Started around 1913. Designed by Robert Girard, engraved by Paul Bourreau, and
cast by Pochet. Released by Girard & Cie in May 1923, immediately
before the merger with G. Peignot et Fils into Deberny
& Peignot, initially in roman and italic, accompanied by
titling capitals. A bold followed in 1930. The roman came with
small caps, ligatures, and some swash terminal forms (for ‘e’,
‘t’), while the italic had alternate swash caps.
Astrée was adopted for the Linotype in 1926. A licensed copy was issued by
Stephenson Blake in 1926 as Mazarin.
[Shaw]
Mazarin has some differences, including replacing
Astrée’s unusual ‘r’ with a more conventional form.
Digital interpretations include Servane Vignes’s
Astré (2017, unreleased), Henrik Kubel’s A2
Mazarin (2017), and Jan
Maack’s More…
Started around 1913. Designed by Robert Girard, engraved by Paul Bourreau, and cast by Pochet. Released by Girard & Cie in May 1923, immediately before the merger with G. Peignot et Fils into Deberny & Peignot, initially in roman and italic, accompanied by titling capitals. A bold followed in 1930. The roman came with small caps, ligatures, and some swash terminal forms (for ‘e’, ‘t’), while the italic had alternate swash caps. Astrée was adopted for the Linotype in 1926. A licensed copy was issued by Stephenson Blake in 1926 as Mazarin. [Shaw] Mazarin has some differences, including replacing Astrée’s unusual ‘r’ with a more conventional form.
Digital interpretations include Servane Vignes’s Astré (2017, unreleased), Henrik Kubel’s A2 Mazarin (2017), and Jan Maack’s IvyMazarin (2026).
