By DB Sikes
The Birth of a Printing Giant
The American Lithographic Company (ALC) was founded in 1892 in New York City through the merger of several of the nation’s premier lithography firms. Among them were:
- George S. Harris & Sons (Philadelphia) – famed for ornate cigar labels.
- Schumacher & Ettlinger (New York) – specialists in bold advertising art.
- Heppenheimer & Maurer (Newark) – masters of fine reproductions.
- The Giles Company – known for intricate embossed and specialty prints.
By combining their resources and talent, these firms created the first true American printing conglomerate, designed to meet the industrial-scale needs of the late 19th century. With the consolidation of the American Tobacco Company, demand for mass-produced advertising soared, and ALC became the natural choice to supply millions of full-color trade cards, posters, and labels
Headquarters and Scale
ALC’s massive headquarters and production facility stood at 44–56 East 19th Street (also listed as 224–230 Park Avenue South) in New York City. This 13-story complex housed every step of production:
- Art studios for original paintings.
- Plate-making rooms for preparing zinc and aluminum litho plates.
- Rotary press floors running state-of-the-art multi-color machines.
- Bindery and finishing shops.
The vertical integration of this facility allowed ALC to fulfill enormous orders with speed and precision, employing hundreds of skilled craftsmen under one roof.
From Artwork to Card
The T68 Heroes of History cards, produced between 1910–1911, began as hand-painted originals, usually in gouache or watercolor to capture bold tones. Each piece of art was broken down into separate color layers, one for each plate. A single card might require up to ten separate press runs, far more than standard commercial jobs, ensuring the deep vibrancy collectors still admire today.
Pigments and Color Chemistry
The brilliance of the T68 set came from ALC’s proprietary oil-based lithographic inks, mixed with high-grade pigments. Commonly used were:
- Vermilion – rich, deep reds.
- Prussian Blue – strong, reliable blues.
- Chrome Yellow – striking yellows.
- Emerald Green – vivid greens.
ALC often employed overprinting techniques, layering transparent inks so underlying colors shone through. This gave the cards their depth and dimensional quality. The backs were printed in darker, oil-heavy inks, designed to resist smudging inside cigarette packs
Printing Presses and Technology
ALC’s work relied on rotary multi-color lithographic presses, such as the Huber Rotary Lithographic Printing Press (patented 1898). These machines used copper cylinders plated with zinc or aluminum for etching, with airtight ink fountains to maintain color consistency. Capable of precise multi-pass overprinting, they allowed for tight registration across repeated runs, a necessity for the fine detail of the T68s.
- Press Capabilities: sheet-fed or continuous web stock.
- Registration: meticulous alignment ensured portraits and type never drifted.
- Durability: heavy ink saturation made the cards last far beyond their intended use.
Typography and the Backs
The reverse of each card was treated with the same precision as the front. Biographical text and brand advertising were set in fine type and printed in one or two spot colors — typically sepia, deep blue, or black. This dual function promoted tobacco brands like Royal Bengals, Pan Handle Scrap, and Miners Extra, while also providing a pocket-sized history lesson.
Legacy and Influence
By the early 20th century, ALC dominated the U.S. lithography market, producing work for American Tobacco Company, Pabst Brewing, American Chicle, and more. The T68 set remains one of the finest surviving examples of their craft. Under magnification, collectors can still see the dot patterns, layered overprints, and tight registration that marked ALC’s technical excellence.
Although the company’s prominence faded by mid-century with the rise of offset lithography, the artistry and industrial mastery of the T68s endure. Today, these cards are as much a monument to the craftsmen and printers of the American Lithographic Company as they are to the historical figures they depict.
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