A dizzying amount of caps from Tendril, for the cover of an album with compositions by Albert Ketèlbey (1875–1959), performed by Eric Rogers (1921–1981) and the Royal Philharmonic Orchestra. The illustrated triptychs are early works by Susan Obrant. The layout and typography is uncredited. The record was released by Decca in the UK. This is the US release by London Records, with identical artwork.

[More info on Discogs]

Someone took issue with the top-heavy R in Windsor Elongated: in the title (but not in the smaller lines below), this glyph was replaced with the one from Cheltenham Extra Condensed. The liner notes use an interesting typeface, too: it’s Rudolph Ruzicka’s Primer.

This is one of the first copies of Zion’s Watch Tower and Herald of Christ’s Presence, known today as The Watchtower. The logo appears to be custom drawn – the repeating letters W and T in “WATCH TOWER” aren’t identical. One wood type design that’s distantly related is Page’s No. 51, cut by Wells as Mansard No. 1, and digitized as Mansard. Solotype had a phototypeface named Delwin that’s likewise vaguely similar.

While “Herald of Christ’s Presence” is in caps from a generic oldstyle roman, the light italic used for the quote from Isaiah 21:11 can be identified as Lithographic Italic (Farmer, before 1867), which provided the inspiration to Club Lithographer (DJR, 2020). The line below with information about place, date and issue is set in a Celtic. A French Antique Extended, a French Clarendon, and Tendril (MacKellar, Smiths & Jordan, 1878) are combined for the publication’s title in the left column. There’s also a slab serif and a grotesque. Body copy is set in a Modern/Scotch.

For this 1966 album by jazz singer Irene Reid (1930–2008), cover designer Acy Lehman specified Herman Ihlenburg’s Tendril (MacKellar, Smiths & Jordan, 1878), likely in the form of Photo-Lettering’s adaptation which is shown in their 1965 catalog.

[More info on Discogs]