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The Tiemann antiqua of 1909 was a real success, however, and has found favour in England. The companion italic, the Tiemann kursiv is an even more handsome letter. Klingspor’s recent antiquas also include a highly successful character designed by Peter Behrens in 1914. The latest creation is an antiqua cut by Rudolph Koch.
1980, Jock Kinneir, Words and Buildings: The Art and Practice of Public Lettering, →ISBN, page 36:
The early letters of this kind have been classified as Transitional, implying that in their development they lay between the Antiquas and the Moderns; but when one looks at the free individualism of the street names of Bath, 25 and 26, it is obviously inappropriate nomenclature and only English will do.
1994, Karl H. Warkentin, “16. Classifying Typefaces according to DIN”, in Peter Karow, editor, Font Technology: Methods and Tools, →ISBN, “Summary”, page 356:
Class VI Sanserifs is just as disorganized. Here, pure Antiquas are grouped with sanserif and classical typefaces. Moreover, there are Humanist styles and other partly-constructed sanserif styles that are meant chiefly for display purposes. / Class VII Display Antiquas can easily be regarded as a catch-all class simply from its name.
Antiqua (typeface class) on Wikipedia.Wikipedia 