The Cottrell & Babcock Manufacturing Company was founded in 1855 in Stonington, Connecticut. In 1880, Nathan Babcock purchased the shares of co-founder Calvert Cottrell and set up a new printing press manufactory together with his nephew George Fenner. Renamed the Babcock Printing Press Manufacturing Company, it was moved to New London. Around 1886, Babcock introduced the two-revolution “Optimus” press. From Steve Fithian’s 2024 article for Otis Library:

The Optimus became the new industry standard for the production of high quality printing. Harper & Bros. of New York used the Optimus exclusively to print their popular and influential periodicals, Harpers Weekly and Harper’s Monthly magazine. By 1899, the company’s strong commercial success allowed for the expansion of the employee base to 250 men occupying 180,000 square feet of factory floor. During the period between 1883 and 1919, the company sold over 7,000 printing presses to businesses in every state of the Union with a global market that included Canada, Mexico, Europe and parts of Asia.

In their Handy Book of Artistic Printing from 2009, Doug Clouse and Angela Voulangas date the advertising card shown above to 1886. All the linework—including curves—were done up in brass rules, along with the metal type fleurons and dingbats. The main typefaces are Mother Hubbard (1885) for “‘Optimus’ Press” and “New York Office” and Latin Condensed (1873) with initials from Ideal (1884) for “The Babcock Printing Press Mfg. Company”. The then freshly introduced Art Gothic (1886) is used with caps from Mother Hubbard for “Drum Cylinder”, “Stop Cylinder” and “Two Revolution”. “Lithographic” and the New York address are set in Old Style Extended (by 1884). There are a couple of unidentified typefaces, including a generic gothic. The inclined sans probably is Gothic Italic (see Halbfette Cursiv-Grotesque).

The colored card shown below followed in 1887. Its design also features Mother Hubbard. The wide typeface used for “Babcock” and, in mixed case, for “Drum Cylinder / Stop Cylinder / Two-Revolution / Lithographic” is Bowl, shown by Farmer the same year.

For both cards A. J. Smith was the compositor, with the printing firm of John P. Smith in Rochester, NY.

A trading card of F.M. Weiler’s Liberty Machine Works, the sole manufacturers of the Liberty Printing Press, from the collection of Jonathan Bulkley. It was printed by A.V. Haight of Haight & Dudley, Poughkeepsie, New York, on a “new style noiseless Liberty job press no. 9,211”. According to David Wakefield, this work is shown in Haight & Dudley’s Specimens of Printing from 1888. From around 1887, Liberty Machine Works dropped the “F.M. Weiler’s” part from their name and was doing business as Liberty Machine Works. We can hence date this piece of ephemera to circa 1887.

Typefaces used are the following:

• “Bryant Goodwin, President” etc.: probably Italic Gothic, No. 2 (c. 1876) a.k.a. Gothic Italic, see Halbfette Cursiv-Grotesque (c. 1874)
• “Liberty Machine Works”: Mural (1881)
• “Established 1859”: an extended French Clarendon, distinguished by an A with top bar, cf. French Clarendon Extended No. 120
• “Sole manufacturers”, “Printing on new style”, etc.: an unidentified Gothic
• “Liberty Printing Press”: Abbey (1886)
• “54 Frankfort St., New York.”: Mother Hubbard (c. 1885)

Almanac for the year 1887, issued by the American Board of Commissioners for Foreign Missions (est. 1810).

The typeface featured is Mother Hubbard (c. 1885), cut by John F. Cumming (b. 1852).

Lovely to see that Art Nouveau flat-topped 8!