here - Chestnut Press

Transcription

AC K N O W L E D G M E N T S
I would very much like to thank Sebastian Carter, Oliver Clark, Jeffrey Cooper, John Grice, Michael Mitchell, Martyn
Ould and Michael Taylor for their help with all manner of questions. My thanks also to the many artists for their
permission to reproduce their engravings as shown in the illustrated section.
Special acknowledgments go to the following:
Ruth Fine, for without her book The Janus Press - (published by the University of Vermont, ), descriptions of the Janus
Press editions of The Missed Beat (item c in Section A), The Closed Door (item b in Section A) and Winter Wind (item b in Section A)
would have been considerably less detailed.
Gerald Lange at the Bieler Press, whose website (bielerpressvi.blogspot.com) was a partial source of information in the
descriptions of both The Phoenix and Turtle (item  in Section A) and Weathercock (items a and b in Section A).
Jack W. C. Hagstrom and George Bixby, for without their book Thom Gunn: Bibliography, - (published by Bertram Rota, ),
my information on the partially handwritten edition of The Missed Beat (item f in Section A) would have been far less
informative.
Most of all though, very special thanks go to Anthony Baker for the many hours of invaluable help he has put into
aiding me with this bibliography, and also for helping furnish my shelves with pretty much all things Gruffyground.
Published by Chestnut Editions, Hitchin, Hertfordshire, . Copyright © Chestnut Editions, .
All engravings copyright © Gruffyground Press, or the artists. Cover photograph copyright © Mark Askam, .
2
CONTENTS
TH E GRUF F YGRO UND PRES S: A BRI E F HI STORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
s ec t i on a
GRU F F YGRO UND PRES S PUBLI CAT I ONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
AN I L LUSTRAT IVE S EL ECTION OF I T EMS FROM TH E GRUF F YGRO UND PRES S . . . . . . . . . . . . . . . 26
s ec t i on b
PROS P ECTUS E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
s ec t i on c
GRE ET I NGS CARD S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
s ec t i on d
L I M I TED EDI T ION PRI NTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
s ec t i on e
OTH ER PRI NTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
s ec t i on f
ALL OTHER E PH EMERA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
s ec t i on g
UN PUB L I SH ED I T EMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
THE ‘T ERRI BLE RUL ES’ OF TH E GRUF F YGRO UND PRES S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
A TRI BUTE TO TH E GRUF F YGRO UND PRES S
...............................................................
77
CH ECK L I S T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
3
T H E G R U F F YG R O U N D P R E S S
A B R I E F H I S TORY
B
The first serious publication came about in the mid
1970s after reading a poem by Thom Gunn entitled
Aqueduct (uncollected at the time) in an issue of Critical
Quarterly. Most taken by the piece, Anthony wrote to the
author in America to ask whether he might be allowed
to publish it, along with some more of his uncollected
poems. Thom agreed, and posted a number of pieces
from which Anthony picked a suitable selection that he
then decided should be illustrated with a wood engraving. Simon Brett, an up-and-coming engraver at the time,
was chosen for the task and asked to create a suitable
illustration. This he duly did with a most praiseworthy
depiction of a dilapidated old aqueduct.
With the poems and engraving now in hand, Anthony
needed a printer of extremely high standards to print
them. Anthony decided he wanted to use an American
printer as he felt at the time that, on the whole, printers
in the United States were better than those in England
(although, a few years later this viewpoint was to change).
Additionally, using an American printer would make it
easier to get the copies signed by Thom. Now came the
difficult decision as to which printer to commission. In
his personal library, Anthony owned several titles from
the Janus Press in Vermont; all beautifully printed by
Claire van Vliet. With her superb quality of production it
was obvious that the Janus Press was the perfect choice.
Anthony got in contact and successfully managed to
persuade Claire to print the project for him.
Finally, all the elements successfully came together in
The Missed Beat; an excellent example of how well a piece
of fine press can be created with the right ingredients.
Anthony has since gone on to publish over forty titles.
Many feature a wood engraving (always printed from the
original block), and all have been immaculately printed by the finest printers, on the highest quality papers
(nearly always handmade or mould-made), using a wide
selection of classic and rare typefaces. His extremely high
standards, and the rigid set of rules he has in place to help
achieve them, have resulted in what he once described as
‘a rather satisfying body of work’.
Now, after four decades of the Gruffyground Press, this
bibliography is a testament to Anthony Baker’s singleminded pursuit of producing items of beauty, excellence
and literary merit, both to enrich his own shelves, and
hopefully the shelves of others.
ack in the 1960s, whilst working in the reference
department at Bristol Library, Anthony Baker was
given the task of sorting out all the private press
books and ephemera held there. This involved collecting
and cataloguing all the items in their collection, plus
finding and purchasing new and missing pieces. Being a
particularly orderly character with rather refined tastes,
this was a most suitable undertaking for him to be handed, and it quickly became something he thoroughly
enjoyed. So much so that he managed to make it last as
pretty much a permanent part of his job.
After a while he started to feel that publishing such
pieces was something he’d rather like to do; with the aim
of producing the kind of items that he wanted to grace
his shelves (and also, he has admitted, to achieving some
form of lasting recognition, albeit on the back of the
talents of others).
When the time came that Anthony chose to actively
pursue this notion he decided that he would not be the
one doing the actual printing. Only a small percentage of
the work he’d seen came up to his exacting standards,
and he felt there was no reason to expect himself capable
of producing good enough results. Instead he followed
the example of the Nonesuch Press, whose output was
mostly printed by other presses. This had the advantage
of giving Anthony access to a great deal more typefaces
than if he were just printing himself – something that
has proved more than good reason for his decision over
the years.
As for naming the press, Anthony wanted a name that
related to his locality, the village of Sidcot, part of the
parish of Winscombe in Somerset’s Mendip Hills. After
much consideration Gruffyground Press was settled on;
‘gruffy ground’ being the name given to the disturbed,
uneven terrain left behind by shallow lead mining in the
Mendips in the nineteenth-century.
Anthony’s first forays into publishing came in the early
1970s after coming across a particularly fine epitaph. He
thought that some collections of epitaphs from counties
in his near vicinity would make interesting items to start
his imprint with, so he decided to seek out more that he
felt worthy of publication. After getting three suitable
collections together he commissioned local printers to
produce small letterpress editions of them. Unfortunately,
the quality of the presswork on the second and third
collections was not to Anthony’s satisfaction, and he
disowned them; now regarding the whole Epitaphs series
as a ‘false start’.
Mark Askam, December 
4
S ECTION A
G R U F F Y G R O U N D P R E S S P U B L I C AT I O N S
This section describes all the full, non-ephemeral publications from the Gruffyground Press, using Anthony Baker’s
definition that a publication is anything sewn in covers or presented in a folder. A couple of notes should be made on
the information given here (and indeed throughout this bibliography). Firstly, all sizes given are height by width, and
are prone to slight variation across the copies due to the handmade nature (deckle edges and such) of the publications.
Secondly, the number of pages given is counted from the first printed page to the colophon page. Finally, this bibliography
corrects all errors that have appeared previously in Gruffyground Press stocklists, prospectuses and colophons.
1. ‘S IX SOMERSET E P I TAP H S’
due to its association with the other two. He rather counts the whole
‘Epitaphs’ series as a false start.
Printed by John Craig at the Piccolo Press,  Lansdown,
Stroud, Gloucestershire, England.
The colophon incorrectly states that the special copies are printed on
Mungei (a mis-spelling of Mingei) rather than the Gifu Shoji that was
actually used. As there was some show-through of the ink on the rather
thin Gifu Shoji, John Craig printed one variant special copy (item c)
for Anthony with each page printed on one side of the paper only.
This unillustrated publication contains six epitaphs taken
from across the county of Somerset.
a. standard edition
 mm ×  mm.  pages.  (out of ) copies; printed
in grey and red in Garamond on white Zerkall Silurian
mould-made paper, in an unprinted French-folded red
Mingei handmade paper cover. Unsigned.
Although not an illustration as such, the title page does feature a linocut
‘AB’ pressmark cut by the printer. John Craig printed the job using the
pressmark without having first sent a proof of the design for approval.
Afterwards he felt sure that Anthony wouldn’t like it, although his wife
was equally sure he would. The copies were sent out hesitantly, but as it
turned out Anthony liked the pressmark a great deal; so much so that he
asked John to use it again on a Gruffyground letterhead (see item  in
Section F).
b. s p ecia l edition i
 mm ×  mm.  pages.  (out of ) copies; printed in
grey and red in Garamond on white Gifu Shoji handmade paper, in an unprinted French-folded red Mingei
handmade paper cover. Unsigned.
2. ‘S IX DORSET EP I TAP H S’
Published December  (exact date not recorded). Not for sale.
Distributed free to friends and acquaintances as a Christmas greeting.
Printed by Humphrey Stone at the Litton Cheney Press,
The Old Rectory, Litton Cheney, Dorset, England.
c. s p ecia l edition ii
 mm ×  mm.  pages.  ‘out of series’ copy; printed
in grey and red in Garamond on white Gifu Shoji handmade paper, in an unprinted French-folded red Mingei
handmade paper cover. Unsigned.
This publication, illustrated with a boxwood engraving
by Reynolds Stone of a churchyard scene (originally used
in ‘Two Stories’ by T. F. Powys, a limited edition book
published by R. A. Brimmell at Hastings in ), contains
six epitaphs taken from across the county of Dorset.
Unpublished personal copy for Anthony Baker.
a. f irst state – standard edition i
 mm ×  mm.  pages. Unrecorded number of copies
out of an originally intended  (out of ); printed in
black in Janet on cream Inveresk mould-made paper, in
an unprinted yellow Tre Kronor machine-made paper
cover. Unsigned.
edition notes:
Anthony Baker started his publishing career with this small collection
of epitaphs that he’d gathered from churches and graveyards across his
home county of Somerset. It was to be the first of a series of six such
collections from southern counties, from Devon to Kent, but in practice
only two more followed; six dorset epitaphs and six hampshire
epitaphs (see items  and  later in this section). The presswork of the
two later collections was far from the high standard which Anthony
wished to represent his imprint, so he decided they were best disowned.
The printing of this collection is perfectly good, so it hasn’t been disowned
as such, but Anthony still doesn’t count it as a proper part of his output
b. f irst state – standard edition ii
 mm ×  mm.  pages. Unrecorded number of copies
out of an originally intended  (out of ); printed in
black in Janet on cream Hodgkinson handmade paper,
5
was definitely the case with both the first state special editions (items c
and d). Due to the considerable show-through of the rather thin Shoji
used for the first state special edition II copies (item d), the printer
decided to print them on one side of each page only.
in an unprinted yellow Tre Kronor machine-made paper
cover. Unsigned.
c. f irst state – s p ecia l edition i
 mm ×  mm (The size given is only approximate due
to considerable variation in the Mingei covers).  pages.
Unrecorded number of copies out of an originally intended  (out of ); printed in black in Janet on cream
Hodomura handmade paper, in an unprinted Frenchfolded yellow Mingei handmade paper cover. Unsigned.
The title page wood engraving was a suitable one that the printer had to
hand from a selection of blocks engraved by his father, Reynolds Stone.
This is the only instance of a Gruffyground Press publication where an
engraving not commissioned by Anthony has been used.
Although printed in , copies were not ready in time to send out as
Christmas greetings for that year (as was Anthony Baker’s intention).
Instead, they were put by for sending out the following Christmas. It’s
quite possible that some copies were distributed before then.
d. f irst state – s p ecia l edition ii
to considerable variation in the Mingei covers).  pages.
