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"publishedAt": "2026-06-07T19:02:29.000Z",
"site": "https://fontsinuse.com",
"tags": [
"www.zvab.com",
"Moderne Versalien",
"Etienne (Schelter & Giesecke) (Sample unavailable)",
"Crystal Palace",
"Glaspalast",
"Old Botanical Garden",
"ozens of major art exhibitions",
"a fire in 1931",
"archive.org",
"Rudolf Mosse",
"Römische Antiqua",
"Angelus-Mediäval",
"Mediäval-Egyptienne",
"Greif",
"Ludwig & Mayer",
"Aurora",
"Breite magere Grotesk",
"Eckmann",
"Etienne schmal",
"Schelter & Giesecke",
"Etienne",
"Figgins",
"Bradley",
"Isis",
"Römisch",
"long s (ſ)",
"Holsatia",
"Georg Schiller",
"Neudeutsch",
"Fonts In Use"
],
"textContent": "Contributed by Florian Hardwig\n\n\n _**Source: www.zvab.com **Antiquariat Steffen Völkel. License: All Rights Reserved. _\n\n\n\nFront cover with an allegory of Historia and a title in **Moderne Versalien**\n\n\n\n\n\n\n\n\n\n\n\n\nEtienne (Schelter & Giesecke) (Sample unavailable)\n\n\n\n\n\n\n\n\n\nIn 1854, three years after London’s Crystal Palace was completed, Munich proudly opened its own Glaspalast, or Glass Palace. Located in the Old Botanical Garden, it hosted dozens of major art exhibitions until its destruction in a fire in 1931 – a fate that the London model would share a few years later.\n\nShown here is the cover of the catalog to the annual exhibition of 1902 – and a selection of pages with adverts.\n\n\n\n\n_**Source: archive.org **License: All Rights Reserved. _\n\n\n\nSection page for the appendix with adverts – which were handled by Rudolf Mosse. **Römische Antiqua** is paired with **Angelus-Mediäval**. The small type at the bottom is **Mediäval-Egyptienne** or similar.\n\n\n\n\n_License: All Rights Reserved. _\n\n\n\n**Greif** is a condensed companion to Ludwig & Mayer’s Aurora. It’s here used with various alternates, see for example the two forms for **g** , **s** , **H** and **M**. In this ad for E.A. Fleischmann’s Hof-Kunsthandlung it’s used together with **Breite magere Grotesk**.\n\n\n\n\n_**Source: archive.org **License: All Rights Reserved. _\n\n\n\nThe ad by Passage Schüssel features **Eckmann** , a typeface that was ubiquitous in German commercial printing in the first decade of the 20th century. It can here be seen with some of the accompanying _Schmuck_ , or ornaments.\n\n\n\n\n_License: All Rights Reserved. _\n\n\n\nThe ad for L. Bernheimer, purveyor to the Royal Bavarian court, mixes several of the aforementioned typefaces, plus **Etienne schmal** , Schelter & Giesecke’s **Etienne** , **Breite magere Grotesk** , a condensed sans (possibly Schelter & Giesecke’s Schmale Steinschrift which originated at Figgins), one of the many German copies of **Bradley** , and a couple more.\n\n\n\n\n_License: All Rights Reserved. _\n\n\n\nArt dealer M. Wagmüller specified **Isis** for the name and **Römisch** for everything else.\n\n\n\n\n_**Source: archive.org **License: All Rights Reserved. _\n\n\n\nMore Eckmann (here with long s (ſ)), Angelus-Mediäval, and Greif, the latter used alongside the wider **Aurora** – for “Photochrom”, with a **CH** ligature. “Maler” is in **Holsatia**.\n\n\n\n\n_**Source: archive.org **License: All Rights Reserved. _\n\n\n\nKrause & Finckh promoted their _Magazin für bildende Kunst_ with Georg Schiller’s **Neudeutsch**.\n\n\n\n\n_**Source: archive.org **License: All Rights Reserved. _\n\n\n\nBack cover with more Römische Antiqua\n\n\n\nThis post was originally published at Fonts In Use\n\n* * *",
"title": "Jahres-Ausstellung 1902 at Münchener Glaspalast catalog"
}