Shown by Berthold as Angelus-Mediäval and labeled
as their original, registered design. [1900
specimen] Some sources say it was issued before 1898
[Reichardt 2011]; others say it wasn’t
released before 1900 [Klimsch]. A Cyrillic version was available
before 1904. [Horoshkin]
Also known as Chicago by Turlot (before 1905) and later sold by their
successor FTF (from 1921). For
FTF’s Chicago Large, see De
Vinne.
Phototype adaptations by Photo-Lettering as Chicago [PLINC One Liner 1971] and by Ronné Bonder as RB Chicagoen
[Stulle 1985].
Digitally revived by Dmitriy Horoshkin as DXAngelus
Mediaval (2017, used for sample). The Cyrillic glyphs are
based on a showing in the catalog Art Fonts (1929),
the Latin glyphs on a showing of Chicago in La
Fonderie Typographique Française (1924). [Horoshkin] More…
Shown by Berthold as Angelus-Mediäval and labeled as their original, registered design. [1900 specimen] Some sources say it was issued before 1898 [Reichardt 2011]; others say it wasn’t released before 1900 [Klimsch]. A Cyrillic version was available before 1904. [Horoshkin] Also known as Chicago by Turlot (before 1905) and later sold by their successor FTF (from 1921). For FTF’s Chicago Large, see De Vinne.
Phototype adaptations by Photo-Lettering as Chicago [PLINC One Liner 1971] and by Ronné Bonder as RB Chicagoen [Stulle 1985].
Digitally revived by Dmitriy Horoshkin as DXAngelus Mediaval (2017, used for sample). The Cyrillic glyphs are based on a showing in the catalog Art Fonts (1929), the Latin glyphs on a showing of Chicago in La Fonderie Typographique Française (1924). [Horoshkin] See also BN Chester for what appears to be another digital interpretation.
