Designed by Friedrich Bauer and issued in 1907–1910 in seven styles (3 weights, 2 of them with italics, plus 2 condensed weights). [Wetzig 1912] Initially (until 1912) named Nordische Antiqua (Swedish: Nordisk Antikva). Developed in cooperation with Swedish printer Waldemar Zachrisson [DBS] who sometimes is credited as designer. [Onze Kunst] Accompanied by Seeland-Initialen and Seeland-Ornamente drawn by Gerhard Heilmann. [DBS] Used in 1907 for Genzsch & Heyse’s Bunte Blätter, Vol. 3 No. 1. [DBS] First used for a full book in Zachrisson’s Boktryckeri-Kalender [DBS, 1907]

In 1916, Genzsch-Antiqua with Kursiv and halbfett were cut in a Cyrillic version. Large sizes of some styles also made in wood. In 1929, Genzsch & Heyse added another three italic styles in a revised version for newspaper use as Genzsch-Zeitungs-Kursiv. Rosenborg-Kursiv (1910) is an italic variant with swash caps. [Reichardt 2011] [Wetzig 1926–40]

Also cast by Berling as Nordisk antikva and by Stevens as Stanhope Old Style. [Reichardt 2011] [R. H. Stevens] Some styles adapted for the Intertype [Musterkartei DIN 16507] and also Linotype/Typograph [Reichardt 2011] Not to be confused with Linotype’s Nordische Antiqua, which was their adaptation of Turnus-Antiqua (Stempel, 1910). Taken over by Bauer. [1963 correspondence]

In 1995, Sven Seddig and other students at the Hochschule für bildende Künste in Hamburg digitized the roman, under the direction of Gisela Will and Hans Andree [Materialverlag].

Commercial digitizations were made by Bo Berndal as Nordik (Agfa, 1992) and by Gerhard Helzel (1995–2005, 5 styles). In 2016, Michael Wörgötter digitized the schmalhalbfett and made a wood type revival, and eventually revived all seven original styles as LD Genzsch Antiqua (Lazydogs, 2020). See also Tarocco, Småländsk Antikva, and Stanhope.