Unrecorded number of copies out of an originally intended  (out of ); printed in black in Janet on white Shoji
handmade paper, in an unprinted French-folded yellow
3. T HOM GUNN
‘TH E MIS S ED B EAT’
e. s econd state – standard edition
 mm ×  mm.  (out of ) copies; printed in black
in Janet on cream Inveresk mould-made paper, in an unprinted yellow Tre Kronor machine-made paper cover.
Unsigned.
Printed by Claire van Vliet at the Janus Press, Newark,
West Burke, Vermont, United States of America.
by Simon Brett of a dilapidated old aqueduct, contains
the following seven poems:
f. s econd state – s p ecia l edition
to considerable variation in the Mingei covers).  (out of
) copies; printed in black in Janet on cream Hodomura
handmade paper, in an unprinted French-folded yellow
The Soldier
Light Sleeping
Excursion
From an Asian Tent
The Clock
Aqueduct
The Missed Beat
Published December  (exact date not recorded), although printed and
dated . Not for sale. Distributed free to friends and acquaintances
as a Christmas greeting.
a. gruffyground press edition – f irst state
 mm ×  mm.  pages, French-folded. Approximately
 (out of ) copies; printed in black and olive in Times
on ivory Okawara handmade paper, in a French-folded
verona verde (green) Fabriano Miliani Ingres mouldmade paper cover printed in black. Signed by the author
and the artist.
edition notes:
This, the second of Anthony Baker’s collections of epitaphs from nearby
counties, was disowned by him due to the print quality falling short of
that which he wished to represent his imprint.
Originally, six dorset epitaphs was going to comprise of  copies
printed across four different papers. For the standard copies there were
going to be  copies printed on Inveresk and  copies printed on Hodgkinson, whilst for the special copies there were to be  copies printed on
Hodomura and  copies printed on Shoji. The colophon was set with this
information, but after a few copies were printed Anthony had a change
of mind and decided to increase the final total of copies to  whilst
decreasing the number of different papers to two. The colophon was reset
to feature the revised edition details and the full edition printed. There’s
only a small handful of any of the variants of first state copies in existence,
and they were distributed along with the final second state edition. It is
not even certain that any of the first state standard edition copies (items
a and b) exist, as I have yet to come across any, or know of anyone who
has. The entries appear here, though, as it is still most likely that at least
a couple of standard copies would have been printed in the first state, as
b. gruffyground press edition – s econd state
 (out of ) copies; printed in black and olive in Times
verona verde (green) Fabriano Miliani Ingres mouldmade paper cover printed in black. Signed by the author
and the artist.
Published May rd . Price £.
c. janus press edition
 mm ×  mm (in a  mm ×  mm slipcase). 
pages, French-folded.  copies; printed in black and olive
6
sect ion a
page, the copyright page, the poem The Missed Beat and
the colophon. Rather than let them go to waste, Claire
van Vliet placed them in the green paper wrappers used
for the Gruffyground Press edition and sent them to
Thom Gunn, who, on a blank page near the end, wrote
out the missing poem by hand in black ink, and then
added underneath in red ink his own colophon, number
and signature. These were distributed by Thom to friends.
in Times on ivory Okawara handmade paper. Quarter
bound in dark grey cloth, with verona verde (green) Fabriano Miliani Ingres mould-made paper (decorated with
darker green stripes printed from a woodblock cut by
Claire van Vliet) over boards, and an author/title label on
the spine printed in black on undecorated verona verde
Fabriano Miliani Ingres mould-made paper (used also for
the free endpapers and pastedowns). This book comes
housed in a slipcase covered with dark grey cloth over
boards, with front and back onlays of the same decorated
Fabriano paper as used on the book, plus an author/title
label on the spine that’s the same as that which appears
on the spine of the book. These copies, with a half-title
page not present in the version published by the Gruffyground Press, were bound by James Bicknel and published
by the Janus Press. Signed by the author only.
edition notes:
This collection was the first of a handful of Gruffyground Press items
printed and co-published in the United States. Anthony Baker had
concluded that, with the exception of the Rampant Lions Press (which
appeared to have all the commissions it could cope with), there were
better printers in America than in England. Deciding that he wanted
American printers to produce his publications for him, Anthony approached the Janus Press in Vermont, asking if they would print his
edition. When responding to the request, the printer, Claire van Vliet,
suggested that the missed beat could be a co-publication between
Gruffyground and Janus. This would have benefits for both parties; the
printer would get free use of the engraving, and Anthony would receive
a considerably lower bill than if he were publishing alone. Anthony
thought this a reasonable idea and agreed. The Janus Press edition was
published a little ahead of the Gruffyground Press one – something that
Anthony Baker was displeased with. He felt that, despite having become
a co-publication, it was still his project.
Published May st . Price $.
d. janus press edition – softcover vers ion
 ‘out of series’ copies; printed in black and olive in Times
verona verde (green) Fabriano Miliani Ingres mouldmade paper cover printed in black. Half of the copies
signed by the author and the artist, and the other half
signed by the author only.
The difference between the first and second state Gruffyground copies
(items a and b) is not a particularly obvious one. After several copies
had been printed it was decided that the spacing between the first and
second lines on the title page was too wide. In the first state copies the
gap between the lines was  mm. This was reduced in the second state
copies to  mm.
Published  (exact date unknown). Not for sale.
e. gruffyground press edition –
hardbound vers ion
 mm ×  mm (in a  mm ×  mm slipcase). 
pages, French-folded.  ‘out of series’ copy; printed in
black and olive in Times on ivory Okawara handmade
paper. Quarter bound in dark grey cloth, with verona
verde (green) Fabriano Miliani Ingres mould-made paper
(decorated with darker green stripes printed from a woodblock cut by Claire van Vliet) over boards, and an author/
title label on the spine printed in black on undecorated
verona verde Fabriano Miliani Ingres mould-made paper
(used also for the free endpapers and pastedowns). This
book comes housed in a slipcase covered with dark grey
cloth over boards, with front and back onlays of the same
decorated Fabriano paper as used on the book, plus an
author/title label on the spine that’s the same as that
which appears on the spine of the book. This copy, with
a half-title page not present in the other Gruffyground
copies, was bound by James Bicknel. Signed by the author
only.
There were a couple of variants produced in addition to the published
copies. One was a Janus Press softcover version (item d). Bound in the
same cover as the Gruffyground Press edition and lacking the half-title
page featured in the hardbound Janus Press edition, these copies were
split equally between both publishers, with Anthony’s copies signed by
both the author and the artist and Claire van Vliet’s signed by the author
only. The other variant was a one-off hardcover Gruffyground Press copy
(item e) that came about when a set of the Gruffyground Press sheets
was accidentally sent to the binder amongst the Janus Press sheets. Claire
van Vliet sent this to Anthony as a gift.
The engraving for the missed beat was Simon Brett’s first book
illustration (although he’d built up quite a reputation for his bookplates).
Thom Gunn was delighted with it, and contrasting it with Leonard
Baskin’s illustrations for a Rainbow Press collection of his poems, he
wrote ‘Baskin’s pictures were marvellous, but they had very little to do
with the feeling of my poetry. But Brett’s is just like me – meticulous
and romantic, visions founded on substances’.
Unpublished personal copy for Anthony Baker.
f. thom gunn edition
There were five incomplete sets of the pages left over
from the printing of the missed beat that lacked the title
This collection well and truly set the standard for all of Anthony’s future
projects and is regarded by him as the first true Gruffyground publication.
7
sect ion a
and brown in Walbaum on cream Twinrocker Sweetbutter handmade paper, in a French-folded sienna brown
Fabriano Miliani Ingres mould-made paper cover printed
in black. Signed by the author and the artist.
4. ROBERT GRAV E S
‘TWIN TO TWIN’
Printed by Kenneth Hardacre at the Kit-Cat Press, Hunton
Bridge, Hertfordshire, England.
Published December nd . Price £.
This unillustrated publication contains the following two
poems:
b. janus press / twinrocker edition
 mm ×  mm.  pages.  copies; printed in black and
brown in Walbaum on cream Twinrocker Sweetbutter
handmade paper. Case-bound in pink and purple marbled (by Claire van Vliet and Susan Johanknecht) Fabriano
handmade paper over boards, with a natural Hewitt calf
spine, and a title label on the front cover printed in black,
with a dark gold framing line, on cream Twinrocker
Sweetbutter handmade paper (used also for free endpapers and pastedowns). Bound by James Bicknell and
Susan Johanknecht and co-published by the Janus Press
and Twinrocker, Brookston, Indiana. Unsigned.
Considine
Twin to Twin
 mm ×  mm.  pages, French-folded.  copies;
printed in black in Palatino on white Hosho handmade
paper, in a French-folded red Tumba Ingres machinemade paper cover printed in black. Unsigned.
Published September th . Not for sale.
edition notes:
Frustrated by being unable to obtain permission to publish this pair of
previously uncollected poems, Anthony Baker effectively pirated them
(though Robert’s wife Beryl Graves subsequently gave approval for
private distribution). The edition was split, with eight copies sent to
Beryl, eight kept by the printer, and the remainder for Anthony.
Published  (exact date unknown). Price $.
edition notes:
Anthony Baker again decided to make use of the printing talents of the
Janus Press. As with the missed beat, the decision was made to
make the project a co-publication between Gruffyground and Janus, with
the same benefits to each party as before (see edition notes for the
missed beat). This time, the Janus Press copies were themselves a
joint publication between the Janus Press and the Twinrocker paper mill
that supplied the paper for the edition. The Twinrocker paper used in
both this and the Janus Press copies was specially made for the job. As
well as the usual Twinrocker watermark, a rather abstract ‘AB’ watermark was also added. This is not present in all copies.
The Kit-Cat Press was one of the few presses in England at the time
whose work Anthony Baker felt was easily good enough to reach his high
standards. The number of copies Anthony wanted was so low that there
seemed no point in sending the production abroad for printing, plus the
fact that it was a ‘pirated’ edition had him wanting to keep its production
a more local, and therefore (hopefully) a more ‘hush-hush’ affair.
During initial negotiations, James Reeves had declined to sign the
colophons due to his partial sightedness (he suffered from glaucoma).
When he saw (as far as he was able) the sheets, and in particular the
engraving, he insisted on signing the edition after all.
5. JAM ES REEVES
‘TH E CLO S ED DOOR’
Due to some miscommunication, a couple of small errors managed to
make their way into this publication. In the poem ‘Ragtime: Jeunesse
Dorée’, both cases of ‘doddle’ should say ‘doodle’. Also, in ‘The Act of
Death’, the last line should end with a question mark.
by Richard Shirley Smith of a mournful girl sitting on
the floor, contains the following eight poems:
The sheets for the closed door somehow managed to get dented
in transit. To rectify this, Anthony had to spend many hours damping
and pressing the sheets to bring them back to a publishable state.
Madrigal
The Closed Door
The Hope, The Hurt
I Tread The Years
Ragtime: Jeunesse Dorée
The Marriage of Figaro
Autumn Day
The Act of Death
6. ‘S IX HAM P SH IRE EP I TAP H S’
Printed by George Tee at the Cernel Press, Cerne Abbas,
Dorset, England.
a. gruffyground press edition
 mm ×  mm.  pages.  copies; printed in black
8
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 Water
 Cottage Flowers
 Sky
iv Lanes
v Natura
vi Woods
vii Grass
viii Stubble Fires
ix Frost
by Richard Shirley Smith of a churchyard scene, contains
six epitaphs taken from across the county of Hampshire.
a. standard edition
 mm ×  mm.  pages.  (out of ) copies; printed
in black in Bell on pale blue Portals mould-made paper,
in an unprinted French-folded dark blue Mingei handmade paper cover. Unsigned.
b. s p ecia l edition
 mm ×  mm.  pages, French-folded.  (out of )
copies; printed in black in Bell on white Hosho handmade paper, in an unprinted French-folded dark blue
217 mm ×  mm.  pages.  copies; printed in black in
Romanée on white Barcham Green Windhover handmade paper, in a beige Barcham Green Katuscha handmade paper cover printed in black. Signed by the author
and the artist.
