Lots of all-caps Romanesque for the cover of Signet W4479, 1970. Originally designed by Herman Ihlenburg in 1874 for MacKellar, Smiths & Jordan, the bold condensed face with long serifs, split shade and decorative tendrils was revived by Photo-Lettering by 1960.

About the book, from Wikipedia:

The French Lieutenant’s Woman is a 1969 postmodern historical fiction novel by John Fowles. The plot explores the fraught relationship of gentleman and amateur naturalist Charles Smithson and Sarah Woodruff, the former governess and independent woman with whom he falls in love. The novel builds on Fowles’s authority in Victorian literature, both following and critiquing many of the conventions of period novels.

The book was the author's third, after The Collector (1963), and The Magus (1965). […]

The novel was adapted as a 1981 film, written by playwright Harold Pinter and directed by Karel Reisz. The film starred Meryl Streep and Jeremy Irons.

In 1962, Photo-Lettering, Inc. issued Art Nouveau Xenotypes 1895–1905, a large collection of revivals of turn-of-the-century alphabets and typefaces. One of these “Xenotypes” added to their catalog around this time was No. 3835, an adaptation of Romanesque, originally designed by Herman Ihlenburg in 1874. The cover of the shown paperback edition of The Vandal from 1962 must have been an early application of this revival.

The cover art is by Mitchell Hooks (1923–2013). From the back cover:

Marius the Vandal, professional soldier, fought hard and well for the Byzantine Emperor. His services were rewarded with rank and privilege seldom given an outlander.

But jealous.eyes watched his rise to power, and court intrigues caught him off-guard as no battlefield maneuver ever could. When he fell in love with the Emperor’s favorite maiden, he was sent away on a clearly hopeless military campaign before the sweetness of their first embrace had left him. The girl was imprisoned in a distant convint …

The secondary typefaces are News Gothic Condensed and Alternate Gothic.

Like The Egoist (CT 191), The Rise of Silas Lapham (CT 155) is a paperback edition published by Signet Classics in 1963 with an illustration by Saul Lambert. The typeface is the same, too: this time, Romanesque is used exclusively in caps. The cover designer very likely worked with the film adaptation named Xenotype 3835, added to Photo-Lettering’s library around 1962. Another version of this 1870s typeface is shown in Dan X. Solo’s Victorian Display Alphabets (Dover, 1976).

The Rise of Silas Lapham is a novel by William Dean Howells and was first published in 1885.

A bichromatic use of Romanesque, with yellow letter bodies and black shadow lines and tendrils, further embellished with flowers, for an album with cover versions of country hits. The descending swash R might be custom. From the back cover:

’71 … the beginning of another year of great country music pleasure. A year when country music will continue to spread its “simplicity” and “honest down-home flavor”.

Recorded by the Nashville Country Singers, Rose Garden: Country Hits of ’71 was released by Mountain Dew Records in 1971.

[More info on Discogs]

A Victorian typeface for a book by an author from the Victorian era: Romanesque was designed by Herman Ihlenburg (1843–1905) for MacKellar, Smiths & Jordan in 1874. The Egoist is a novel written by George Meredith (1828–1909) and first published in 1879. This is the Signet Classics paperback edition from 1963, with a cover illustration by Saul Lambert.

I can’t identify two of the styles in the main headline — perhaps they are hand lettered, not type — but the face for the car model is unmistakably Brodovitch Albro.