt), ATF 1570
Caslon Italic Specials, (12-72pt), design:
Carl S. Junge, 1924
Caslon Clearface, (6-72pt), ATF 1565
Caslon Clearface Italic, (6-48pt), ATF 1566
Caslon Catalog, (6-72pt), ATF 1564
Caslon Medium, (6-72pt), ATF 1567
Caslon Medium Italic, (6-72pt), ATF 1568
Caslon Black, (6-72pt), ATF 1561
Caslon Black Italic, (6-72pt), ATF 1563
Caslon Black Condensed, (6-72pt), ATF 1562
Caslon Openface, (6-72pt), ATF 1571
Caslon Open Title, (6-72pt), ATF 1572
Caslon Antique, (8-48pt), ATF 1559
Caslon Antique Italic, (8-48pt), ATF 1560
(Caslon) Old Roman, (6-48pt), ATF 1804
(Caslon) Old Roman Italic, (6-48pt),
Century Roman, (6-24pt), design:
Linn Boyd Benton, 1894 for Century Magazine. ATF 1576
Engravers Upright Script, (8-30pt), ATF 1631, original: Pen Text No.5 (~1879) of the
Cincinnati Type Foundry, renamed by BB&S, while dropping the fancy capitals[14]
Engravers Gothic, (6s-30pt), ATF 1622, earlier name: Olympia from
Inland Type Foundry At ATF classified as a "Typo-face" [15]
F
Faust Text, (8-36pt), based on uncial lettering, in 1925 renamed: Missal Text[16]
French Clarendon was a nineteenth-century BB&S face that was re-released in 1938 by
ATF as P. T. Barnum.[17]
Modern Condensed Gothic Title, (6-120pt), ATF 1664
Modern No.4 and Italic, (6-12pt)
Modern Roman Bold Condensed, (Lining Aldine), (6-48pt), ATF 1781
Modern Roman Bold Extra Condensed, (Lining Aldine Condensed),(6-48pt), ATF 1781
Modern Roman Condensed, (Condensed No. 54), (5-48pt), ATF 1782
Modern Roman Extra Condensed, (Extra Condensed No. 56),(6-48pt), ATF 1783
Modern Roman Italic, (6-12pt), (Title Italic No.19), ATF 1784
Modern Roman Lightface, (Lightface No.7), (6-48pt), ATF 1785
Modern Roman Medium, (5-48pt), (Title No.5), ATF 1786
Modern Roman Wide, (6-16pt.), (Expanded No.5 or Title Expanded), ATF 1787
Modern Roman No.64 and Italic, (5-18pt), ATF 1916, ATF 1914
Modern Roman No.80 and Italic, (5-12pt), ATF 1918, ATF 1915
Modern Text, (6-36pt), design:
Robert Wiebking (?) ~1913, ATF 1788
Morris Romanized Black, (6-60pt), introduced as Tell Text in 1895, adaptation of the Troy- and Chaucer types of
William Morris, renamed in 1925, ATF 1791
Murder Venezian, (6-72pt), ATF 1795, design: Robert Wiebking, first shown as: Laclede Oldstyle (1922) by the Laclede Type Foundry in
St. Louis
Pastel, (6-72pt), ATF 1822, design: 1892 by
Nicolas J. Werner and
Gustav Schroeder first named Era, Lightface Era and Era Open were added in 1895, Era Condensed about 1898.
Steelplate Gothic Heavy Condensed, (6s-24L), ATF 1870
Steelplate Gothic Heavy Extended, (6s-24L), ATF 1866
Steelplate Gothic Bold, (6s-24L), ATF 1873
Steelplate Gothic Shaded, (6s-24L), ATF 1872, (1918), in England known as: Spartan Outline
Stillson, (6s-36pt), introduced around 1899, patented in 1900 by
R. L. Stillson
Swagger Capitals or: Swagger Initials, (36pt), design:
Carl S. Junge 1925, elongated flourish scripts, without X and Z. To be used with various typefaces.[30]
T
Ternholm Oldstyle, (6-72pt), ATF 1886, design:
George F. Trenholm around 1925–1927, after 1929, when BB&S merged with ATF, there is no evidence these matrices were used to cast. Although they were listed in the ATF vaults.
Woodward, (6-60pt), ATF 1608, designed for
Inland Type Foundry in 1894 by
William A. Schraustädter, named for a
Saint Louis printer. In 1911 Inland was taken over by ATF, the equipment was divided between ATF and BB&S. Some time later this face was renamed by BB&S as DeVinne Recut and DeVinne Recut Outline
^Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983,
ISBN0-7137-1347-X, p. 2408-249
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 3
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 5-7
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 17
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 21
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 23
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 47
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 61
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 63-77
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 83-93
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 105,107,111,113
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 117-123
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 131-133
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 319
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 137
^Provan, Archie, and Alexander S. Lawson, 100 Type Histories (volume 1), National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 145
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 143
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 157, 159, 177
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 173
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 175. 177
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 185, 187, 189
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 195
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 199
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 213, 219, 221, 223, 225, 227
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 237
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 245, 247, 249, 251, 253, 255, 261
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 275
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 281, 285, 289, 291, 293, 301
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 313, 317
^American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 329, 333, 337