Published December  (exact date not recorded), although printed and
dated . Not for sale. Distributed free to friends and acquaintances
Published December th . Price £.
edition notes:
This – the last of Anthony Baker’s three collections of epitaphs from
nearby counties – had been progressing slowly in the background since
its inception a couple of years previous. There were several reasons for
the lengthy delay, mainly due to problems with the actual press, but the
most entertaining has to be the one that Anthony learned about in a letter
from the printer, informing him that ‘Six Wiltshire Epitaphs’ was finished. In a hasty reply, Anthony questioned whether ‘Wiltshire’ was a typo
in the letter. It was not. The printer had inexplicably printed the job with
the title ‘Six Wiltshire Epitaphs’ (despite knowing the collection was one
of epitaphs from Hampshire), and humbly responded ‘I feel, and am, an
ass’. When the corrected edition finally surfaced Anthony was greatly
disappointed with the presswork and quickly disowned the publication.
He was so unsatisfied with the copies that he only ever distributed a handful. Most have, to this day, remained uncollated, unfolded, unsewn and
without covers. It is fair to say that the standard copies are by far the
worst printed items ever distributed by Anthony. The presswork of the
special copies is considerably better than that of the standard edition,
but still far from the publisher’s high standards.
b. windhover press edition
 mm ×  mm.  pages.  copies; printed in black in
Romanée on white Barcham Green Windhover handmade paper. Quarter bound in green cloth, with silverygreen Sudare handmade paper printed in black over
boards, and free endpapers and pastedowns of white
Barcham Green Windhover handmade paper. Bound by
the Black Oak bindery. Unsigned.
Published December th . Price $.
edition notes:
Deciding to try out American printers other than the Janus Press,
Anthony Baker commissioned Kim Merker to print natura at his
private Stone Wall Press, with the suggestion put forward that, like his
earlier co-publications with the Janus Press, this collection could also be
a co-publication with the same benefits to each party as suggested by the
Janus Press previously (see edition notes for the missed beat earlier
in this section). The printer agreed, and so another Gruffyground Press
co-publication was produced. For reasons unknown the edition didn’t get
printed by Kim at his private press as requested, but was instead printed
by his students at the Windhover Press; the fine press he’d founded at the
University of Iowa.
Although printed in , copies were not ready in time to send out as
Christmas greetings for that year. As with six dorset epitaphs
(see item  earlier in this section), they were put by for sending out the
following Christmas. It is quite possible that a couple of copies were
distributed before then.
natura ended up having to be printed twice. The first printing was
rejected by Anthony on grounds of poor presswork (see item  in Section
G), so a reprint was called for. This published reprint features two errors
in the first poem, absent from the original printing: ‘whose’ is omitted
before ‘edges’ in the third line, and an added comma after ‘shape’ in the
last line makes no sense. It is most likely that the type had been distributed
by the time the demand for a reprint reached the printer, and so the edition
would have needed resetting. The whole edition was then reprinted, but
without the publisher being sent a new proof. Incredibly, it was only after
nearly thirty years that the aforementioned omission of ‘whose’ was
noticed and brought to the attention of both the publisher and poet.
7. P ETER SCUP HAM
‘NAT URA’
Printed by Karl Kimber (Kim) Merker at the Windhover
Press, Iowa City, Iowa, United States of America.
by Peter Reddick of a countryside landscape, contains the
following sequence of nine nature poems:
The misprints were not the only problem with natura. The sheets also
9
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the notorious Restoration rake’s most obscene poems are presented. The
printer, when invited to produce the booklet for the Gruffyground Press,
described them as ‘stunning’, but later remarked that they had ‘caused
some embarrassment to a few of those I’ve let read them’.
got dented in transit, calling for hours of damping and pressing to rectify
them. In addition to this the surface of the wood engraving sustained a
little damage during printing, resulting in white spots in areas of the print
that should have been black. As if rectifying the dented sheets hadn’t
been enough, Anthony Baker now had to spend an age laboriously painting
these spots out with the finest of brushes and some Indian ink. In a letter
to Anthony at the time, Peter Scupham amusingly wrote, ‘Do not become
obsessed with white spots. Leave that to the breeders of tropical fish’.
These poems, as with all Gruffyground publications of old texts, are
presented keeping the original text and spelling as it appears in its first
ever printed edition. Having said that, Anthony sees that any obvious
errors in the original text are amended.
The text paper, made specially for the Windhover Press by Barcham
Green, features a watermark of a windhover (a kestrel). This is not
present in all copies.
9. ROBERT GRAV E S
‘ADVICE TO COLON E L VA L E NT I N E’
8. JOHN WILMOT, E AR L OF ROCH E ST ER
‘THREE SONGS’
Printed by Kenneth Hardacre at the Kit-Cat Press, Hunton
Bridge, Hertfordshire, England.
Printed by Harry Duncan at the Cummington Press,
Omaha, Nebraska, United States of America.
This unillustrated publication contains the following two
poems:
This unillustrated publication contains the following
three poems:
Hippopotamus’ Address to the Freudians
Advice to Colonel Valentine
Song
Song
The Mock Song
 mm ×  mm.  pages, French folded.  copies;
printed in black in Palatino on white Hosho handmade
paper, in a French-folded yellow Tumba Ingres machinemade paper cover printed in black. Unsigned.
 mm ×  mm.  pages.  copies; printed in black and
green-grey in Joanna with Romulus Open on white
Hodomura handmade paper, in a green-grey Kizuki
handmade paper wrapper with a white Hodomura handmade paper title label printed in black.
Published July th . Not for sale.
edition notes:
Once again, Anthony Baker asked the Kit-Cat Press to produce a small
piratical edition for him. As had been the case with the earlier twin
to twin, permission was only given for private distribution, with copies
being given out to a very select few. The edition was split as before, with
eight copies sent to Beryl Graves, eight kept by the printer, and the
remainder for Anthony.
Published December th . Price £.
b. cummington press edition
 mm ×  mm.  pages.  copies; printed in black and
green-grey in Joanna with Romulus Open on white
Hodomura handmade paper, in a green-grey Kizuki
handmade paper wrapper with a white Hodomura handmade paper title label printed in black.
10. E L I ZAB ETH J ENN I NGS
‘WI NTER WI ND’
Published  (exact date unknown). Price $.
edition notes:
Anthony Baker decided to approach yet another American printer. Again
wishing to keep his costs down, he suggested that the project be a copublication. The printer agreed, and so for the fourth time a Gruffyground
Press project appeared under two different imprints. The Cummington
Press copies are identical to the Gruffyground Press ones except for the
publisher details on the title page.
by Monica Poole of a girl asleep in bed next to the billowing curtains of an open window, contains the following
nine poems:
Near The End
A Happy End
The Deepest Love
Winter Wind
Here, Anthony showed his willingness to publish something somewhat
‘stronger’. In this, the first of Gruffyground’s backward glances, some of
10
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Published December th . Price £.
A Widow
Van Gogh
The Only Child
The Rake
Eurydice
b. s p ecia l b inding edition
 mm ×  mm.  pages.  ‘out of standard edition’
copies; printed in black and green in Spectrum on white
Fabriano Roma Michelangelo handmade paper. Bound
by James Brockman at Headington, Oxfordshire, England
in full green Oasis goatskin lettered along the spine in
palladium, with a yellow silk headband and tailband and
green Fabriano Roma Veronese handmade endpapers.
Signed by the author and the artist.
 mm ×  mm.  pages.  copies; printed in black and
silver in Trump Mediaeval on green-grey Barcham Green
Charles The First handmade paper, in a French-folded
adriatic blue (navy) Fabriano Miliani Ingres mould-made
paper cover printed in silver. Signed by the author and
the artist.
Published June  (exact date not recorded). Price £.
edition notes:
Again, Anthony Baker used an American printer, albeit one who had
relocated to Italy. A co-publication was not an option this time as the
printer didn’t want to print a larger run than the number of copies that
Anthony wished for himself.
Published March th  (although printed and dated ). Price £.
b. janus press edition
 mm ×  mm.  pages.  copies; printed in black and
silver in Trump Mediaeval on green-grey Barcham Green
Charles The First handmade paper. Case-bound in white
linen over boards, with an author/title label on the spine
printed in silver on grey-green Barcham Green Charles
The First handmade paper (used also for free endpapers),
and pastedowns of grey-green Barcham Green Michelle
handmade paper. Bound by James Bicknell. Unsigned.
The special binding edition came about when five complete sets of pages
were left over minus covers after the edition had been sewn. Rather than
see them go to waste, Anthony decided on the wonderfully extravagant
solution of having them specially bound instead. In addition to being the
first Gruffyground Press publication to have a limited special binding,
the ship of sounds was also the first Gruffyground publication to
have ad personam copies printed, with copies for Anthony Baker, Jill
Langford and Monica Wynter. Anthony was most surprised to find an
ad personam for himself as he’d not actually asked for one.
Published  (exact date unknown). Price $.
edition notes:
Just like the previous two items printed at the Janus Press, Anthony Baker
went for the co-publication option.
This was the last of Anthony’s early run of using American printers as
his faith had been somewhat shaken by the various problems he’d
encountered. Fortunately, there were homegrown newcomers such as the
Libanus Press and Rocket Press whose most capable printing abilities
Anthony now wished to use.
As had happened with natura, the wood engraving sustained some
damage during printing. Once again a less than happy Anthony Baker
had to painstakingly repair the results of the damage in the printing with
a very fine brush and some Indian ink.
12. J OHN H EATH-ST UB B S
‘BUZ Z BUZ Z’
11. J OHN F ULL ER
‘TH E SH I P OF SOUNDS’
Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England.
Printed by Richard-Gabriel Rummonds and Alessandro
Zanella at the Plain Wrapper Press, Verona, Veneto, Italy.
This publication, illustrated with a pearwood engraving
by Richard Shirley Smith of a rhinoceros beetle and a
beetle grub, contains the following series of ten insect
poems:
by Garrick Palmer of an ancient ship, contains the poem
The Ship of Sounds – a sequence separated into eight parts,
numbered i to viii.
Rhinoceros Beetle
Soldier Beetles
Cicada
Moth
Ladybird
Tiger Beetle
Wasps
a. standard edition
 mm ×  mm.  pages.  copies, plus  ad personams; printed in black and green in Spectrum on white
Fabriano Roma Michelangelo handmade paper, in a
green Fabriano Roma Veronese handmade paper wrapper printed in black. Signed by the author and the artist.
11
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Crane Fly
Crab Louse
Silver Fish
The colophon page features a small wood engraving of a pine cone
surrounded by swirling ribbons. Engraved by Richard Shirley Smith, this
is the pressmark of the publication’s printer, the Libanus Press. As the
title page engraving was by the same artist, Anthony Baker felt it OK
to have this extra little engraving feature on the colophon.
a. ‘mesozoic’ vers ion
 mm ×  mm.  pages.  (out of ) copies, plus 
ad personams; printed in black and ochre in Bodoni on
cream Vélin d’Arches mould-made paper, in an ochre
Mingei handmade paper wrapper printed in black. Signed
by the author and the artist.
