C.F. Drury was a printer and publisher in Southport, England, north of Liverpool. This advert for postcards was probably printed around 1900, based on the featured typefaces. Regina-Kursiv is the youngest of the four: it originated in 1895 at the Berthold foundry. It was also sold in the UK, including by James Marr and Co. in Edinburgh.
When C.F. Drury printed a prospectus for the book Magical Novelties (1906) by Charles Medrington (1888–1934), he also used De Vinne and Regina-Kursiv, alongside Wedlock / Cardinal and other fonts.
As we do for many pre-digital designs that were available from various manufacturers, our page named Latin Condensed serves all kinds of versions, whether they are named Latin Elongated (by Stephenson, Blake & Co.), Latin Condensed (by Boston and various other American foundries), Modern Antique Condensed (by ATF), or Schmale Renaissance (by Krebs and other German foundries).
The two digitizations mentioned above are currently both covered by this page as well, despite the subtle differences you pointed out.
Yes, you’re right. And the digital versions are unfortunately always far removed from the hand-cut letters. That’s why type cutters are especially admirable, if only for the work they do to accommodate different line heights.
4 Comments on “C.F. Drury post cards advert”
When C.F. Drury printed a prospectus for the book Magical Novelties (1906) by Charles Medrington (1888–1934), he also used De Vinne and Regina-Kursiv, alongside Wedlock / Cardinal and other fonts.
This font is more like Latin Elongated than Latin Condensed: see the subtleties at “t, O, s …”!
Kurt, it sounds like you’re comparing the type on the advert to two digital interpretations, Monotype’s Latin Condensed and PL Latin Elongated, is that correct?
As we do for many pre-digital designs that were available from various manufacturers, our page named Latin Condensed serves all kinds of versions, whether they are named Latin Elongated (by Stephenson, Blake & Co.), Latin Condensed (by Boston and various other American foundries), Modern Antique Condensed (by ATF), or Schmale Renaissance (by Krebs and other German foundries).
The two digitizations mentioned above are currently both covered by this page as well, despite the subtle differences you pointed out.
Yes, you’re right. And the digital versions are unfortunately always far removed from the hand-cut letters. That’s why type cutters are especially admirable, if only for the work they do to accommodate different line heights.