Roycroft (c. 1898), inspired by lettering in the
Saturday Evening Post and often credited to Lewis Buddy, though (according to ATF) designed “partly” by Benton.
Globe Gothic Condensed + Extra Condensed + Extended (c. 1900)
Globe Gothic Bold (1907), credited to Benton, though
Frederic Goudy claims
Phinney commissioned him to do it.
Globe Gothic Bold Italic (1908)
Card Mercantile (1901), a redesign of the two smallest sizes of an 1890s
Dickinson Type Foundry design that
ATF had acquired when the companies merged in 1896.
Wedding Text (1901)
Wedding Text Shaded (1913)
Typo Script + extended (1902), originally ‘‘Tiffany Script’’.
Cheltenham Medium Condensed + Cheltenham Medium Expanded (1913)
Bulfinch Oldstyle (1903), commissioned by the
Curtis Publishing Company and prepared by Benton for production from original designs by William Martin Johnson. The “house face” of
Ladies’ Home Journal from 1903, offered for general use in 1905.
Bold Antique (1904)
Bold Antique Condensed (1908/9 ?)
Re-issued as Whittin Black and Whittin Black Condensed (1960)
Cloister Black (1904), a
blackletter design not connected to Benton's
Cloister roman font. Usually credited to
Joseph W. Phinney, but many authorities give full credit to Benton. It is an adaptation of Priory Text, an 1870s version of
William Caslon’sCaslon Text of 1734. Lower-case letters are identical with Phinney's earlier Flemish Black (1902).
Miehle Extra Condensed + Title (1905)
Typo Upright (1905), originally Tiffany Upright.[2]
Cushing Antique (1905), design suggested by J.S. Cushing
Engravers Shaded (1906)
Norwood Roman (1906), made for J. S. Cushing’s Norwood Press.
Engravers Old English (1906), based upon Caslon Text and designed in association with "Cowan" or perhaps
Joseph W. Phinney.[3]
Rugged Roman (1917?), designed 1909-11, patented in 1915, earliest showing 1917.
Card Litho + Card Light Litho (1917), a modification of a 1907 Inland Type Foundry design that
ATF had acquired when the companies merged in 1912.
Announcement Roman + Italic (1918)
American Caslon (1919), based on the Inland Type Foundry's Inland New Caslon, a version of a face originally cut by
William Caslon in the 18th century.
Pen Print Open (1921), based on the Inland Type Foundry design of 1911.
Civilité (1922), a modern adaptation of
Robert Granjon’s face cut in 1557.
Cost, Patricia A., The Bentons: How an American Father and Son Changed the Printing Industry, RIT Cary Graphic Arts Press, Rochester, New York, 2011,
ISBN978-1-933360-42-3, p. 220-223.
MacGrew, Mac, "American Metal Typefaces of the Twentieth Century," Oak Knoll Books, New Castle Delaware, 1993,
ISBN0-938768-34-4.
Rollins, Carl Purlington American Type Designers and Their Work. in
Print, V. 4, #1.
^Jaspert (Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983,
ISBN0-7137-1347-X, p. 240) says this was copied as Canterbury by
Lanston Monotype, but McGrew (MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993,
ISBN0-938768-34-4, p. 117) has no mention of this, nor does his list of Monotype Series Numbers (pp. 363-365) have any listing for any Canterbury.
^"Cromwell NF". MyFonts. Nick's Fonts. Retrieved 2 September 2015.