Called Trenton by Morgans & Wilcox and Hamilton (also No. 168), this modified/modulated Gothic, with its miniscule, Runic-like serifs made its first appearance as No. 157 in Wm. H. Page’s 1888 Specimens of Machine Cut Wood Type! David Shields corrected Rob Roy Kelly’s identification of Hamilton as the originator.
This scan is from a facsimile edition, printed by Pioneer Press of W. Va., Inc. The original is in the collection of Dave Peat.
12 line Ionic
Call it Egyptian, Clarendon, Ionic, or Slab Serif, but no less an authority than Nicolete Gray called this style of letter “. . . the most brilliant typographic invention of the (nineteenth) century.”¹
Clarendon was the first typeface that I learned to recognize and the first that I proclaimed as my favorite. And though my tastes have evolved and my favorite typeface changes on a bi-weekly basis, the perfectly balanced combination of the vernacular with touches of sophistication – like the voluptuously curved leg on this Ionic capital R – will continue to endear this design to me.
¹Nicolete Gray Nineteenth Century Ornamented Typefaces
V.W. & Co. 18 Dutch St. NY imprint
This is the imprint of Vanderburgh, Wells & Company used between 1864–1867.
Broadway was originally designed by America’s most prolific type designer, Morris Fuller Benton, as a foundry metal type. It was released as a caps only face by the American Type Foundry (ATF) in 1927. The Lanston Monotype Machine Company copied Broadway in 1928, but added a lowercase. Benton added Broadway Condensed in 1929, with a lowercase. This 12 line wood type version is cut from the side grain and has no manufacturer’s mark.