Nelson Doubleday’s book club edition of The Winter of the World by Poul Anderson uses Algonquin for the dust jacket typography. About the book:

The second Ice Age came – and civilisation was buried beneath the glaciers. Then all men became barbarians. But out of the frozen chaos three cultures emerged. The Seafolk and the Rogaviki were simple, primitive people. Ranged against them was the mighty Rahidian-Barommian Empire, a nation hungry for power, eager to exploit its superior technical knowledge. If the Empire fulfilled its ambitions, its neighbours knew they would not survive. On the day of the intended conquest they must be ready to engage the powers of science in a bloody, apocalyptic struggle for the destiny of the planet.

[More info on ISFDB]

According to the Herb Lubalin Study Center of Design and Typography, this logo for Mountain Dew was proposed by the Lubalin studio probably sometime in the 1970s.

Mountain Dew is a soft drink brand using a formula originally invented in 1940. In August 1964, the brand and production rights were acquired from the Tip Corporation by Pepsi-Cola. In the late 1960s, Mountain Dew still used the so-called Hillbilly logo. By around 1970, it was discarded in favor of psychedelic lettering, with the two words stretched to fit into a rectangle. The accompanying “ya-hooo” wasn’t deleted from the logo until about 1975.

The logo proposal is based on the solid style of Algonquin. Originally designed by John F. Cumming and advertised by Dickinson in 1890, New York-based Photo-Lettering, Inc. showed a phototype adaptation of both styles in their 1971 One-Line Manual of Styles.

Algonquin as shown in ATF’s Specimens of Printing Types, 1897

From Wikipedia:

The Humanoids is a 1949 dystopian science fiction novel by American author Jack Williamson (1908–2006). Originally published as a three-part serial called “…And Searching Mind” in Astounding Science-Fiction (March, April, May 1948), it was in fact a sequel to an earlier novelette, “With Folded Hands…”, appearing in the same magazine in July of the previous year of 1947. The Humanoids was published as a hardback book in 1949, but only in 1980 was the award-winning “With Folded Hands…” included in a reissue edition of The Humanoids.

This reissue edition by Nelson Doubleday comes in a jacket with art by Tony Fiyalko. The uncredited designer (perhaps John Lisco?) specified a typeface that was ninety years old at the time: it’s Algonquin by the Dickinson Type Foundry. An advert in the Inland Printer from October 1890 mentions that “Algonquin and Algonquin Ornamented are effectively used when printed in two colors, one over the other.” That’s exactly what the jacket designer did here. They likely didn’t tinker with registering the output of two fonts, and simply gave the open style a yellow color fill instead.

[More info on Discogs]

Algonquin Ornamented in use for the title of Spaceling, a science fiction novel by Doris Piserchia (1928–2021). The shown hardback edition was published by Nelson Doubleday in 1978. From the back of DAW’s paperback:

The ability to see other-dimensional rings that float in Earth’s atmosphere was a late mutation of a few space-age humans. Daryl was under the care of the institution for muters, and she had discovered that if you jumped through the right ring at the right time it would land you in another dimensional world and another shape.

Spaceling is the story of Daryl’s desperate efforts to unravel the mystery of why she was being held captive and of what was really going on in a certain alien dimension. Because she was sure it was all bad and that someday everyone would thank her for the revelation.

But instead everyone was engaged in a wild effort to hold her down, to keep her on this Earth, and to keep the world simply intact!

[More info on ISFDB]

Algonquin is used in spaced caps, with the interior ornamentation printed in a separate color. The book jacket was designed by John Lisco, with wraparound art by Richard Corben.

Detail from the inner flap

The 1977 Alphabet Yearbook celebrates “Photo-Lettering, Inc.’s 40th year of service to the advertising and graphic arts industry”: the New York phototypesetting company founded by Ed Rondthaler first opened its doors for business in 1936.

The Yearbook was designed by Ed Benguiat, PLINC’s Type Director, with assistance from Tom Vasiliow. Most pages comprise the usual mix of one-line samples and exemplary settings. For page 99, though, the designers had some fun, and did a parody of the opening lines of The unanimous Declaration of the thirteen united States of America, a.k.a. the United Stated Declaration of Independence, from July 4, 1776:

When in the course of human events, it becomes necessary to use bicentennial alphabets, Photo-Lettering Incorporated presents the largest selection available. We hold these alphabet styles to be

After thirteen lines – one for each of the founding states – the continuous sample text breaks off, but it’s self-evident how it continues.

Benguiat and Vasiliow used eleven styles from nine typefaces, all set in all caps, stacked and justified. Some of the more topical alphabets with stars and stripes were issued in the late 1960s, possibly in anticipation of the United States Bicentennial in 1976. Others are much older: Eighteen Ninety, Carousel and Eventide go back to the first half of the 20th century. The oldest design is Algonquin – it was first cast by the Dickinson Type Foundry in Boston around 1888.

From top to bottom, the featured styles are:

Brave and Free (uncredited, possibly derived from an existing plain style, before 1970)
Pacella Cobbler Shaded A (Vincent Pacella, late 1960s)
Cavanagh Eighteen Ninety (John Albert Cavanagh, before 1950, stretched)
Gonzales Pioneer Shaded (Francisco Gonzales, 1969)
Pacella Cobbler (Vincent Pacella, late 1960s)
Davison Carousel G (Dave Davison, before 1950)
Papirtis Washington (Charles Papirtis, 1967)
Pacella Monitor (Vincent Pacella, a variant of Cordina with stars and stripes, c.1968)
Carlyle Eventide (Paul Carlyle, c.1938)
Gonzales Pioneer A (Francisco Gonzales, 1969)
Algonquin Shaded (a.k.a. Algonquin Ornamented, John F. Cumming, c.1888)