Schelter & Giesecke Type Foundry
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| Type | Aktiengesellschaft |
|---|---|
| Industry | Type foundry |
| Founded | 1819 |
| Founder | Johann Schelter, Christian Giesecke |
| Defunct | 1946 |
| Headquarters | Leipzig, Germany |
Key people | Georg Belwe |
J.G. Schelter & Giesecke was a German type foundry and manufacturer of printing presses started 1819 in Leipzig by punchcutter Johann Schelter and typefounder Christian Friedrich Giesecke (1793-1850). The foundry was nationalized in 1946 by the new German Democratic Republic, forming VEB Typoart, Dresden.[1]
Typefaces
[edit]
These foundry types were produced by Schelter & Giesecke:[1]
- Accidenz-Zierat (1902)
- Akantrea (1883), borders and ornaments
- Akropolis Ornamente (1907)
- Alt Latein (1924) [3]
- Baldur Baldur (1895) open and shaded variant of Wodan (1894). Revived by Alan Prescott as New Baldur APT (1996).
- Belwe Roman (1907, Georg Belwe) [4]
- Biedermeierzierat (1905)
- Borghese (1904) An Art Nouveau face, revived by Ralph M. Unger as Borghese (2015).
- Breite Grotesk (1886) This typeface influenced the Bauhaus movement and was a forerunner of Helvetica. Revived by Nick Curtis as Schelter Grotesk NF (2010), and by Arve Båtevik as Sagen Grotesk, Breite Halbfette Grotesk and Breite magere Grotesk (2015).
- Breite Kanzlei (1835; other publications mention 1890) + Halbfette Kanzlei (1860)
- Die Zierde (1913, F.H. Ernst Schneidler), ornaments
- Dolmen (1922, Max Salzmann)
- Zierdolmen (1922, Max Salzmann), a decorated version of Dolmen.[5]
- Edelgotisch (1901, Albert Knab)
- Fafner + Schraffierte (1905) Revived by Oliver Weiss / Walden Font Co. as WF Fafner (2020)
- Fanal (1933), angular blackletterish script face
- Fee (1907), handwriting.
- Flamme (1933), brush-like script
- Gnom + breite Gnom (1928)
- Gravira (1935, Herbert Thannhaueser) [6]
- Gudrum The bicolor combination of Wodan (fill) and Baldur (open).
- Gutenberg-Gotisch (1885) + Halbfette Gutenberg-Gotisch (1890) The original by F.W. Bauer and Th. Friebel dates from 1880.
- Hispania Script (1890), a pirate map face
- Initialen zur Rousseau (1907)
- Italian Renaissance (1883) a black-letter face
- Jugend-Fraktur (ca. 1900)
- Kalender Vignetten (1907, Max Salzmann)
- Kartuschen Einfassung serie 72 (1887), ornaments
- Kolibri (1928)
- Koralle (1929[1] Georg Kraus mentions the date 1915, as does Nick Curtis. Curtis based his Koralle NF (2012) and Koralle Rounded NF (2014) on this typeface; see also the recent revival Koralle RMU (2018) by Ralph M. Unger.
- Leipziger Lateinschrift (1908)
- Liane (1908) Revived by Oliver Weiss / Walden Font Co. as WF Fafner (2020)
- Meierschrift (1904-1908, C.F. Meier) Revived by Oliver Weiss / Walden Font Co. as WF Meierschrift (2020)
- Mimosenzierat (1909, Heinz Keune)
- Moderne enge halbfette Fraktur (1886)
- Monos (1912)
- Münster-Gotisch (1896) Revived by Paulo W as Münster Gotische (2009). Gerhard Helzel also did a revival.
