Sorry, I don't know. But it would be very nice typeface!

Cool stuff. I wonder if that A is a southpaw A, or if someone just accidentally flipped the stencil. I couldn’t find any stenciled moderns that looked similar. Bodoni/Didot share the basic construction, but the details differ.

With the proper permission, you can always have someone digitize it.

I wonder if that A is a southpaw A

I think so. It seems a trend among kitchenware decorators ;-)

http://ww.typophile.com/node/65360

Damn, that is really nice.

I think Greta Grande, by Peter Biľak and Nikola Djurek, would be a wonderful candidate to stencilize to make something with a similar feel. Although I like it the way it comes too.

I looked in the Solotype Catalog to see if there was a version of this Bogler design, but nothing even close. I notice two different styles of S in the images posted (45462's S has no serifs, but 45468's does).

I realize 'Bauhaus' in this instance refers to the design movement and studio, if that's the right term, but in terms of typography this isn't quite what I generally think of. Usually Bauhaus-style is simplified, geometric, rounded, and sans-serif. If I just saw this typeface, I would say 'Art Deco', and of course, they were overlapping time periods.

- Mike Yanega

Great posts so far.

Frode: Agree about the calligraphic stroke, very odd. Had never considered it could be the product of a left hand. But does this remain true for the rest of the letters?

Mike: It's not hugely consistent is it? Adds to the charm. I love the 'S's in 45462.

In U, the thick/thin is as you would normally expect: left stroke is down (thick), right stroke is up (thin).

Here the contrast and design is so beautifully suited to the size and use. Wonderful stuff. The reversed stress on the A helps the look of "KAFFEE" but hurts the look of "SALZ". Too bad they didn't get it completely right.

I love the calligraphic details!!!!!!!!!!!!!

My freeware font Rialto shares a lot of sensibilities with the samples--although, admittedly, the inline treatment kind of mucks up the overall effect.

This is a wonderful find - it really shows the geometry of the era; how bauhaus thinking was a huge leap forward from 19th century modern types.

In my research, I found a lot of 19th century moderns influencing types like this - including Renner's Futura Black.

My Jeanne Moderno fonts are based on ideas from the same era - but without the stencil, and a few more pre-bauhaus humanist elements thrown in.

s.

steve mehallo
http://tinyurl.com/mehallofonts
http://mehallo.com/blog

Gorgeous. Looks like the reverse stress of the "A" was intended. I like it.

http://new.myfonts.com/fonts/jnlevine/mystery-stencil/

Seems like Jeff have seen this thread. Look at the release date!

Yeah, that was fast :)