This is an acquaintance card that dates to the late nineteenth or early twentieth century.

For another card that uses the same illustration and red border, see May I C U Home This Eve? (featuring Souvenir and Bowl).

Will you allow me [the] Pleasure of your sweet Acquaintance?
Miss ________
Yours Truly. Please Answer.
Franz W. Olson

The fairy-tale blackletter is Herman Ihlenburg’s Bradley from 1895. “Miss” is set in Royal Script, a formal script cut by Gustave F. Schroeder for the Central Type Foundry by 1887. The oldest typeface on this card is the other script used for the sender’s name: it’s Spencerian Script, patented by Richard Smith for MacKellar, Smiths & Jordan in 1878. “Yours Truly” and “Please Answer” is hand lettering.

First released by United Artists Jazz in 1962, this is Solid State’s 1968 reissue of King Pleasure’s Mr. Jazz album, with a more attractive cover, designed by Alex Gnidziejko.

The spectacular three-dimensional typeface is Relievo No. 2, patented by Richard Smith for MacKellar, Smiths & Jordan in 1879. The border elements at the left and right are part of the typeface, too, see them in a period specimen.

[More info on Discogs]

Detail

This song book by the Heils-Armee – the German branch of the Salvation Army – must have been issued sometime around 1900. The title page mentions Thomas McKie, who served as Kommandeur for Germany from 1894 to 1901. The booklet was edited by Jakob Junker, operating from the Army’s National Headquarters at Blücherplatz 1 in Berlin-Kreuzberg. Junker also published Der Kriegsruf, the German edition of the Army’s official news bulletin, The War Cry.

The title typeface circulated in Germany under various names including Kirchen-Gotisch and Pfeil-Gothisch. It originated in the United States, though, where it was first cast by MacKellar, Smiths & Jordan in 1870 and sold as Fancy Text. “Bereite dich vor deinem Gott zu stehen” (“Prepare to meet your God”, Amos 4:12) is set in a Fette Fraktur. “Berlin” is in a Breite Kanzlei, and the address in a Midolline; more precisely, Magere Midolline as cast by Woellmer. “Nachdruck verboten” is in a standard fraktur, see Normal-Fraktur. The price is shown in Normande.

The title page features Fancy Text and Normal-Fraktur, too. There’s also a condensed grotesk and an oldstyle roman (“Mediäval” in German) which are a tad too generic to pinpoint.

Dr. Arthur F. Moore (1843-1924) used this colorful leaf-shaped trade card to advertise his medical practice in Winsted, Connecticut.

Moore occasionally contributed notes about medical topics that appeared in the United States Medical Investigator (prior to 1875 the title of the periodical was simply the Medical Investigator). Since the published pieces included his name and location, they document the different places he lived.

Notes that Moore contributed in 1872 and 1873, for instance, listed his residence as Lyons, Wisconsin. By 1877 he had moved to Sandy Hill, New York. In 1883 he was in Winsted, Connecticut, where he handed out copies of this trade card. A year later, he was in Bridgewater, Vermont, and then in 1886 he ended up in in Ludlow, Vermont.

For another leaf-shaped trade card, see The Livermore Pen, Stylographic Pen Co., Boston, Mass.

A.F. Moore, M.D.
Office in Park Place Hours 1 to 2 & 6 to 8 P.M.
Residence 141 Main Street, Winsted, Ct.

The name is set in Spencerian Script, using two different forms of M. It’s paired with a plain gothic in caps and small caps.

Samuel A. Biemesderfer. East Hempfield, Pa.

Despite the different spelling of the name, I believe this calling card belonged to Samuel A. Beamesderfer (1860-1925). Other versions of the name from official records include Bemesderfer, Bemisderfer, and Bimesderfer. The 1870 U.S. Federal Census listed Landisville, Pennsylvania, as the post office used by Samuel's family. Today East Hempfield is the name of the township surrounding Landisville.