- Patriz Huber Ornamente (1906, Patriz Huber) Revived by Oliver Weiss / Walden Font Co. as WF Border Patriz Huber (2020)
- Perkeo (1928)
- Reklameschrift Radium (1904-1906) Revived by Oliver Weiss / Walden Font Co. as WF Radium (2020)
- Roland Grotesk (1910)
- Roland Kursiv (1910)
- Romanisch, later copied by the Central Type Foundry of Saint Louis as De Vinne.[7]
- Rosenzierat Serien 534 und 535 (1905, Heinz Keune)
- Rundgotisch (1909; others say 1902-1903)
- Salzmann Antiqua (1913, Max Salzmann)
- Salzmann Fraktur + Kräftige Salzmann Fraktur (1911, Max Salzmann)
- Salzmann Kursiv (1911, Max Salzmann)
- Salzmannschrift + Salzmannschrift halbfette + schmale Salzmannschrift (1910, Max Salzmann)
- Saskia (1931, Jan Tschichold) [8]
- Schelter Antiqua (1906) Revived by Oliver Weiss / Walden Font Co. as WF Schelter Antiqua (2020).
- Leipziger Lateinschrift (1907) a variant of Schelter Antiqua.
- Tauchnitz-Antiqua (1907) a variant of Schelter Antiqua.
- Schelter Kursiv (1906)
- Schlanke Grotesk (1886)
- Schlanke Grotesk (1886)
- Schmale Anker Romanisch (1908), a German Romanesque.
- Schmale fette Edelgotisch und Zierat (1907)
- Schmale fette Schelterantiqua (1908)
- Schmale Medieäval (1840) Rived in 2020 by Ralph M. Unger as Schmale Mediaeval.
- Schmale Steinschrift (1898)
- Schul-Fraktur (1886) + Fette (1890) + Schmale fette (1918) Digitization by Delbanco as DS-Schulfraktur (2001).
- Shakespere Mediäval (1927–1929, Georg Belwe) [9]
- Shieldface A (1881) caps only
- Shieldface Combinationpieces (1881), ornamental
- Silhouette Border Series 63 (1884)
- Tauperle (1928)
- Titan + Titan Gnom (1915)
- Walgunde mit Zieraten (1908, Eduard Lautenbach)
- Walküre The grey variant of Wodan.
- Watteau-Schrift + Watteau Schmuck (1913), aka Kartenschrift Watteau, a non-connected script.
- Wieland (1926, Georg Belwe)
- Wodan (1894),
- Zierschrift 1328 (1889)
- Zierschrift 1400 (1889)
The foundry claimed by the twentieth century to have been one of the first to offer general-purpose sans-serif typefaces with lower-case, as early as 1825.[10][11] This was repeated by some authors, but is now known to be untrue: Wolfgang Homola dates it to 1882 based on a study of Schelter & Giesecke specimens.[2][a]
Press Manufacturing
[edit]
Beginning in 1827 Schelter & Giesecke manufactured letterpress presses, cylinder proof presses and platen presses; and after World War I also of web-fed, letterpress and flexo printing presses.
The Leipzig house of foundry co-owner Georg Giesecke, designed by Berlin architect Max Hasak, survives and is listed.[14]
References
[edit]- 1 2 3 "J.G. Schelter&Giesecke". Luc Devroye. School of Computer Science, McGill University, Montreal, Canada. Retrieved 7 January 2021.
- 1 2 Homola, Wolfgang. "Type design in the age of the machine. The 'Breite Grotesk' by J. G. Schelter & Giesecke" (PDF). University of Reading (archived). Archived from the original on 12 January 2011. Retrieved 17 January 2018.
{{cite web}}: CS1 maint: bot: original URL status unknown (link) - ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 5.
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 19.
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 263.
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 109.
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 67.
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 201.
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X p. 205.
- ↑ Lawson, Alexander S., Anatomy of a Typeface, David R. Godine, Publisher, Boston, Massachusetts, 1990, ISBN 0-87923-333-8, p. 296.
- ↑ Handbuch der Schriftarten. Leipzig: Seeman. 1926.
- ↑ Mosley, James. "Comments on Typophile thread - "Unborn: sans serif lower case in the 19th century"". Typophile (archived). Archived from the original on 28 June 2014. Retrieved 15 October 2016.
{{cite web}}: CS1 maint: bot: original URL status unknown (link) - ↑ Tracy, Walter. Letters of Credit. p. 86.
- ↑ Sabine Knopf (2011). Buchstadt Leipzig: der historische Reiseführer. Ch. Links Verlag. pp. 80–81. ISBN 978-3-86153-634-5.
- ↑ Walter Tracy also comments that the claimed date is "forty years too early" and James Mosley describes it as "thoroughly discredited".[12][13]
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