An unused label for J.F. Kurfees Paint Co’s Ready Mixed Paint. Louisville, KY. Via Flickr.
Here’s a small sampling of collateral from the Longman & Martinez paint company (aka L and M Paints), located at 207 Pearl Street in New York, NY around the 1880s.
Someday I’ll figure out how to make a map to tag these photos on to. How cool would it be to find vintage things connected to the streets around you? Very. The answer is very. Via Papergreat, Nemahaweb, Alphabetilately.
1875 Fine Old Scotch Whiskey, Lagavulin, Selected, Matured, and Bottled for Mr. John Stewart. St.Patrick Street, Edinburgh. No, not “the” Jon Stewart, but still pretty cool :) Via Finest & Rarest
A very crowded bus in London, 1865. Via Pinterest.
1872 Vintage Billhead for Durham Warehouse.”All business promptly attended to. We will try to please.” Via Flickr.
Columbia University was recently given an enormous donation of 1,300 items with architectural images- but forget those- look at the typography!! It’s called The Biggert Collection of Architectural Vignettes on Commercial Stationery (see it here). In short, vintage billheads from old factories that include engravings of their building on them. This is just a sampling of some of my favorites. The download also include parts of the receipts themselves with old handwriting on them.
You don’t always get to see a company’s variations of their trade cards. Hartley’s Photography Studio had 2 great cabinet card designs with intricate illustrations of their store front, allowing you to see what their signage looked like back in the day. Lots of great flourishes and monograms on these photo backs.
Double Click the image to see it at a much larger scale. All images via DepthandTime’s Flickr.
Here are three of my absolute favorite chomolithographic plate examples of sign writing from The Sign Writer and Glass Embosser by William George Sutherland. It was printed and published by The Decorative Art Journals Co., Ltd. in 1898.
The first example features a range of lavish, decorative sign layouts for house painters and sign writers. Each has a rich color palette with gold, perhaps to be gilded with gold leaf in final execution. The second showcases intricate shading and dimensional approaches for adding depth to lettering. The last piece suggests techniques for projecting and positioning the lettering within a sign. My favorite is the approach is the illustration of “Lignomur” characters shown with depth, shading and creative bands to hold the letters together. Many of the specimens from the full collection are striking and should be looked over in detail.