I wonder if the phone number is simply Orator, but smudged, or rather double-struck. Here’s a comparison using Bitstream’s digital Orator 10 Pitch BT. The first line shows it unmodified. In the third line, I’ve copied the text a couple of times, with some vertical offset. Note how in the original sample (second line) there’s a small gap at the bottom of the first and last 7 – as one would get in a double-struck character without sufficient ink smudge to close it.

In his design notes on Ergon, Christian Schwartz mentions and shows various influences from the typographic diversity of the city of Dubrovnik and beyond, including stone-chiseled letters, and how that led Hrvoje Živčić to “a chiseled typeface of high contrast that has triangular terminals reminiscent of serifs, but that is fundamentally a sans serif.”

However, no explicit reference is made to what Nicolete Gray called the “Florentine Sans Serif”. But you’re right: especially Ergon’s capitals with their tapering stems and wedge-shaped bars have a lot in common with typefaces that follow inscriptional letterforms from early 15th century Florence – like Donatello and Ghiberti. Shown below is Ergon (right) compared to Florentine Bold (Dickinson, by 1898).

Now we have to find the Sprinter part ;)

I’ve added Helvetica as well, although I find it a little odd to tag when it could also be 99 other fonts that look virtually the same for the few glyphs present. Oh well… Maybe Feelings will chime in and verify or correct the ID-

That brochure also has versions of all the Selectric fonts used here, except for AN3/360. All of which makes me wonder if it was typed on a daisywheel, not a Selectric.

Commentators wishing to grab an ID should note that the phone-number, bottom of second page, is still unidentified.

PS It is not a beautiful ad, it is an ugly ad :)

PPS “Cooper White” is quite funny.

No point to show or identify all the typefaces used in the catalog. But I’d like to add two more interesting ones that appear on page vii: the company name is in Enchorial, an all-caps sans with concave stems issued by the Caslon foundry in 1883. Boston Type Foundry showed this design in 1889 as London Series.

The line below, “Sole Agents for Australasia”, is set in Saint John. Like Bradley, it’s based on the lettering by Will H. Bradley. Conceived by the Inland Type Foundry in St. Louis (and released a few months earlier than Bradley), it was also carried by Caslon in England.

Turns out that almost all of the type was sourced from just two providers: as you mention, the body copy was composed on an IBM Selectric typewriter. And the display type came from Formatt.

I can find back most of the styles in Catalog No. 6 (1978) by this manufacturer of dry transfer lettering from Rolling Meadows, Illinois. It includes adaptations of Umbra, Windsor, Herold Reklame, Koloss, Advertisers Gothic, and Rock Opera. Since one can’t outline rub-down type (unlike phototype and digital type), Formatt carried a pre-outlined version of Cooper Black, aptly named Cooper White.

They also had versions of Wexford Bold (here named Diplomat Bold), Davida (as Darling), and Tonight (as Marquee). I also found the last two missing IDs: the open and shaded Helvetica variant is Helvetican Shadow. Finally, the Microgramma lookalike is another Formatt “original” dubbed Micro Bold Outline.

Only two of the display typefaces are not present in the Formatt catalog, Skin & Bones and Monogram. These were both original releases by phototype company VGC.

For Garabosse, it will take you to the website of U+270D. Choose “Télécharger” (French for “download”) – Garabosse is available under the SIL Open Font License, Version 1.1.

For Cordier Script, the source is Sharp Type. Cordier Script is a commercial release. In order to use the fonts, you have to purchase a license. Select “Buy” and choose the appropriate license type.