As me, you probably read the same note on the Christian Schwartz website: “Please note that, except where indicated, these typefaces are not available for licensing.” That note seems to be for the Caslon's Egyptian designed by Miko McGinty and Cyrus Highsmith.

http://www.orangeitalic.com/caslon.shtml

It’s on my list of things to do post-graduation, along with metal Franklin Gothic and a ligature face from the necropolis at Arles. That and paying off my student loans.

im going to get a copy of fontlab.

Best money I ever spent.

David, get in touch with Font Bureau. The magazine that Caslon's Egyptian was designed for (Red Herring) is no longer a print publication, so it may be that any exclusivity agreements have expired.

Another alternate: Rian Hughes' English Grotesque, which shares a similar vibe, even if it differs significantly in the details.
http://www.fontshop.com/fonts/downloads/device_fonts/english_grotesque/

David, I know of several versions. First there’s James Mosley’s own Tivoli type, which is a an autotraced version from scans turned into a Type 1 font. I think it works very well for single words, it was used in the Italian book Radici della Scrittura Moderna which is a collection of translation of James’ own essays on typography, including The Nymph and the Grot (recently updated) where he introduced the history of sanserif types.

After seeing Mosley’s Tivoli I decided to have a go myself and produced my own version, called Micerino (Italian name of the smallest – as in “small character set, uppercase only” – pyramid in the Giza complex). It’s quite rough around the edges as to spacing and kerning. Some glyphs need review, too, but it’s almost usable. I included the alternate forms found in the two specimens I was given by James and Œ Æ ligatures as OpenType features/stylistic sets.

The Font Bureau version is definitely the way to go if you want something more usable. It has several weights and a lowercase, although it’s more loosely based on the original from what I’ve seen. I think it’s a reasonable type, especially considering it was done for a contemporary magazine so it’s natural that some of the features in the original type had to be somewhat muted.

Paul Barnes’ home page used to feature a specimen of what looked like his own digitization on Caslon’s Two Lines English Egyptian. I know nothing about it, apart from what I saw online, so I’m not sure about it, but you could try asking. Martin Tiefenthaler from Vienna recently wrote me about it, and I think he’s enquiring Paul as well as per my suggestion.

Here’s an initial specimen of Micerino. It isn’t linked from my home page as I usually avoid publishing in-progress typeface specimens. You’ll see it’s not done yet but I’ll be glad to work on it more if you need it for any project, depending on your schedule.

" I realize that I completely misunderstood the sources I worked from, and I now consider the lowercase an interesting failure. "

from Christian Schwartz, what does that exactly mean and how should he have designed it for a more accurate revival?

thanks for your response nick, i've also just read some of the other threads regarding the caslon two lines english egyptian

What are the differences between Caslon Two Line Egyptian and the Caslon's Egyptian by Miko McGinty, Cyrus Highsmith, and Christian Schwartz that's available for licensing at Font Bureau? - Herb