Barnhart Brothers & Spindler Type Foundry was an American type foundry based in Chicago.
History
In 1869, the brothers Alson E., Arthur Middleton, George W., and Warren Barnhart purchased the Great Western Type Foundry. 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.
Mergers and acquisitions Advance Type Foundry (AKA Wiebking, Hardinge & Company), Chicago, bought out by Western Type Foundry in 1914. Western Type Foundry, Saint Louis, Missouri, bought by B.B.&S in 1918.
Typefaces These foundry types were originally cast by Barnhart Brothers & Spindler:Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, , p. 2408-249
A AdcraftAmerican Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 3 Adcraft lightface, 8-48pt, or Puritan, Hansen (8-48pt) ATF 1501 Adcraft Medium, 6-72pt, ATF 1502 Adcraft Bold or Plymouth, 6-120pt Adcraft Black or Plymouth Bold, 6-72pt, ATF 1500 Adstyle design: Sidney C. Gaunt, 1906, 6-120pt, ATF 1503 Adstyle Italic 6-72pt, ATF 1509 Adstyle Condensed 10-120pt, ATF 1506 Adstyle Extra Condensed 10-108pt ATF 1507 Adstyle Wide 6-60pt, ATF 1511 Ádstyle lightface Adstyle Black 6-96pt, ATF 1504 Adstyle Outline 12-96pt, ATF 1505 Adstyle Shaded10-72pt, ATF 1510, Gaunt: 1914 American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 5-7 Adstyle Borders, design: T. C. Robinson 1908, 7 series, 12-24pt, Special Reversed Figures: Mono 132S (12-18pt) Advertisers Gothic, 6-72pt, Design: Robert Wiebking 1917, for Western Type Foundry take over by BB&S in 1919, ATF 1512 Advertisers Gothic Condensed 6-72pt, ATF 1513 Advertisers Gothic Outline 6-72pt, ATF 1515 Advertisers Gothic Condensed Outline 6-72pt, ATF 1514 Advertisers Upright Script 14-72pt, original name: Oliphant (1895) renamed in 1925, ATF 1516 Artcraft, design: Robert Wiebking 1912, 6-72pt American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 17 Artcraft italic, 6-48pt, ATF 1529, Ludlow 10LI Artcraft Bold, 6-72pt, ATF 1528, Ludlow 10-B Authors Roman, design: Sidney Gaunt for BB&S in 1902, other versions were added between 1908 and 1915: 5-72pt, ATF 1531 Authors Oldstyle Italic, (5-72pt) ATF 1533 Authors Oldstyle Bold 5-72pt, ATF 1532 Authors Roman, 5-72pt, ATF 1534 Authors Roman Italic, 5-72pt, ATF 1530 Authors Roman Condensed, 6-72pt, ATF 1537 Authors Roman Wide, 5-48pt, ATF 1538 Authors Roman Bold, 5-72pt, ATF 1535 Authors Roman Bold Condensed, 6-72pt, ATF 1536,American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 21
B Bamboo, original named: Freak, 10-30pt, patented in 1889 by Great Western Type Foundry. in 1925 at BB&S, later copied by Typefounders of Phoenix 18pt American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 23 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, design: Sidney Gaunt (1906) (6-72pt), ATF 1544 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) Booknam Light Face, (6-25pt) ATF 1551 Bookman Bold, (6-72pt) ATF 1549 Bookman Bold Condensed, (6-72pt) ATF 1550American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 47
C 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 American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 61 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 Century Italic, (6-24pt), ATF 1575ATF 1810American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 63-77 Gothic Chamfer, (12-54pt) ATF 1643 Cheltenham Oldstyle, (6-72pt), ATF 87 Cheltenham Italic, (6-72pt), ATF 82 Cheltenham wide, (6-72pt), ATF 89 Cheltenham Medium, (6-72pt), ATF 83 Cheltenham Bold, (6-72), ATF 73 Cheltenham Bold Italic, (6-72pt), ATF 73 Cheltenham Bold Condensed, (6-72pt), ATF 68 Cheltenham Bold Condensed Italic, (6-72pt), ATF 69 Cheltenham Bold Extra Condensed, (6-120pt), ATF 70 Cheltenham Bold Extended, (6-72pt), ATF 72 Chester Text, 8-14pt, design: Sidney Gaunt 1914, capitals and small capitals, but hard to read, can only be used for names and a few words, ATF 1577 Clarendon No.5, (5-24pt), ATF 1578 Clarendon Extra Condensed No.5, (6-36pt), ATF 1580 Clarendon Medium, (Caledonian No.5) (5-36pt), ATF 1581 Clarendo Bold, (Lining Doric) (6-48pt), ATF 1579 Clearcut Oldstyle, (5-72pt), ATF 1582 Clearcut Oldstyle Italic, (5-72pt), ATF 1584 Clearcut Oldstyle Condensed, (10-72pt), ATF 1583 Clearcut Shaded Caps, design: Will Ransom, 1924 (12-48pt), ATF 1585 American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 83-93 Cooper, (6-72pt), ATF 1589, Mono 482 (8-36pt) Cooper Italic, (6-72pt) ATF 1595, Mono 4821 (8-36pt) Cooper Black, 6-120pt (1922, design: Oswald Bruce Cooper), ATF 1590 Cooper Black Italic, (6-120 pt) ATF 1592 Cooper Black Condensed, (6-120pt), ATF 