Perhaps some pre-digital version of Radiant. Britannic also has similarities.

Well, my first guess was Peignot but that doesn’t look exactly right unless it’s some variant.

Yeah, I thought it had a French Art Deco quality to it too, which is why I asked in the first place, as that doesn’t fit the date at all.

There was an old font called Florentine, not sure it’s digitized - will look for it.

Nah, not quite it.

Is your sample from 1914 or done later in the futurist style?

ChrisL

In the Dover book “Treasury of Authentic Art Nouveau Alphabets” (which is a partial reprint of a German type specimen book from 1903), there is a face called “Studley Extended” which, except for the proportions, looks almost exactly like your sample. It has many similar details, such as the hook serif on the G and the way the diagonal meets the right stem of the N just above the baseline. According to the Dover book, it was produced by the Inland Type Foundry, but I can’t find any other references to it. I would have expected to see it in Mac McGrew’s American Metal Typefaces of the Twentieth Century, but maybe it was too old even for that.

I’m reasonably confident that this sample is from 1914, as the publishing info in the corner states.

You got it Mark. It is Studley. It shows up in the ATF Catalog from 1912. It also had a condensed and Extra condensed version.

- Mike Yanega

It is 1914 (the 1912 relates to the battle of Adrianopoli in Turkey that Marinetti took part in) the layout, title and created words are onomatopoeias to recreate the shots and grenades.
Tim

Not a match, but it looks very similar to Globe Gothic

“It is 1914 ...”

Then wouldn’t it be too old for Peignot?

ChrisL

Studley was named for Robert P. Studley, the first user of lithographic presses in Saint Louis. It was said to be only a modification of Woodward. Extended, Condensed, and Extra Condensed versions would follow within four years. While Inland claimed this was original work, McGrew claims that it was just a copy of Quentell/Taylor Gothic/Globe Gothic. McGrew in general shows little trust in Inland and denounces its claims of originality in many cases. Eckman showcases Inland’s its aggressive salesmanship and bullying tactics.

McGrew about Studley: Globe Gothic is a refinement of Taylor Gothic, designed about 1897 by ATF at the suggestion of Charles H. Taylor of the Boston Globe, and used extensively by that paper. But Taylor Gothic has mostly the same lowercase as Quentell, though with hairlines heavied a bit. ATF’s Central Type Foundry branch in St. Louis claims to have originated Quentell (q.v.) in 1895 or earlier. The conversion to Taylor Gothic was designed by Joseph W. Phinney, while the redesign as Globe Gothic in about 1900 is credited to Morris Benton. It is a serifless, thick-and-thin face, distinguished by the high crossbar on E, F, and H. The angular end on the stems of V, W, and most lowercase letters. Globe Gothic Condensed, Extra Condensed, and Extended were designed by Benton about 1900. Globe Gothic Bold and its italic are also credited to Benton, in 1907 and 1908 respectively. But Frederic W. Goudy, in the book on his typefaces, says, “This type (Globe Gothic Bold), drawn at the suggestion of Joseph Phinney, followed in the main certain points which he wished brought out. It never had much vogue and is the least satisfactory (to me) of all my types.” This is puzzling, as the bold departs somewhat from the style of the lighter weights, but is not at all characteristic of Goudy’s work-nor of Benton’s, for that matter. Studley of Inland Type Foundry was similar. Compare Ryerson Condensed, Radiant, Matthews, Pontiac, World Gothic.

http[:]//cgm.cs.mcgill.ca/~luc/inland/