Moore created a huge series of fonts in this style, complete with ornaments, a (subjectively weak) italic, and old-style figures for the text weights. The typeface was cut around 1766 and the original matrices still exist. They were purchased from the Fry foundry by Stephenson, Blake & Co. in 1910 having already acquired the Fry foundry materials off the Sir Charles Reed foundry. The surviving punches and even original matrices are in the collection of the Type Museum, London and The Smithsonian National Museum of American History, though both inaccessible, the latter due to their location in a warehouse containing asbestos.

Sadly only two complete original specimens exist, both in libraries that are currently inaccessible. The first, a broadside specimen printed in Bristol in 1766 is currently housed at the Providence library and the second specimen is in the Royal Library in Stockholm. A copy of the 1766 specimen was reprinted in Updike’s Printing Types, figure 276 though obtaining a high-quality scan is desireable. A contact attempt was made at the Providence with no luck whereas the cost of having a Stockholm copy digitized is presumed to be around the USD $100 mark — this is an option worth considering. There is a very large, multi-page specimen in the Library of Congress, but it only shows the ‘Quosque Tandem…’ quote and it cannot be photographed. Stephenson, Blake are likely to have edited and extended the typeface, as there are subtle variations and differences in the 24-, (possibly 30-,) 36- and 48-point specimens that were made in 1913 and consequently most of the accessible specimens feature them. Below are featured two extracts from two separate scans of Stephenson, Blake specimens. They are both of the Stephenson, Blake Fry’s Baskerville, which in some sizes was produced entirely from the original matrices. In the smaller sizes the letters with descenders were replaced with shorter descenders in the twentieth century when the baselines of of metal type were standardized.

Morris Fuller Benton revived the Moore design for ATF and it first appears in the 1923 ATF specimen (also note a 12pt scan from 1923), as well as later again in the 1934 ATF specimen and in the 1941 ATF specimen. Interestingly Benton did not choose to use Moore’s italic, instead opting for an italic which was in fact copied from the type of Richard Austin that English Monotype later made under the name of ‘Bell’ and also very similar to ‘Bulmer’. So also up for discussion is the selection of an italic; Moore’s italic has been received poorly and as just noted, even Benton choose to replace it. We may do the same, using or basing it off an existing italic or if we’re feeling particularly fruity, draw our own.