1591 Cooper Hilite, (18-120pt), ATF 1594 Cooper Fullface, (6-72pt), ATF 1593 Cooper Modern, (6-72pt), ATF 1942 Cooper Tooled, (18-72pt), Mono 582 Cooper Tooled Italic, (10-72pt), Copperplate Gothic, design: Frederic W. Goudy, 1903 Stealplate Gothic Light, (6s-24L) ATF 1867 Stealplate Gothic Light Extended, (6s-24L) ATF 1865 Stealplate Gothic Light Condensed, (6s-24L) ATF 1869 Stealplate Gothic Light Heavy, (6s-24L) ATF 1868 Stealplate Gothic Italic, (6s-24L) ATF 1871 Stealplate Gothic Condensed, (6s-24L) ATF 1870 Stealplate Gothic Heavy Extended, (6s-24L) ATF 1866ATF 1596 Cubist Bold, design: John W. Zimmerman (~1929), has no lowercase (10-36pt), ATF 1599 Custer later: Bookman Lightface (6-24pt) Custer Bold later: Bookman Bold, (6-72pt)American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 105,107,111,113
D Demeter (Typeface), (14-48pt), 1925, design: Peter A. Demeter, in cooperation with Schriftguss A.G. in Dresden Germany. Dennison Script, (14-48pt), ATF 1602 De Vinne, 6-72pt, ATF 1602 De Vinne Compressed, (6-72pt), ATF 1606 De Vinne Extra Compressed, (10-72pt), ATF 1607 De Vinne Bold, (6-60pt), ATF 1605 <-!119-> De Vinne Recut, (6-60pt) revival of Woodward, design: William A. Schraubstädter 1894 for Inland Type Foundry, ATF 1608 De Vinne Recut Outline, (12-60pt) revival of Woodward Outline, ATF 1609 Dresden, (12-30pt), design: Peter A. Demeter, ATF 1611American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 117-123
E Engravers English, (6-72pt) ATF 1621 Engravers Old Black, (6-96pt) Design: Sidney Gaunt 1910 Engravers Roman, (6s-24pt), design: Robert Wiebking 1899, ATF 1627 Engravers Roman Condensed, (6s-24pt) ATF 1628 Engravers Bold (6s-36pt), design: Morris Fuller Benton, ATF 1619 Engravers Title (6s-24pt), ATF 1630 Engravers Litho Bold, (6-48pt), ATF 1623 Engravers Litho Bold Condensed, (5-48pt), ATF 1624 Engravers Bold Condensed (title), (6s-48pt), ATF 1620 Engravers Roman Shaded, (6s-36pt), ATF 1629 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 capitalsAmerican Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 131-133 Engravers Gothic, (6s-30pt), ATF 1622, earlier name: Olympia from Inland Type Foundry At ATF classified as a "Typo-face" American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 319
F Faust Text, (8-36pt), based on uncial lettering, in 1925 renamed: Missal TextAmerican Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 137 French Clarendon was a nineteenth-century BB&S face that was re-released in 1938 by ATF as P. T. Barnum. Provan, Archie, and Alexander S. Lawson, 100 Type Histories (volume 1), National Composition Association, Arlington, Virginia, 1983, pp. 20-21. French Oldstyle no.3, (6-18pt) ATF 1639 French Oldstyle No.56 (title) (6-48pt) ATF 1640 French Elsevir Italic No.5, (6-12pt) ATF 1637 French Plate Script, (14-36pt) ATF 1641 American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 145
G Gothic No.1, (4-72pt), copy of Franklin Gothic of Morris Fuller Benton ATF 1674 Gothic No.1 Condensed, (6-72pt) ATF 1675American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 143 Gothic No.3, (6-72pt) ATF 1667 Gothic Extra Condensed No.6, (6-72pt) ATF 1654 Gothic Extra Condensed Title No.6, (8-60pt) ATF 1655 Gothic No.47, (6-72pt) Gothic Condensed Title No.117, (5-120pt) ATF 1651 Gothic Italic or Degree Gothic No.1, (6-24PT) ATF 1600 or 1658 Gothic Italic Light or Degree Gothic No.2, (5-12pt) ATF 1659 Gothic Inclined, (6-24pt) ATF 1656 Gothic Inclined Light, (6-24pt) ATF 1657 Gothic Novelty, (8-14pt) ATF 1671 Gothic Novelty Title, (6-24pt) ATF 1673 Gothic Novelty Condensed, (12-60pt) ATF 1672 Gothic Outline Title, (12-72pt) ATF 1676 Gothic Compressed No.8, (10-72pt), ATF 1653 Gothic Compressed Title No.8, (8-60pt), ATF 1649 American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 157, 159, 177 Greeting Card, (10-24pt) ATF 1683 Greeting Card Light, (10-24pt) ATF 1684American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 173
H Handcraft, (6-72pt) ATF 1686 Handcraft Title, (6-60pt) ATF 1687 Handcraft Wide Title, (6-30pt) ATF 1688 American Metal Typefaces of the Twentieth Century, Mac McGrew, Oak Knoll, 2nd edition, 1993, pag. 175. 177
I, J Invitation Text, (6-48pt), desin: Robert Wiebking 1914, ATF 1693 Japanet, (8-48pt) original name: Wedge Gothic cut in 1893 by BB&S for the Chicago Herald, renamed in 1925, Recast for the ATF in 1954: ATF 1694 Morris Jensonian, (6-48pt) ATF 1790 Poor revival of the type of William Morris, 1895-96 first named: Mazarin, later replaced by the Inland's face: Klemscott and renamed.