Framboise Pépin et ses environs by François de Bondy
Contributed by Eva Silvertant on Jan 21st, 2022. Artwork published in
2 Comments on “Framboise Pépin et ses environs by François de Bondy”
Eva, thanks so much for introducing me to Elzevir Estienne! And sincere apologies for the long wait.
French type history from before WWII is not exactly my strong suit. I hope that someone more knowledgeable will stop by and fill us in with more details. I have a feeling that there’s some confusion about “Beaudoire’s Elzevir”, which has to do with the fact that “Elzevir” is more of a genre descriptor (like oldstyle) than one specific design, and also that there is more than one Beaudoire.
The Fonderie Générale in Paris was doing business under various names over its long history, including Th. Beaudoire & Cie (1871–72, 1882–92); Th. Beaudoire, Traverse & Cie (1872–82); Th. Beaudoire & Fils (1892–94); and Ch. Beaudoire & Cie. (1894–1912). I assume that Charles Beaudoire was the son (fils) of Theophile Beaudoire (1833–1903).
Some sources including MyFonts and Luc Devroye credit Theophile Beaudoire and Gustave Schroeder with the design of Romana. This is bollocks, or at least confusingly simplified (and I’m embarrassed to say that we had reproduced this info on Fonts In Use previously). It makes more sense when reading the full description on MyFonts:
In other words, this branch of modernized oldstyle romans started in France. The general idea and style made it to other places, too, including the United States, see French Oldstyle AKA (French) Elzevir. Central’s De Vinne turned it into a bold advertising face. Its success inspired many related designs. In Europe, this included Romanisch and its follower Romana. The latter was designed at Riegerl & Weißenborn in Leipzig, and subsequently cast by various foundries. Neither Beaudoire nor Schroeder had anything to do with Romana, other than having worked on predecessors.
Thanks a lot for the information! I decided to remove the list of associated typefaces, deeming it too speculative and murky, and straying too far from the essence of this FontsInUse entry anyway.
However, I’m planning on writing an article where I hope to explore those typefaces and their relationships further, so this gives me a starting point. It’s probably near-impossible to connect many dots, but I at least want to explore the propagation of that straight-legged R that seems to show up more or less with Elzevir, and dies in popularity in the 1910s–1930s or so. Perhaps I can even map out its propagation in Europe and the US.
Did that feature first appear in Lyons Capitals, or was that one of the features being revived by the French?