The ad personam copies were printed for Jill Langford and Monica
Wynter; both in copies of the ‘Mesozoic’ version.
b. ‘secondary epoch’ vers ion
 mm ×  mm.  pages.  (out of ) copies; printed
in black and ochre in Bodoni on cream Vélin d’Arches
mould-made paper, in an ochre Mingei handmade paper
wrapper printed in black. Signed by the author and the
artist.
13. ANTHONY THWAI TE
‘TE LL I NG TAL E S’
Printed by Graham Williams at the Florin Press, Biddenden, Kent, England.
by Simon Brett of a bird skull and a roman coin, contains
the following ten poems:
Published December th . Price £.
c. ‘printed label’ vers ion
 mm ×  mm.  pages. A small number of copies (
or ); printed in black and ochre in Bodoni on cream
Vélin d’Arches mould-made paper, in an ochre Mingei
handmade paper wrapper with a cream Vélin d’Arches
mould-made paper author/title label printed in ochre.
Unsigned.
Observation in Winter
What Animal
Fuel
The Stump
Telling Tales
Indian Images
The View From Hakone
Classical Text
Bournemouth: September rd 
Lustration
Distributed by the printer December  (exact date unknown). Not
for sale.
edition notes:
John Heath-Stubbs wrote two slightly different versions of the poem ‘Silver
Fish’. He could not decide which version to use, so it was decided that
one half of the print run would be printed with one version of the poem
and the other half with the other. In the Mesozoic version (item a), line
four of the first stanza ends with ‘mesozoic’, and in the Secondary Epoch
version (item b) line four of the first stanza ends with ‘secondary epoch’.
 mm ×  mm.  pages.  copies; printed in black and
brown in Lutetia with Egmont Inline on white Zerkall
mould-made paper, in a brown Kozo handmade paper
wrapper with a grey-beige Kozo handmade paper author/
title label printed in black. Signed by the author and the
artist.
Michael Mitchell originally designed buzz buzz with an author/title
label on the cover. The label featured the same text as that which appears
on the final covers, but contained within a distressed line border. This
idea was decided against before final production, although some labels
had been printed. After finishing buzz buzz, Michael had a couple
of extra copies left over which, rather than destroy, he decided to distribute
himself as ‘out of series’ copies. On some (item c), if not all, he stuck
his original cover label over the existing title. The exact number of copies
featuring this label is unknown, but Michael believes there were only two
or three.
Published December th . Price £.
edition notes:
Anthony Baker had four different engravings produced for telling
tales before he was happy with the result. He first commissioned Sarah
van Niekerk, who produced an engraving of washing hands. Anthony
disliked this and so Sarah produced another engraving, this time of
pheasants in a winter scene. Anthony initially accepted – and paid for –
this engraving, but came to dislike it also. Deciding to try elsewhere for
an engraving he’d be happy with, Anthony commissioned Simon Brett,
whose first engraving was also one of hands being washed. Anthony was
again dissatisfied with the result, so a fourth engraving was called for.
Simon’s next engraving, the bird skull and roman coin image featured in
the final publication, was very much to Anthony’s liking and happily
given full approval.
Being completely blind, John Heath-Stubbs had to have his hand placed
in the correct position on each colophon page in order to sign the copies.
This accounts for the huge variation in his signatures and their most
interesting, if rather illegible, nature.
12
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14. THOMAS HARDY
‘FRI ENDS B EYOND’
than waste the engraving, Anthony decided to cast around for a poem
that he felt it would suit. Eventually he decided on using it in this edition
of Thomas Hardy’s ‘Friends Beyond’.
The ad personam copies were printed for Anthony Baker, Patricia
Knight, Jill Langford, Michael Mitchell, Peter Reddick and Monica
Wynter. It is likely that the ad personam colophons were sewn into different variations of the publication.
by Peter Reddick of an old gravestone in the foreground
of a hilly landscape, contains the single poem Friends Beyond.
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black and green in Blado and Poliphilus on
cream Barcham Green Chester handmade paper, in a
citron (dark green) Mingei handmade paper wrapper
printed in black. Signed by the artist.
15. J ONAT HAN PRIC E
‘PRIVAT E VI EW’
Printed by Jonathan Stephenson at the Rocket Press,
Steventon Vicarage, Abingdon, Oxfordshire, England.
Published November th . Price £.
by Simon Brett of a dead bird on a window sill that looks
out onto a bonfire, contains the following nine poems:
edition variations
There are so many variations in friends beyond, and
possible random combinations of them, that it would be
most difficult to note accurately how many different versions actually exist. Instead, here follow details of the
separate differences that occur throughout the edition.
A Considered Reply to a Child
Kilroy Was Here
Burning Letters
Experiment With an Air Pump by Joseph Wright ‘of Derby’
Ars Poetica
At a Private View
Among My Souvenirs
A Winter’s Tale
The Old, Old Story
There are two slightly different versions of the eighth
stanza in the poem. One half of the print run has a
version with the original ending of ‘decry’ and the other
half with Hardy’s revised version ending in ‘die’.
There are two versions of the front cover. One half of the
print run has a small fleuron (described byAnthony Baker
as a ‘flying soup tureen’) printed between the author’s
name and the title, and the other half does not.
 mm ×  mm.  pages.  copies; printed in black
and blue in Garamond with Castellar on white Zerkall
mould-made paper, in a blue Richard de Bas handmade
paper cover with a beige Zerkall Silurian mould-made
paper author/title label printed in black and blue. Signed
by the artist.
Finally, there are three different cover stiffeners used
across the publication; a rough Barcham Green Chester
handmade paper to match the paper used for the text, a
smooth version of the Barcham Green Chester handmade paper, and a beige Barcham Green handmade paper.
Published May nd . Price £.
edition notes:
This was originally going to be printed by the Florin Press as a companion
piece to telling tales, with both editions having similar design
themes to tie them together. Unfortunately, there were problems early in
production and the Florin Press had to cancel the project. As private
view could no longer be printed at the Florin Press in the format he had
planned, Anthony Baker decided that the collection would no longer be
published bearing the Gruffyground imprint. Instead he decided it would
be printed in an entirely different format, by a different printer, and carry
a different publisher’s name. Anthony eventually got the Rocket Press to
print the collection, and published it under the imprint ‘Valerie Parry’
(his cousin’s name). It’s still a valid addition to this bibliography, being
something of a Gruffyground item in disguise. It has been sold by the
Gruffyground Press and appears in three of the Gruffyground Press stock
lists.
edition notes:
The ideal copy in the publisher’s eyes would be in a cover printed without
the fleuron, use the rough Barcham Green Chester paper for the stiffener,
and feature Hardy’s ‘die’ revision.
The engraving featured on the title page was originally commissioned
for a reprint of six dorset epitaphs. After his disappointment with
the original edition, Anthony Baker wanted to completely recreate the
project with John Craig at the Piccolo Press. He wanted the new version
to match in size and format with the six somerset epitaphs
collection that John had previously printed, and so commissioned a small
‘gravestone’ engraving from Peter Reddick to suit the dimensions of the
page. The engraving was completed and the job was ready to go to print,
but unfortunately the correct paper to match with six somerset
epitaphs could not be obtained and the reprint was scrapped. Rather
13
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After learning that he was very ill, it was Jonathan Price’s wish that
the collection be published before his death. Sadly, he died just days
before it was ready, hence the absence of his signature in the copies.
The Bell-Buoy
Calm Sea at Night
Wreath
Small Island
Harbour
Anchor
Old Man Dying
16. J OHN MOL E
‘L EARN I NG TH E ROP ES’
a. standard edition
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black and aquamarine in Bembo with Lutetia
Open on white Canson et Montgolfier Johannot mouldmade paper and cream Barcham Green Bodleian handmade paper, in an aquamarine Mingei handmade paper
wrapper printed in black. Numbered and signed by the
author and signed by the artist.
This publication, illustrated with a lemonwood engraving by Colin Paynton (known now as Colin See-Paynton)
of a ‘man winding a handle’ garden windmill ornament,
contains the following eight poems:
A Short History of State Funerals
The Song of The Pie
Star Song
On Parade
Learning The Ropes
Messiaen
Home
Sheep
Published April th . Price  guineas (£.), or $.
 mm ×  mm.  pages.  ‘out of standard edition’
copies, including  ad personam; printed in black and
aquamarine in Bembo with Lutetia Open on white
Canson et Montgolfier Johannot mould-made paper
and cream Barcham Green Bodleian handmade paper.
Bound by Lester Capon at Oxford, England in full sloe
Oasis goatskin lettered along the spine in platinum, with
a purple silk headband and tailband and aquamarine
Mingei handmade endpapers.  copies signed and numbered in roman numerals by the author and signed by
the artist, and one unnumbered ad personam copy signed
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black and red in Perpetua on white Wookey
Hole handmade paper, in a vermilion Mingei handmade
paper wrapper printed in red. Numbered and signed by
the author and signed by the artist.
Published January th  (although printed and dated ). Price
£.
Published February  (exact date not recorded). Price £.
edition notes:
The ad personam copies were printed for Anthony Baker, Thomas
Griffith, Patricia Knight, Michael Mitchell, John Mole and Colin
Paynton.
edition notes:
You may have noticed that the price for this publication is given in two
unusual forms. Firstly, there is the English price, but in guineas; an oddity
considering that they had not been an actual currency since decimalisation
in . Anthony Baker has always been against decimalisation, and as
the price of aquamarine was to be more expensive than usual, he
decided to revert to the ‘grander’ use of old fashioned guineas in his
pricing. Anthony was not alone here; barristers at this time were still
charging their fees in guineas. Secondly, there is a price in US dollars.
As there were some regular Gruffyground Press customers in America,
Anthony decided to have a second version of the prospectus printed for
sending out especially to them. This was identical to the English one,
except for the price being announced in dollars. This is the only instance
of a publication that Anthony did this for.
17. LAWRE NCE SAI L
‘AQUAMAR I N E’
Printed by Michael Mitchell and Thomas Griffith at the
Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, England.
by Christopher Wormell of a ship in the distance of a
stormy sea, contains the following ten sea poems:
The rhymed prologue and epilogue of this collection are distinguished
from the unrhymed main sequence not only by the italic type printed in
aquamarine ink, but also the use of thin Bodleian repairing paper.
Normally, such severe show through would not be used in a publication,
but Anthony Baker wanted to give the effect of a theatrical gauze.
Aquamarine
Out of Land
Rain at Sea
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There were ad personam copies of the standard edition printed for
Anthony Baker, Thomas Griffith, Anna and David Jameson Evans,
Patricia Knight, Michael Mitchell, Erica Sail, Lawrence Sail, Matthew
Sail and Christopher Wormell. One copy of the special binding edition
is also printed ad personam for Anthony Baker.
Hafner), Alexandra Fairbairn, Beryl Graves, Tomás Graves, Patricia
Knight and Robert Tilleard. All appear in the standard version.
19. FR E DA DOWN I E
‘EVEN TH E F L OWERS’
18. ROB ERT GRAV E S
‘CYN I C S AND ROMAN T I C S’
Printed by Michael Mitchell and Thomas Griffith at the
Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, England.
Printed by Sebastian Carter at the Rampant Lions Press,
 Chesterton Road, Cambridge, England.
by Claire Dalby of a cottage and flowers at night, contains
the following ten poems:
by Robert Tilleard of a young woman posing, contains
the single poem Cynics and Romantics.
