A collective entry for a narrow grotesque design of unclear
origin. Sold in Germany in 1926 by various foundries, incl. Genzsch
& Heyse (as Longina), Stempel (as Schmale enge
Grotesk), Schelter & Giesecke (as Schmale halbf.
Steinschrift, with Conner credits), A.-G. für Schriftg. u.
M. and Emil Gursch (as Schmale Grotesk/Schmale
Grotesque), and L. Wagner (as
Schmale halbfette Grotesk) [Wetzig 1926–40] [Reynolds]. See also
Gothic Condensed No. 529.
In sizes from 36pt on up, Bauer’s
Neueste schmale Grotesk is a version of this design,
too. Poppelbaum, Krebs, Ludwig & Mayer, A. Numrich, and Scholz all
sold it as Schmale Steinschrift, and Emil Berger as well
as Schriftgiesserei Bern as Steinschrift. After Berthold
had acquired the Emil Berger foundry in 1893, they sold it under
the name Enge Steinschrift. At More…
A collective entry for a narrow grotesque design of unclear origin. Sold in Germany in 1926 by various foundries, incl. Genzsch & Heyse (as Longina), Stempel (as Schmale enge Grotesk), Schelter & Giesecke (as Schmale halbf. Steinschrift, with Conner credits), A.-G. für Schriftg. u. M. and Emil Gursch (as Schmale Grotesk/Schmale Grotesque), and L. Wagner (as Schmale halbfette Grotesk) [Wetzig 1926–40] [Reynolds]. See also Gothic Condensed No. 529.
In sizes from 36pt on up, Bauer’s Neueste schmale Grotesk is a version of this design, too. Poppelbaum, Krebs, Ludwig & Mayer, A. Numrich, and Scholz all sold it as Schmale Steinschrift, and Emil Berger as well as Schriftgiesserei Bern as Steinschrift. After Berthold had acquired the Emil Berger foundry in 1893, they sold it under the name Enge Steinschrift. At some point, Berthold renamed it Akzidenz-Grotesk schmalhalbfett. Revised for their phototype version, now without the “splayed t”. [Reynolds] While the versions shown by Wetzig (1926) all have a double-storey ‘g’, Berthold’s post-WWII metal version shows a monocular ‘g’.