This design goes back to a typeface from c. 1820 by the
Paris-based foundry of Joseph Gillé. Also by Wood & Sharwoods, c.
1842. [Gray 1976] In 1862, Laurent & Deberny had
adopted it in various size variations (Lettres ornées N. 101,
N. 103, N. 89). Reappears in the 20th century at Deberny &
Peignot and at Haas under the name of Lettres Ombrées
Ornées.
PLINC carried the face as Lettres Ornees, with a
variant named Eldorado B where the line fill is missing.
Letraset had it as Lettres Ornees (with a D&P
credit). Adopted by Mecanorma in 1967 and shown in their 1973
catalog as 82A Lettres Ornees / Ornees A
(with a Haas credit).
Dieter Steffmann made a freely available (but unsatisfactory and
limited) digitization in 2002. FontMesa announced a new digital
version with a lowercase More…
This design goes back to a typeface from c. 1820 by the Paris-based foundry of Joseph Gillé. Also by Wood & Sharwoods, c. 1842. [Gray 1976] In 1862, Laurent & Deberny had adopted it in various size variations (Lettres ornées N. 101, N. 103, N. 89). Reappears in the 20th century at Deberny & Peignot and at Haas under the name of Lettres Ombrées Ornées.
PLINC carried the face as Lettres Ornees, with a variant named Eldorado B where the line fill is missing. Letraset had it as Lettres Ornees (with a D&P credit). Adopted by Mecanorma in 1967 and shown in their 1973 catalog as 82A Lettres Ornees / Ornees A (with a Haas credit).
Dieter Steffmann made a freely available (but unsatisfactory and limited) digitization in 2002. FontMesa announced a new digital version with a lowercase in 2015. Also digitized by Alan Jay Prescott as Currier in 2018.
