Bell, Baskerville or Bulmer, not necessarily in that order.

You could, of course, add Linotype Georgian to that list. ;-) But it's a rarer bird (and I don't believe it was ever digitized, assuming you're looking for something for current application).

@Kent & Ingrid...

Well, there are still a few people in the U.S. setting Linotype, and if they have the Georgian mats, could set copy. If this is an art book, there might not be that much copy. With "modern" technology, repro could be pulled from the metal type, so the printing could be offset, whatever.

The type "size" could be changed slightly in camera -- no different than with a digital setting. You have to pay attention to the measure and word space values with this trick...

You could certainly wind up with a different look from the slick architectural productions common today, which may or may not be what you're after....

If you want to go with PostScript/OpenType fonts, Carter's digital version of Monticello might also fit the need.

Edit:

You might get up with some of the designers at the University of Georgia press -- Athens isn't too far from Atlanta. There is a guy who just retired who is pretty knowledgeable about type & typesetting. He set many of the Press' books that were done in house, and this during the days of transition of photocomp-PostScript-OpenType. He's on the young side for retirement, & might just be looking for a project.

Thank you so much you three. This gives me some great information! I'm working on an assignment for design class due on Wednesday and on last Wednesday's class my teacher made a serious point about my type choices. Yikes!

Hmmm. Not to complain, but I'd have given different advice if I'd known this was for a class project. You list

artist / art director

as your *occupation* on your profile...

People with jobs go to school too.

hhp

Yes, but the budget available for, say, an art book put out by a society or museum is rather greater than for a class project.

Well, there are still a few people in the U.S. setting Linotype, and if they have the Georgian mats, could set copy.

Purely academic at this point, but . . . I doubt there is anyone in the U.S. with mats. Jones designed Georgian for British Linotype, and as far as I recall it was never big in the U.S. — in fact may not have even been distributed here (certainly no promotion or inclusion in any American specimens that I’ve seen).

Like I said, a rare bird.

There was a graphic quality to the Adam style (e.g. walls decorated with panels of low-relief molded frames) which informed a lot of early twentieth century typography, in particular involving layouts structured with decorative borders and type ornaments. The 1923 Linotype manual shows fine distinctions between different historical typefaces and the kind of ornaments, borders and decorations appropriate to each. That manual is online.