Gianicolo, Type specimen, 1529 (recto)

This specimen sheet features only a font of italic type, but in a visually attractive demonstration of its possibilities.

Gianicolo, Type specimen, 1529 (verso)

There is very little bleed-through apparent on this blank verso, although it's hard to tell if it is due to how this broadsheet was printed or how it was photographed.

Gower, Confessio Amatis, 1483 (CCxir)

In this colophon, Caxton identifies himself as the printer and states that it was finished on September 2 in the first year of King Richard III's reign, 1493. But the first year of Richard's reign was 1483, and so catalog records provide that as the correct date. (It's certainly much easier to accidentally slip in an extra "x" to the date than to confuse the first and tenth year of your monarch's rule.)

Gučetić, Dialogo della bellezza, 1581 (a1r)

This title page showcases the Ziletti printer’s device, a comet and seven stars with their motto “inter omnes” (“among all”). Here Francesco Ziletti uses the device of his uncle, Giordano Ziletti, but with his own spin -- most noticeably, the inclusion of two upside-down topless women who were not present in Giordano's works.

Guyot, Type specimen, 1565

Specimen sheets are used by type-casters to show examples of the fonts they have for sale. This one shows work from François Guyot, a type-caster in Antwerp, and was used to sell his wares in England, as evidenced by the manuscript notes in English secretary hand. Careful sleuthing comparing these typefaces to those used in dated texts and to surviving records from the Plantin printing shop identified Guyot and the likely date of 1565. For more on those details, see this post from the Folger's

Hobart, Reports, 1724 (K4v)

There's a lot going on here: reports of Judge Hobart's cases, printed marginal notes referring to other cases, different typefaces, running titles in the headlines noting the cases discussed on each page, and a press figure at the very bottom.

Holinshed, Chronicles, 1577 (b2v)

As is the case with many large chronicles, the woodcut illustrations here are reused throughout the book.

Holinshed, Chronicles, 1577, pub. Bishop (¶1r)

In some cases, when a group of publishers together paid for a work to be printed, the work would be printed with different states of the title page, each publisher being named separately. Here, although a group of men collaborated to pay for the publication of Holinshed's Chronicles, this state of the title page lists only Lucas Harrison as the publisher (compare to this copy of the work).

Holinshed, Chronicles, 1577, pub. Harrison (¶1r)

In some cases, when a group of publishers together paid for a work to be printed, the work would be printed with different states of the title page, each publisher being named separately. Here, although a group of men collaborated to pay for the publication of Holinshed's Chronicles, this state of the title page lists only Lucas Harrison as the publisher (compare to this copy of the work).

Indulgence, Augsburg, 1481 (recto)

In addition to the intentional blanks filled in with the date and what may be the names of the recipients of this indulgence (Sigismundo and possibly his wife Anna), there are several corrections interpolated among the lines—they appear to largely be shifts in verb tense and pronouns, maybe to reflect that this indulgence is being presented to two people, rather than one. The interweaving of print and handwriting in this form reflects how in this earliest era of print use in Europe, there was a need for scribes as well as printers.