The typeface used for Biemesderfer's name is Text Ornate, which was patented in 1872 and appears in MacKellar, Smiths & Jordan Co., Specimens of Printing Types: Ornaments, Borders, Corners, Rules, Emblems, Initials, &c. (1892), p. 379. For other examples of this typeface, see the calling cards for Warren Perkins and Catharine A. Emerick.

May I C-U-Home this Eve? Yours truly, James Ely. Please answer.

This is an acquaintance card dating to the late nineteenth or early twentieth century. For other cards with the same illustration and border, see Your Coral Lips Were Made to Kiss, I Stoutly will Maintain, Your Beau I Wish to Be, This Card I Therefore Send, and I Learned the Verb “Love” at School.
For even more cards, see my Acquaintance Cards album.

The main typeface is the unshaded variant of Ancient (Johnson, c. 1870?), shown by Farmer, Little & Co. in 1878. The script used for “James Ely” is Spencerian Script No. 2 (MS&J, by 1881), cf. its E and J.

Homegrown is the fourth extended play (EP) record by American rapper Lil Debbie, released on July 31, 2015 independently. The EP features Wiz Khalifa, Paul Wall and Bricc Baby.

The artist logo uses either lettering or lettering derived from a yet unidentified typeface [edit: It’s Fancy Text, see comments]. The track listing and featuring artists are presented in capital letters of Big Caslon.

An undated business card for Jane Lander, who was a representative for Push Pin Studios between 1960 and 1967.

Designed in the neo-Victorian style that was popularized by Push Pin and others in the 1960s, the chosen typefaces all date from the 19th century.

“Jane Lander” is in an Ornamented face with concave stems and pointed terminals in the shape of concave diamonds. This style appears in Boston’s catalog from 1860. There are considerable differences across the sizes, and also between the cuts sold by various foundries. The wide R matches the Two-Line Great Primer Ornamented No. 6 as shown in Farmer’s 1867 specimen. This cut is also listed as 36 Point Ornamented No. 16 in a Morgan Press foundry type specimen, which might have been the source for Push Pin Studios. It’s paired with a light Ionic or Clarendon that’s also used for the smaller text in green.

“The Push Pin” likely is lettering – the P in “Push” appears to be inspired by Crayonette. The typefaces used for the names in cartouches and boxes are the left-leaning Pisa (1897), the dramatic Relievo No. 2 (1879), Rimmed Condensed (1866), and Ronaldson Condensed (before 1889).

Jefferson Airplane Takes Off is the debut album from psychedelic rock band Jefferson Airplane, released in 1966. The cover features a rare (and slightly squooshed) use of William Millstein’s Orientale, with what appears to be hand-rendered outline and shade effects. The floating ‘O’ in the band’s name, with wavy lines below, looks like it was made by raising the baseline of the lowercase ‘o’. There’s also a notably large use of Relievo No. 2.

1968 album from blues artist Aaron “T-Bone” Walker. The credits for “liner design” are attributed to Joe Lebow.

Laini (née Sylvia Abernathy) designed several record covers for Chicago-based Delmark Records in the 1960s. She is one of the few African American women of the period to be credited as a designer.

Read more about Laini in a piece by Florence Fu at Letterform Archive:

Among her album designs, the cover for Joseph Jarman’s Song For… is the most elaborate and typographic, making modern use of antique typefaces, including the Victorian-era Relievo No. 2 (1879) and Windsor Outline (1904). Futura Black and Broadway form a dizzying text frame. Unlike other albums of the time that either take on a cool, mysterious attitude with tinted monochrome photography, or a bouncy, energetic character with kinetic type, Abernathy takes a different approach. By only using contrasting colors of red and green, she produces a vibrating, psychedelic effect where their edges meet — echoed by the optically-ambiguous mirrored portrait in the center.

Can’t identify that blackletter. It’s not any of MS&J’s “Black” faces, nor Black Title.