The Whole Thing
Cerne Abbas
Almondtears
All Hallows Eve
Cottage Orné
Star
Even The Flowers
Scarecrow
You Are Almost
Window
a. standard edition
 mm ×  mm.  pages.  (out of ) copies, plus  ad
personams; printed in black and red in Palatino on cream
Fabriano Umbria Gialetto handmade paper, in a coquelicot (red) Canson et Montgolfier Mi-Teintes machinemade paper cover printed in black. Numbered and signed
by the artist.
b. ‘variant engraving’ vers ion
 mm ×  mm.  pages.  (out of ) copies; printed in
black and red in Palatino on cream Fabriano Umbria
Gialetto handmade paper, in a coquelicot (red) Canson
et Montgolfier Mi-Teintes machine-made paper cover
printed in black. Numbered and signed by the artist.
a. standard edition
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black and olive in Fournier with Fry’s Ornamented on ivory Amatruda handmade paper, in an olive
Mingei handmade paper wrapper printed in black. Numbered and signed by the author and signed by the artist.
Published July th . Price  guineas (£.).
Published August st . Price £.
edition notes:
Two different engravings were commissioned for this project, each taken
from photographs of Anthony Baker’s mother. The intention was that one
half of the publication would be printed with one engraving and the other
half with the other. After seeing the completed engravings, Anthony had
a strong preference for one of them and so decided to print the edition
with just that. Rather than waste the other engraving entirely, it was
printed in a token number of five copies. The standard version features
the favoured engraving, which has the figure facing almost face on, whilst
the ‘variant engraving’ copies feature the figure facing away at an angle.
 mm ×  mm.  pages.  ‘out of standard edition’
copies, including  ad personam; printed in black and olive
in Fournier with Fry’s Ornamented on ivory Amatruda
handmade paper. Bound by Romilly Saumarez Smith at
Limehouse, London, England in full olive Oasis goatskin
lettered along the spine in gold, with a carmine silk headband and tailband and olive Mingei handmade endpapers.
 copies signed and numbered in roman numerals by the
author and signed by the artist, and one copy printed ad
personam and signed by the author and the artist.
As with aquamarine, Anthony decided to price this publication in
guineas. This was to be the last time though, as some customers, confused
when converting from the old system of currency, sent payments for the
wrong amount.
Published July  (exact date not recorded). Price £.
Unlike Gruffyground’s two previous Robert Graves editions, the publication of this poem was fully authorised.
edition notes:
Unhappy with the binding of the specially bound copies, Anthony Baker
added them to his list of disowned items.
The ad personam copies were printed for Anthony Baker, Sebastian
Carter, Ingrid Clothier (more widely known as the actress Ingrid
There is a minute reference to one of the poems in the engraving. If you
look carefully you will see that there is a little white line in the top window
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edition notes:
Anthony Baker had this catalogue produced for his Gruffyground Press
exhibition at the Cheltenham Festival of Literature in October . It
details the first thirteen pieces of illustrated poetry published by the Press,
hence the title (also a rather good play on the publisher’s surname).
Incredibly – and rather sadly – only two copies were sold at the exhibition.
of the cottage. This is the telescope mentioned in the poem ‘Cottage
Orné’. Anthony was only aware of this after the engraver mentioned it
– not surprising really, considering its size.
Anthony Baker, Ingrid Clothier, Claire Dalby, Freda Downie, Thomas
Griffith, Patricia Knight and Michael Mitchell. One copy of the special
binding edition is also printed ad personam for Anthony Baker.
The engraving, printed strikingly in orange, is Anthony’s bookplate.
20. E DWARD T HOMAS
‘O L D M AN’
22. JAM ES REEVES
‘TO ROBERT GRAV E S I N DEYÁ’
Millcroft Stables, Blewbury, Oxfordshire, England.
Swan House, Over, Cambridge, England.
This publication, illustrated with a lemonwood engraving by Colin Paynton (known now as Colin See-Paynton)
of a young girl at a door holding a sprig of the aromatic
herb ‘old man’, contains the single poem Old Man.
This unillustrated publication contains the single poem
To Robert Graves in Deyá.
 mm ×  mm.  pages.  copies; printed in black in
Walbaum on grey Zerkall Silurian mould-made paper, in
a jaune soleil (orange) Canson et Montgolfier Mi-Teintes
machine-made paper cover printed in black. Unsigned.
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black and lilac in Baskerville with Old Face
Open on ivory Zerkall Alice mould-made paper, in a lilac
Hahnemühle Bugra Bütten mould-made paper wrapper
printed in black. Numbered and signed by the artist.
Published January st . Price £.
edition notes:
James Reeves actually submitted this along with the poems printed in
the closed door, but Anthony Baker felt that its occasional nature
made it more suitable for separate publication.
Published August th . Price £.
edition notes:
This poem was published on the eightieth birthday of the poet’s daughter,
Myfanwy Thomas; the girl featured in the poem.
This was officially announced at the time to be the last publication from
the Gruffyground Press. A further twenty years (so far) of publications
have shown this to be far from the case.
The ad personam copies were printed for Anthony Baker, Ingrid Clothier,
Colin Paynton, Jonathan Stephenson and Myfanwy Thomas.
23. T HOMAS L OVE P EACOCK
‘N EWARK ABBEY’
21. ‘BAK E R’S DOZ EN’
Printed by Michael Mitchell at the Libanus Press, Rose
Tree House, Silverless Street, Marlborough, Wiltshire,
England.
Illustrated with a boxwood engraving by Simon Brett of
a pine marten on a tree trunk, with Anthony Baker’s
name carved in the bark.
Newark Abbey.
 mm ×  mm.  pages.  copies; printed in black and
orange in Walbaum with Gresham on cream Zerkall
mould-made paper, in an orange Canson et Montgolfier
Mi-Teintes machine-made paper cover printed in black.
Unsigned.
a. standard edition
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black and plum in Bell with Thorne Shaded
on white Barcham Green Chilham handmade paper, in
a plum Mingei handmade paper wrapper printed in black.
Published October th . Price £.
Published June th . Price £.
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25. DAVI D SUTTON
‘TH E P LAN E T HAP P I N ES S’
b. ‘alternative wrapper’ vers ion
 mm ×  mm.  pages.  ‘out of series’ ad personam
copies; printed in black and plum in Bell with Thorne
Shaded on white Barcham Green Chilham handmade
paper, in a plum Kayazuki handmade paper wrapper
printed in black.
by Christopher Daunt of a small boy playing at the
water’s edge of a beach, contains the following nine
poems:
Published January th . Not for sale.
edition notes:
The two ‘alternative wrapper’ copies – both ad personam for Pauline
Dean – were created as a wedding present for her from Anthony Baker
(the second copy having been printed as a back-up in case of mishap).
They have a slightly different wrapper to the standard edition as Anthony
wanted them ready for Pauline’s wedding, which was four and a half
months before the publication date, and the correct Mingei could not be
obtained in time. As a substitute, a similar plum coloured Kayazuki
paper was used instead. The colophon still states the wrapper as being
Mingei.
The Lame Ant
Consider
The Planet Happiness
The Cherry Tree
The Refusal
Endangered Species
Atlas
Njal
Novices
Like buzz buzz, the colophon page features a small wood engraving
of a pine cone surrounded by swirling ribbons. Engraved by Richard
Shirley Smith, this is the pressmark of the publication’s printer; the
Libanus Press. As no other embellishments featured in the publication,
Anthony Baker felt it would be most suitable to have this little engraving
printed on the colophon.
a. standard edition
 mm ×  mm.  pages.  copies, plus  ad personams; printed in black and red in Plantin Light with
Sistina and Hunt Roman on white Hahnemühle Bugra
Bütten mould-made paper, in a rouge vif (red) Canson
printed in black. Numbered and signed by the author and
signed by the artist.
There are ad personam copies of the standard edition for Anthony Baker
(two copies) and Michael Mitchell.
Published September th . Price £.
b. s p ecia l b inding edition i
 mm ×  mm.  pages.  ‘out of standard edition’
copies, including  ad personam; printed in black and red
in Plantin Light with Sistina and Hunt Roman on white
Hahnemühle Bugra Bütten mould-made paper. Bound
by Anton Henley at Yate, Gloucestershire, England in full
crimson Oasis goatskin lettered along the spine in gold,
with an orange silk headband and tailband and rouge vif
(red) Canson et Montgolfier Mi-Teintes machine-made
endpapers.  copies signed and numbered in roman numerals by the author and signed by the artist, and one
printed ad personam for Anthony Baker and signed by
the author and the artist.
24. J OHN WEBSTER
‘A FAYRE AND HAP PY M I LK E-MAYD’
This unillustrated publication contains the prose piece
A Fayre and Happy Milke-Mayd.
 mm ×  mm.  pages.  copies; printed in black and
brown in Octavian with Golden Cockerel on white
Hahnemühle Laid mould-made paper, in a cachou (greybrown) Canson et Montgolfier Mi-Teintes machinemade paper cover printed in black.
Published December  (exact date not recorded). Price £.
Published December th . Price £.
c. s p ecia l b inding edition ii
 mm ×  mm.  pages.  ‘out of standard edition’ ad
personam copy; printed in black and red in Plantin Light
with Sistina and Hunt Roman on white Hahnemühle
Bugra Bütten mould-made paper. Bound by David Sellars
at Todmorden, Lancashire, England in full crimson Oasis
goatskin lettered along the spine in gold, with an orange
silk headband and tailband and rouge vif (red) Canson et
edition notes:
The title character of this publication – the only prose piece from the
Gruffyground Press – is the ninth of thirty-two characters, anonymously
added to the Thomas Overbury collection in the sixth edition of ,
which are attributed to John Webster.
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Montgolfier Mi-Teintes machine-made endpapers. Signed
27. PAUL D E H N
‘CHEZ MONS I EUR PRI EUR’
Unpublished personal copy for Anthony Baker, bound in February .
Not for sale.
edition notes:
Dissatisfied with the quality of Anton Henley’s binding of the ‘special’
copies (item b), Anthony Baker disowned them. Still most keen on having
a special binding of the planet happiness for his personal
collection, Anthony eventually got one copy (item c) bound to his satisfaction by David Sellars in an identical fashion to the original ‘specials’.
by Simon Brett of a small garden pond in the rain,
contains the single poem Chez Monsieur Prieur.
. ‘with -’ vers ion
 mm ×  mm.  pages. Approximately  (out of 
copies, plus  ad personams); printed in black and violet
in Haarlemmer on ivory Lana mould-made paper, in a
violet Canson et Montgolfier Mi-Teintes machine-made
paper cover printed in black. Numbered and signed by
the artist.
The wood engraving for this publication had to be done three times. When
printing trial proofs of the initial engraving, the printer discovered that
the engraved block had a split, rendering it useless. Christopher Daunt
was asked to engrave it again, which he did, but this second version was
decided by both Anthony and Christopher to be of a lesser standard than
either was happy with, so a third version was engraved. Thankfully, this
one was fine.
b. ‘without half-title’ vers ion
 mm ×  mm.  pages. Approximately  (out of 
copies, plus  ad personams); printed in black and violet
in Haarlemmer on ivory Lana mould-made paper, in a
violet Canson et Montgolfier Mi-Teintes machine-made
paper cover printed in black. Numbered and signed by
the artist.
Anthony Baker, Sebastian Carter, Christopher Daunt, Peter Dunn,
David Sutton and Elizabeth Sutton. One copy of the original special
binding, plus the single copy of the second special binding are also ad
personam copies for Anthony Baker.
