A full-page ad in a German publication from 1901, singing the praises of sugar:

Enjoy sugar, not only because it increases the pleasant taste, but rather because it is a valuable food and at the same time cheaper than other nutrients such as fat and protein.

The middle part details how to enjoy sugar: in tea and coffee, in all milk and water soups, in all hard to digest vegetables and salads, on bread (in the form of jam, as cheap substitute for butter), in the form of preserved fruits, and, for breastfeeding women, in malt beer.

The bottom part addresses “smart mothers” and “smart housewives”. The former are asked not to deprive their children of sugar:

It is a wise institution of nature that children crave sweet foods and drinks; it is as if they know it that they cannot thrive without sugar.

The headline features Renaissance-Fraktur with an ß (eszett), a compact ck ligature, and a swashy r at the end. While the text directly below uses an Alte Schwabacher (starring umlauts with superscript e’s), all smaller text is set in a Neue Schwabacher, with a bold weight used for emphasis. The heading next to the numbered list combines this bold Neue Schwabacher with a question mark from Gloria schmal halbfett.

“Zucker / Zucker / Zucker” and the triple-underlined “Kluge Mütter / Kluge Hausfrauen” are set in Stempel’s Morris-Gotisch. This adaptation of Morris Troy is distinguished from William Morris’s original – as well as from other German releases under the same name including those by Berthold and Ludwig & Mayer – by a different g. It also sports an uncial-like M which might be unique to the Stempel version.

Bayerischer Bauernvereins-Kalender für das Jahr 1926 (volume 21).

From circa 1904 to 1933, the Zentralstelle der christlichen Bauernvereine (“Central Office of the Christian Farmers’ Associations”) in Regensburg published a richly illustrated annual calendar.

The title page design of the issues for 1912 (volume 9, shown below) and 1926 (volume 21) are largely identical. A decorated initial B is combined with the title set in Bradley. This face was known in Germany as Amerikanische Altgotisch, among other names, and is also used for the publisher’s name. The line with the year features Morris-Gotisch or one of the other German copies of Morris Troy, with numerals from Römische Antiqua. It’s framed by flower ornaments. The red top line with the volume information uses Original-Gotisch for the 1926 issue. In the older one, this line appears to be set in Mediaeval-Gotisch or Psalter-Gotisch, which are versions of Tudor Black. This typeface can also be seen in use for the printer’s credit in both issues.

The periodical included a Läutordnung (rules for the ringing of church bells), weather lore, hagiographies, a market calendar with a directory of all market places in Bavaria, and more. [Schlegl] It was printed by G.J. Manz in Munich.

The Bayerischer Christlicher Bauernverein was the regional association of the local farmers’ societies. “It saw itself as a middle-class agricultural interest group and, unlike the Bayerischer Bauernbund, did not act as a political party. Nevertheless, the Bauernverein played an important role in the political Catholicism, as it was ideologically and personally closely associated with the Zentrum and, from 1918, with the Bavarian People’s Party. During the Weimar period, the Christian Farmers’ Association had up to 150,000 members, with Georg Heim (1865–1938) as the central leader.” – Oliver Braun

Bayerischer Bauernvereins-Kalender für das Jahr 1912 (volume 9), with a frontispiece by Martin Feuerstein, depicting Louis the Saint bringing the Crown of Thorns to Paris.

Vol. 43, Julius Cäsar by Shakespeare, edited by Dr. E. Wasserzieher. In: Deutsche Schulausgaben [“German School Editions”], edited by Dr. J. Ziehen. Cover art [?]: M. Molitor, Rome, 1905.

Vol. 30, Herderbuch, edited by J. Loeber. In: Deutsche Schulausgaben, edited by Dr. P. Lorentz.
Cover design by K.A.

Title page of vol. 38, Homer’s Ilias, translated by Johann Heinrich Voß, edited by Julius Ziehen. Second edition, c. 1910.

“Specimen pamphlet of handmade paper printed on the original Kelmscott Press. Watermarked with the three leaves and flowers between W and M. of William Morris, dated approximately 1890–91.” — Wayside Mews Collectables

From the specimen:

This paper … is probably some of the last made for the Kelmscott Press, founded by William Morris and hand made paper of Joseph Batchelor and Sons, at Little Chart in Kent. … The type used is Kelmscott Troy, cast from the original matrices, and this specimen has been printed on a Victoria platen press at the Rampant Lions Press, Cambridge, 1974.

In 2001, Richard Kegler of P22 has created a set of digital typefaces based on Morris’ work, including Morris Troy.