Published December th . Price £.
edition notes:
Late in the printing stage, Anthony Baker discovered that this publication
had been designed to open directly onto the title page. Being strongly
against this, Anthony asked the printer if he would print a half-title
page. The printer agreed and set about printing the extra sheet. However,
he only had enough of the paper left to print about fifty half-title sheets,
so this amount would have to do. The ‘with half-title’ copies (item a)
have a half-title page printed in black. Anthony didn’t want the remaining copies (item b) to be without at least blank endleaves before opening
onto the title page, so he managed to get hold of some of the same paper
stock from Sebastian’s supplier, got them cut to size, and then sewed them
in place of the half-title.
26. AL FRED TENNYSON
‘FOUR SONNETS TO A COQUE TT E’
This unillustrated publication contains four untitled
sonnets.
 mm ×  mm.  pages.  copies; printed in black in
Arrighi Vincenza with Thorowgood on pale grey Zerkall
mould-made paper, in a bouton d’or (lemon) Canson
printed in black.
The poem is published here with its original title and in its original form
as a single poem. Paul Dehn later included it in a sequence entitled ‘Four
Poems After Debussy’ under the title ‘Garden Under The Rain’.
Published February th . Price £.
James Bernard – Paul Dehn’s partner when he was alive – held the copyright of the poem, but generously waived the royalty fee for this publication.
edition notes:
These sonnets are associated with Tennyson’s disillusion with Rosa Baring.
Tennyson only ever published the first three sonnets, perhaps feeling that
the fourth was excessively savage. It was left to his grandson Sir Charles
Tennyson to first publish the fourth sonnet in a magazine in .
The ad personam copies were printed for Anthony Baker, James Bernard,
Simon Brett, Sebastian Carter and Eric Dehn. It is believed that most
of them appear in copies that feature the half-title page – although not
all. For example, there is a second Sebastian Carter ad personam copy
which does not feature the half-title page. This came about when Anthony
Baker found he had left over a spare cover, plus a set of inner pages minus
the half-title and colophon sheets. There was a spare copy of the Sebastian
Carter ad personam colophon sheet (Anthony frequently has extra ad
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personam sheets printed in case of mishaps), plus a spare blank endleaf
sheet, so rather than let these leftovers go to waste, Anthony sewed them
up, making a second, unofficial Sebastian Carter ad personam copy
without a half-title page.
some of them in foldered sets. The number of sets published was rather
limited as most of the pieces it contained had been pretty much used up
for their original purposes; even the contents of the folders sometimes
differed due to a shortfall in the remaining number of ephemera intended
for inclusion. Some later sold sets of a gruffymaufry even contain
ephemera printed after the Gruffymaufry’s original publication date. For
details on contents see throughout Section F.
28. DAVI D SUTTON
‘S UCC E S S’
30. AL I SON BRACK ENBURY
‘TH E STORY OF S I GURD’
Success.
 mm ×  mm.  pages.  copies; printed in black in
Plantin Light with Hunt Roman on white Hodgkinson
handmade paper, in a bleu clair (grey-blue) Canson et
Montgolfier Mi-Teintes machine-made paper cover
printed in black. Unsigned.
by Jane Lydbury of Sigurd and Brynhild in bed with a
sword laid between them, contains the following nine
poems:
Tabby
After The Rats
Down Under
The Story of Sigurd
A Fuel Blockade
What
The Blue Door
At Home
The Lincolnshire Accent
Published December th . Price £.
edition notes:
This publication commemorated twenty-five years of the Gruffyground
Press.
For the second time (despite not officially stating it), Anthony Baker
decided to close the press. Although it turned out not to be the end of
Gruffyground, it was the longest break he took from publishing poetry. It
wasn’t a complete break from fine press though as a handful of ephemeral
items was printed in the five years between success and the story
of sigurd – nearly all of which appeared collected in copies of a
gruffymaufry (which itself was also published in the ‘poetry break’).
 mm ×  mm.  pages.  copies; printed in black and
turquoise in Bulmer with Dartmouth on white Saunders
Waterford mould-made paper, in a turquoise Canson et
Montgolfier Mi-Teintes machine-made paper cover printed in black. Signed by the author and the artist.
Published December th . Price £.
29. ‘A GRUF FYMAU F RY’
31. C HAR L OTT E M EW
‘TH E TRE E S ARE DOWN’
 mm ×  mm (folder size).  collected sets of eight
pieces of ephemera designed and printed by Sebastian
Carter over the years, in various typefaces and on various
papers. Contained in a grey-brown Canson et Montgolfier
Mi-Teintes machine-made paper folder printed in black
in Egyptian Expanded and Plantin Light. The back of the
folder is signed by Anthony Baker and Sebastian Carter.
by Linda Holmes of a man up a tree lopping off branches,
contains the single poem The Trees Are Down.
 mm ×  mm.  pages.  copies; printed in black and
maroon in Romulus with Open Roman on white Zerkall
mould-made paper, in a lie de vin (maroon) Canson et
Montgolfier Mi-Teintes machine-made paper cover printed in black. Signed by the artist.
Published April th . Price £.
edition notes:
After having so many beautiful pieces of ephemera printed for him by
the Rampant Lions Press, Anthony Baker thought it a fine idea to publish
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 mm ×  mm.  pages.  copies; printed in black in
Lettre Françoise Civilité on cream Zerkall Frankfurt
mould-made paper, in a grey-brown Curtis Flannel
machine-made paper cover printed in black.
Published January th  (although printed and dated ). Price £.
edition notes:
A couple of years before the trees are down, Anthony Baker had
a poem card of another similarly themed Charlotte Mew poem, domus
caedet arborem (see item  in Section F), printed as a specimen
of Jan van Krimpen’s Romulus typeface. After a while he decided that
a more substantial showing was in order. In accordance with the ‘Terrible
Rules’ (see page ), as Romulus had now been used for a specific poet,
any further non-ephemeral use for the typeface would have to be work
by that same poet. With this in mind, Anthony settled on this longer poem
by Charlotte Mew as the text to make a better showing of Romulus.
Published September th . Price £.
edition notes:
This was a return to one of Anthony Baker’s earliest projects (see item
 in Section G). the phoenix and turtle was originally printed
for the Gruffyground Press in  by Sem Hartz at De Tuinwijkpers in
Haarlem, Holland, but rejected on grounds of poor presswork.
This item had originally been printed for Gruffyground at the Libanus
Press (see item  in Section G). Unhappy with the presswork, Anthony
rejected it and asked the Rampant Lions Press to print the edition instead.
For this edition the setting was created digitally and printed from photopolymer plates – a Gruffyground first.
The cover features a digitally reconstructed engraved ornamental capital
S, with the head and elongated neck of a mythological bird extending out
from the letterform. This was originally designed by the printer Richard
Pynson around .
32. ANO NYM OU S
‘I SYNG OF A M Y D EN’
Civilités – a generic term – are the continental equivalent of the Secretary
hand written by Shakespeare. The idea of using this kind of typeface was
to give something of the feel of a copy written by the poet himself.
(or rather medieval carol) I Syng of a Myden.
34. J OHN L EVET T
‘A CLEARER L I GHT’
 mm ×  mm.  pages.  copies; printed in scarlet in
Samson on cream Vélin d’Arches mould-made paper, in
a peach Canson et Montgolfier Mi-Teintes machinemade paper cover printed in scarlet.
This publication, illustrated with a lemonwood engraving by Barry Woodcock of sunlight shining through a
group of trees, contains the following nine poems:
Published May nd . Price £.
edition notes:
In a departure from using roman typefaces,Anthony Baker decided that,
as the poem dates from around , it would be more appropriate to use
an uncial typeface that related to the period.
Sea Song
Whitewash
Woodwork
Lemonade
Last
Pillion
Magnesium
Fridge
Tipp-Ex
i syng of a myden was first printed by the Rampant Lions Press as
a Christmas keepsake (see item  in Section F). Years later, Anthony
decided to have it reprinted; this time as a full Gruffyground production
in covers rather than just an ephemeron. So, nearly a decade after the
original keepsake, this version was completely reset and printed.
 mm ×  mm.  pages.  copies; printed in black and
blue in Imprint with Cristal on white Inveresk Somerset
mould-made paper, in an outremer (blue) Canson et
Montgolfier Mi-Teintes machine-made paper cover printed in black. Signed by the author and the artist.
33. WI LLIAM S HAK E S P EARE
‘TH E PHOEN IX AND T URT L E’
Printed by Gerald Lange at the Bieler Press, Marina del
Rey, California, United States of America.
Published August th . Price £.
The Phoenix and Turtle.
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a. f irst state
 mm ×  mm.  pages. Approximately  (out of )
copies; printed in black and dark grey in Granjon on
white Ragston machine-made paper, in a charcoal Curtis
Flannel machine-made paper cover printed in black, with
the title hand-bronzed with pale gold, natural copper,
and silver metallic powders.
edition notes:
Cristal, the display face that Anthony Baker wanted to use for the title,
could no longer be had in hot metal.As the previous publication had been
computer-set with digital type by Gerald Lange at the Bieler Press,
Anthony contacted him to ask if he could digitally set the title for this
collection in Cristal at the required size. It turned out that Cristal had
already been digitised for computer setting, but had been somewhat
altered in the process, so Gerald decided to digitally redraw from scratch
the letters that were required for the title just as they would have been in
the original foundry version. He then created a relief copper block to
print from and sent it to Anthony. The printer was very much against
printing from a solid block rather than moveable type and strongly advised
against it, but Anthony was totally set on using the block, especially
after having Gerald Lange go to so much time and effort to create it.As
a result of its use the printer refused to have himself named in the colophon
as the designer.
Published January st . Price £.
b. s econd state
 mm ×  mm.  pages. Approximately  (out of )
copies; printed in black and brown-grey in Granjon on
white Ragston machine-made paper, in a charcoal Curtis
Flannel machine-made paper cover printed in black, with
the title hand-bronzed with pale gold, natural copper,
and silver metallic powders.
Re-issued March st . Price £.
35. P H I L I P LARK I N
‘TOP S’
edition notes:
Within days of its original publication a misprint was noticed in the first
line (‘Fird’ instead of ‘Fire’). There is a handful of first state copies
(item a) that Anthony Baker didn’t manage to recall for rectifying.
These copies have the title on the title page printed in a very dark grey
(hardly any different to the black) that would probably not be noticed as
a second colour unless actually pointed out. Neither the prospectus nor
the colophon mentions that a grey ink is used at all. In fact, the only
reference made regarding its use is on the gruffyground rarities
list (see item  in Section F).
by Christopher Wormell of a spinning top, contains the
single poem Tops.
 mm ×  mm.  pages.  copies; printed in black in
Garamond with Optima on cream Fabriano Ingres
mould-made paper, in a marron foncé (dark brown)
Canson et Montgolfier Mi-Teintes machine-made paper
cover printed in black. Signed by the artist.
Despite being under no obligation to rectify the printing error (Anthony
had after all signed off the misprinted proofs), Gerald Lange was kind
enough to correct the text and reprint the sheet featuring the misprint.
As the title page was also part of the revised sheet, the title was this time
printed using a much more obvious brown-grey. Anthony then unstitched
all the copies he still had (and had managed to recall from those who
had already purchased copies) and resewed them with the new sheet in
place, thus creating the second state copies (item b).
Published August th . Price £.
edition notes:
This was a return to a project from many years earlier. Anthony Baker
had planned the publication of tops immediately after the death of
Philip Larkin in . The original printer, Cygnet Press, failed to deliver
and the project was abandoned until Anthony decided to revive it nearly
two decades later with this publication.
weathercock is part of a much larger sequence entitled ‘Drinks at
the Weathercock Inn’. Feeling that the ‘Weathercock’ section was the
most autonomous part, and quite capable of standing up as a poem in its
own right,Anthony Baker decided to publish just this part alone.
For a second time, the setting for a Gruffyground publication was created
digitally and printed from photopolymer plates.
36. J OHN H OLL OWAY
‘W EAT H ER COCK’
For the third time, the closure of the Gruffyground Press was decided upon,
with this, in Anthony’s own words, being ‘definitely’ the last publication.
As the continuing list of items shows, this was ‘definitely’ not the case.
Weathercock.
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37. RUP ERT BROOK E
‘M EN E LAU S AN D H E L E N’
39. TH OMAS CAR EW
‘P ERSWAS I ON S TO LOVE’
Printed by Rosemary Roberts at the Celtic Cross Press,
Ovins Well House, Lastingham, Yorkshire, England.
Printed by John Grice at the Evergreen Press, Bonds Mill,
Stonehouse, Gloucestershire, England.
Menelaus and Helen.
Perswasions to Love.
 mm ×  mm.  pages.  copies, plus  ad personam;
printed in black in Goudy Old Style on avorio (ivory)
Fabriano Tiziano machine-made paper, in a rosso fuoco
(red) Fabriano Tiziano machine-made paper cover printed
in black.
a. standard edition
 mm ×  mm.  pages.  (out of ) copies, plus  ad
personam; printed in black and burgundy in Cancelleresca Bastarda on white Magnani Velata handmade paper,
in a dark pink Saint-Armand handmade paper cover
printed in semi-opaque white.
Published May th . Price £.
Published September th . Price £.
edition notes:
Another final farewell from Gruffyground? Anthony Baker yet again
decided so, with this being the thirtieth poetry publication from the
Gruffyground Press in the thirty years since its first collection of poems.
Again, the decision was short lived.
b. ‘revised cover’ vers ion
 mm ×  mm.  pages.  copy (out of ), plus  ad
personams; printed in black and burgundy in Cancelleresca Bastarda on white Magnani Velata handmade paper,
in a dark pink Saint-Armand handmade paper cover
printed in dark burgundy.
The ad personam copy was printed for Mark Askam.
Published December th . Not for sale.
38. AL FRE D E DWARD HOU S MAN
‘TE LL M E NOT H ERE’
edition notes:
The colophon states the cover as burgundy rather than the dark pink it
actually is. The sheets ordered turned out to be considerably lighter than
the burgundy sample in Anthony Baker’s copy of the Saint-Armand
swatch book. Had he been aware that the sheets the printer received were
much lighter than his sample, Anthony would not have chosen to have
the covers printed in white, but more likely black or dark burgundy so as
to better stand out. And Anthony wasn’t alone in being unsatisfied with
the covers; the printer, John Grice, wasn’t happy with the rather transparent white not showing up enough either. In a conversation between
John and myself, he mentioned that he’d thought about reprinting a cover
in dark burgundy for his personal copy. I liked the idea, and rather wanted
to have a cover like it for myself, so I asked John if he’d reset the text (as
the original setting had been dissed) and reprint in dark burgundy the
last couple of sheets of the cover stock that remained. John agreed, and
three new covers were printed. John kept one for himself and sent the
other two to me. I kept one and sent the remaining one to Anthony,
knowing that he’d be most happy to have a definitive cover on one of his
copies. Of these three covers, two were actually printed on the last remaining sheet of a correctly coloured batch of sheets that the printer still had
from a previous project.
Printed by Martyn Ould at the Old School Press, The
Green, Hinton Charterhouse, Bath, Somerset, England.
Tell Me Not Here.
 mm ×  mm.  pages.  copies, plus  ad personams;
printed in black in Van Dijck on white Losin handmade
paper, in a black Somerset Velvet mould-made paper
cover printed blind in Trump Gravur.
Published November th . Originally distributed free to friends and
acquaintances, then in May  copies were made generally available
for £.
edition notes:
tell me not here is one of the untitled poems from Housman’s
‘Last Poems’ collection. This publication of the poem takes its title from
the start of its first line.
The ad personam copies were printed for Mark Askam, Anthony Baker
and Alice Fleur Le Quesne. Alice’s copy has the standard cover, whilst
the others have the variant printed on the correctly coloured sheet just
mentioned.
By now Anthony Baker had given up on the idea of definitely closing the
Press, preferring instead to go with ‘There are no new plans to continue
at present’.
The ad personam copies were printed for Mark Askam and Alice Fleur
Le Quesne.
22
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40. J OHN WH I TWORT H
‘A P OET’S PRAYER’
Published February th  (although dated ). Price £.
b. vellum edition i
 mm ×  mm.  pages.  ‘out of series’ copies; printed
in black and lime green in Centaur and Arrighi on offwhite calf vellum, in a French-folded lime green Moriki
Kozo handmade paper cover printed in black.
by Peter Brown of a glass of whiskey on top of some books
and paperwork, contains the following ten poems:
c. vellum edition ii
 mm ×  mm.  pages.  ‘out of series’ copies; printed
in black and lime green in Centaur and Arrighi on offwhite sheepskin parchment, in a French-folded lime
green Moriki Kozo handmade paper cover printed in
black.
A Poet’s Prayer
I Didn’t
God’s Warrant
Poem for ‘The Oldie’
Hat Rack
Toffs and Oiks
A Letter Found in an Attic
Notes and Queries
Seasonal
The Pen is Mightier
d. ‘variant paper’ vers ion
 mm ×  mm.  pages.  ‘out of series’ copies; printed
in black and lime green in Centaur and Arrighi on cream
Saint-Armand Rideau handmade paper, in a mid-green
unidentified paper wrapper printed in black.
 mm ×  mm.  pages.  copies, plus  ad personams; printed in black in Dante and Castellar on white
Ruscombe handmade paper, in a buff (cream) Somerset
Velvet mould-made paper cover printed blind in Castellar. Signed by the author and the artist.
Published February th  (although dated ). Not for sale.
edition notes:
This scarce edition of just twenty copies was strictly for collectors, with
copies only made available to those who had purchased the previous year’s
perswasions to love.
Published September nd . Price £.
I’d long since wanted a Gruffyground Press publication printed on vellum
to add to my collection, so I asked Anthony Baker if he would allow me
to have a couple of special vellum copies of moonlit apples printed
if I supplied the vellum.Anthony was agreeable to this, as was the printer,
who’d previously printed on this most notoriously difficult material with
great success. A handful of sheets – some calf and some sheepskin –
were obtained and printed. Two copies (item b) were printed on thick
‘manuscript’ calfskin (calfskin being true vellum, for purists), and three
copies (item c) were printed on sheepskin parchment (the usual material
used today for ‘vellum’ printing). These vellum copies had to have another
cover created for them as there was only enough of the Saint-Armand
cover paper for the copies of the actual edition. I asked the printer if he
could obtain some lime green Japanese handmade paper I’d seen that I
thought would be most suitable for the alternative covers.
edition notes:
Anthony Baker took a departure from the normal and went most lighthearted with this collection, presenting a selection of most amusing verse.
There were two ad personam copies printed for Mark Askam (one signed
and one unsigned), two ad personam copies for Anthony Baker (both
unsigned) and single ad personam copies for Peter Brown, Martyn Ould
and John Whitworth (all signed). The printer sent the ad personam
colophon sheets to the poet for signing, but accidentally left out a few,
thus explaining the absence of signatures in three copies.
41. J OHN DRINKWAT ER
‘MOONL I T AP P L E S’
There were also some ‘variant paper’ copies (item d). These came about
when John Grice printed the text on a handful of sheets of the cream
version of the paper used for the main run just to see how it would look.
As with the vellum copies, these have a variant cover, but instead of the
Moriki Kozo paper used for the vellum copies, these have yet another
variant cover using a suitable mid-green paper that the printer had.
Moonlit Apples.
This job was set in – and so dated – , but due to a long delay in
getting the cover stock, it remained unprinted until late January the
following year. Only after printing did the printer realise his minor
oversight of not changing the year accordingly.
a. standard edition
 mm ×  mm.  pages.  copies; printed in black and
lime green in Centaur and Arrighi on white SaintArmand Frobisher handmade paper, in a dull lime green
Saint-Armand handmade paper cover printed in black.
23
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43. ‘F IVE QUOTAT I ONS’
42. AL EXAN D ER P OP E
‘E L E GY TO TH E M E M ORY OF AN
UN F ORT UNAT E L AD Y’
 mm ×  mm (folder size).  collected sets of five
quote cards; printed in black and various secondary
colours in Dante and Optima, plus a ‘title page’ card,
printed in black in Ratdolt Titling and Optima, on white
Vélin Arches Blanc mould-made paper. Contained in a
newsprint (pale beige-grey) Somerset Velvet mould-made
paper folder printed blind in Ratdolt Titling.
Elegy to the Memory of an Unfortunate Lady.
a. standard edition
 mm ×  mm.  pages.  copies, plus  ad personam;
printed in black and brown in Caslon on grey-beige
Barcham Green Renaissance handmade paper, in a moss
rose (pink-brown) Saint-Armand handmade paper cover
printed in black.
Published January th . Not for sale.
edition notes:
Anthony Baker had a series of five different quotes printed for sending
out as greetings in future years (see items , , ,  and  in Section
F). For special publication he decided to have ten sets of all the quotes
collected together in a folder, along with a sixth ‘title-page’ card printed
with the text ‘Five Quotations’ and ‘The Gruffyground Press • ’.
Published September th . Price £.
b. ‘variant cover’ vers ion
 mm ×  mm.  pages.  ad personam copies; printed
in black and brown in Caslon on grey-beige Barcham
Green Renaissance handmade paper, in a moss rose
(pink-brown) Saint-Armand handmade paper cover
printed in dark pink-brown.
44. ‘TH E ART AT LA DRAM’
Published September th . Not for sale.
edition notes:
The colophon page features something that has been missing from
Gruffyground Press publications since six somerset epitaphs in
; a Gruffyground pressmark. The colophon pages of both buzz buzz
and newark abbey feature a pressmark of a pine cone tied with
ribbons, but this is the pressmark of the printer, Libanus Press, not the
publisher. Deciding to remedy this lack, I set about designing a new
Gruffyground pressmark as a thank you for some rare items that Anthony
Baker had sent me. As Anthony was rather fond of the original ‘AB’
pressmark that John Craig had cut in lino for six somerset
epitaphs, I decided to base my version on that. When finished I had
zinc line blocks made in two sizes and sent them to Anthony for his use.
 mm ×  mm.  pages.  copies; printed in black in
Caslon Old Face on soft white Somerset Book mouldmade paper, in an antique (cream) Somerset Velvet
mould-made paper cover featuring just the Gruffyground ‘AB’ pressmark printed blind.
Published February th . Not for sale.
edition notes:
Anthony Baker decided to follow his two previous ephemeral ‘Ladram’
lists,the furniture at ladram and the vessels at ladram
(see items  and  in Section F), with this descriptive list of artwork
adorning the walls of the Gruffyground home, Ladram. As it’s sewn in
covers, this counts as a publication rather than an ephemeron, and as such
it doesn’t have to conform to the design of the earlier ‘Ladram’ lists. The
main reason Anthony decided to make it a publication (and therefore a
different design) was that there was no more of the Tumba Ingres paper
he’d used for the previous lists to be able to print a new list in a matching
style. He also wanted the opportunity to have just the Gruffyground pressmark printed blind on the cover of one of his publications.
To be in keeping with the ‘variant cover’ copies of perswasions to
love, Anthony Baker wanted a couple of the ad personam copy covers
to be printed using a different coloured ink on a darker shade of the cover
stock used for the main run. He asked Saint-Armand if they could find
a sheet from another batch that was darker than those he’d just ordered
and send it to the printer along with the rest of the sheets. This sheet was
duly printed in a dark pink-brown instead of black to create Anthony’s
‘variant cover’ copies (item b).
This is the only example of a Gruffyground publication where it can be
said that the entire production is Somerset sourced. The printer is based
in Somerset; the paper – both text and cover – is made in Somerset; even
the text describes the contents of the publisher’s Somerset home.
The ad personam copies were printed for Mark Askam, Anthony Baker
and Alice Fleur Le Quesne. Alice’s copy has the standard cover, whereas
the others have the variant.
24
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45. J E F F REY TURN ER
‘GHO ST S’
Published October  . Not for sale.
edition notes:
Anthony Baker strongly dislikes diminutives, so he asked John Grice if
he would print him his five personal copies with the name of the engraver
on the title page given as Andrew, not Andy (item b). On further
thoughts he added ‘Actually, make that six copies, as Mark (myself)
will want one when he hears about them’. And indeed I did!
This unillustrated publication contains the following
three poems:
The cover paper came in two separate batches and, as has been known
before with Saint-Armand coloured papers, the colour in each batch
turned out to be quite different, resulting in two cover shades across the
edition.
Ghosts
Benches
November
 mm ×  mm.  pages.  copies; printed in black and
burgundy in Univers Light and Univers Medium on white
Bockingford mould-made paper, in a pink-mauve SaintArmand handmade paper cover printed in burgundy.
Unsigned.
Published October  . Price £.
edition notes:
For the first time, Anthony Baker decided to have one of his poetry publications completely set in a sans serif typeface. He felt that a more modern
style of typeface might suit new work from a modern author.
The colophon page features the Gruffyground pressmark.
46. RU DYAR D K I P L I NG
‘TH E WAY T H ROUGH TH E WOODS’
by Andy English of an otter emerging from a pool against
a backdrop of trees, contains the single poem The Way
Through The Woods.
a. standard edition
 mm ×  mm.  pages.  (out of ) copies; printed
in black and dark green in Modern No.  and Gresham
on Avorio (ivory) Magnani Vergata laid handmade paper,
in a fern green Saint-Armand handmade paper cover
printed in dark green. Signed by the artist.
Published October  . Price £.
b. ‘variant name’ vers ion
 mm ×  mm.  pages.  (out of ) copies; printed in
black and dark green in Modern No.  and Gresham on
Avorio (ivory) Magnani Vergata laid handmade paper, in
a fern green Saint-Armand handmade paper cover printed
in dark green. Signed by the artist.
25
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A N I L L U S T R AT I V E S E L E C T I O N O F I T E M S
F RO M T H E G R U F F Y G R O U N D P R E S S
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
S ECTION B
PRO S P ECT US E S
Many of the Gruffyground Press publications have had prospectuses printed for sending out to prospective customers.
Here follows a complete list.
b. american vers ion
 mm ×  mm. Single page. Unrecorded quantity (out
of  copies); printed in black and aquamarine in Bembo
with Lutetia Open on white Canson et Montgolfier
Johannot mould-made paper.
1. J OHN H EATH-ST UB B S
‘BUZ Z BUZ Z’
 mm ×  mm. Single page.  copies; printed in black
and ochre in Bodoni on cream Vélin d’Arches mouldmade paper.
As Anthony Baker had some Gruffyground customers in America, he
decided to have two versions of the prospectus for aquamarine printed.
The main version was for his British customers and gave the publication
price in guineas. The second version, of which there were considerably
fewer copies, was specifically for sending to America. The American
version is identical to the British, except for the price being announced
in dollars, and is the only instance where Anthony had a second version
printed for another market.
2. THOMAS HARDY
‘FRI ENDS B EYOND’
4. ROBERT GRAV E S
‘CYN I C S AND ROMAN T I C S’
 mm ×  mm. Single page.  copies; printed in black
in Blado and Poliphilus on an unidentified white machinemade paper.
One of the rules for Gruffyground Press publications is that the prospectus
must be printed on the same paper as the item it is advertising so as to
better show the potential customer what they are being offered. Through
a failure of communication this did not happen with this particular prospectus, which was instead printed on an ordinary machine-made paper.
As a result, very few copies were sent out as Anthony Baker was most
dissatisfied with them; indeed quickly disowning them.
 mm ×  mm. Single page.  copies; printed in black
and red in Palatino on cream Fabriano Umbria Gialetto
handmade paper.
5. JAM ES REEVES
‘TO ROBERT GRAV E S I N DEYÁ’
3. LAWRE NCE SAI L
‘AQUAMAR I N E’
England.
 mm ×  mm. Single page.  copies; printed in black
in Walbaum on grey Zerkall Silurian mould-made paper.
a. english vers ion
 mm ×  mm. Single page. Unrecorded quantity (out
of  copies); printed in black and aquamarine in Bembo
with Lutetia Open on white Canson et Montgolfier
Johannot mould-made paper.
6. T HOMAS L OVE P EACOCK
‘N EWARK ABBEY’
England.
51
 mm ×  mm. Single page.  copies; printed in black
and plum in Bell with Thorne Shaded on white Barcham
Green Chilham handmade paper.
11. AL I SON BRACK ENBURY
‘TH E STORY OF S I GURD’
 mm ×  mm. Single page.  copies; printed in
black and turquoise in Bulmer with Dartmouth on white
Saunders Waterford mould-made paper.
7. J OHN WEBSTER
‘A FAYRE AND HAP PY M I LK E-MAYD’
 mm ×  mm. Single page.  copies; printed in black
and brown in Octavian with Golden Cockerel on white
Hahnemühle Laid mould-made paper.
12. C HAR L OTT E M EW
‘TH E TRE E S ARE DOWN’
 mm ×  mm. Single page.  copies; printed in black
and maroon in Romulus with Open Roman on white
Zerkall mould-made paper.
8. DAVI D SUTTON
‘TH E P LAN E T HAP P I N ES S’
 mm ×  mm. Single page.  copies; printed in black
and red in Plantin Light with Sistina and Hunt Roman on
white Hahnemühle Bugra Bütten mould-made paper.
13. ANO NYM OU S
‘I SYNG OF A M Y D EN’
Shortly after publishing the planet happiness, Anthony Baker
decided to drop the price, leaving him with a large number of prospectuses
that he could no longer use as they featured the original price.
 mm ×  mm. Single page.  copies; printed in scarlet
in Samson on cream Vélin d’Arches mould-made paper.
9. AL FRED TENNYSON
‘FOUR SONNETS TO A COQUE TT E’
14. WI LLIAM SHAK E S P EARE
 mm ×  mm. Single page.  copies; printed in black
in Arrighi Vincenza with Thorowgood on grey Zerkall
mould-made paper.
 mm ×  mm. Single page.  copies; printed in black
in Lettre Françoise Civilité on cream Zerkall Frankfurt
mould-made paper.
10. ‘A GRUF FYMAU F RY’
15. J OHN L EVET T
‘A CLEARER L I GHT’
 mm ×  mm. Single page.  copies; printed in black
in Egyptian Expanded and Plantin Light on grey-brown
Canson et Montgolfier Mi-Teintes machine-made paper.
 mm ×  mm. Single page.  copies; printed in black
and blue in Imprint with Cristal on white Inveresk
Somerset mould-made paper.
52
sect ion b
16. P H I L I P LARK I N
‘TOP S’
20. J OHN WH I TWORT H
‘A P OET’S PRAYER’
 mm ×  mm. Single page.  copies; printed in black
in Garamond with Optima on cream Fabriano Ingres
mould-made paper.
 mm ×  mm. Single page.  copies; printed in black
in Dante and Castellar on white Ruscombe handmade
paper.
17. J OHN H OLL OWAY
‘W EAT H ER COCK’
21. J OHN DRINKWAT ER
‘MOONL I T AP P L E S’
 mm ×  mm. Single page.  copies; printed in black
and dark grey in Granjon on white Ragston machinemade paper.
a. standard vers ion
 mm ×  mm. Single page.  copies; printed in black
and lime green in Centaur and Arrighi on white SaintArmand Frobisher handmade paper.
The grey used to print the title is very dark – hardly any different to the
black – and would probably not be noticed as a second colour unless
actually pointed out.
b. ‘variant paper’ vers ion
 mm ×  mm. Single page.  copies; printed in black
and lime green in Centaur and Arrighi on cream SaintArmand Rideau handmade paper.
The prospectus for moonlit apples was printed on offcuts from the
sheets used for printing the actual edition. As the printer had printed a
handful of ‘out of series’ copies of the edition on a cream version of the
paper used for the main run, a few prospectuses on the cream paper offcuts
also got printed, hence the variant.
18. RUP ERT BROOK E
‘M EN E LAU S AN D H E L E N’
Printed by Rosemary Roberts at the Celtic Cross Press,
Ovins Well House, Lastingham, Yorkshire, England.
 mm ×  mm. Single page.  copies; printed in black
in Goudy Old Style on avorio (ivory) Fabriano Tiziano
machine-made paper.
As with the actual edition of moonlit apples, this prospectus was
set in – and so dated – , but due to a delay in production it remained
unprinted until late January the following year. Only after printing did
the printer realise his minor oversight of not changing the year accordingly.
This is the first instance where a Gruffyground Press prospectus has been
printed on both sides.
22. AL EXAN D ER P OP E
‘E L E GY TO TH E M E M ORY OF AN
UN F ORT UNAT E LAD Y’
19. TH OMAS CAREW
‘P ERSWAS I ON S TO LOVE’
 mm ×  mm. Single folded sheet.  copies; printed
in brown and black in Caslon on grey-beige Barcham
Green Renaissance handmade paper.
 mm ×  mm. Single page.  copies; printed in
black and burgundy in Cancelleresca Bastarda on white
Magnani Velata handmade paper.
Breaking from the usual format of Gruffyground Press prospectuses, this
one was produced as a four page item, printed on the front and inside
right page of a folded sheet.
53
sect ion b
sect ion b
23. RU DYAR D K I P L I NG
‘TH E WAY T H ROUGH TH E WOODS’
 mm ×  mm. Single page.  copies; printed in black
and green in Modern No. and Gresham on Avorio (ivory)
Magnani Vergata laid handmade paper.
b. ‘variant name’ vers ion
 mm ×  mm. Single page.  copies; printed in black
and green in Modern No. and Gresham on Avorio (ivory)
Magnani Vergata laid handmade paper.
To match with the six variant copies of the publication (see item b in
Section A), Anthony Baker had six variant copies of the prospectus
printed, naming the engraver as Andrew, not Andy.
54
S ECTION C
GR E ETI NG S CARD S
Several of the engravings produced for Gruffyground Press publications have also been printed as greetings cards. With
the exception of among my souvenirs and woodpigeons at raheny, all have featured the title of the engraving and
the artist’s name on the inside left, ‘With best wishes for Christmas and the New Year’ on the inside right, and details of
the printer and publisher on the back.
1. ‘AM ONG MY S OUVE N I RS’
(from ‘PRIVAT E V I EW’)
3. ‘O L D M AN, OR LAD’S L OVE…’
(from ‘O L D M AN’)
Steventon Vicarage, Abingdon, Oxfordshire, England.
Millcroft Stables, Blewbury, Oxfordshire, England.
Featuring a boxwood engraving by Simon Brett of a dead
bird on a window sill that looks out onto a bonfire.
Featuring a lemonwood engraving by Colin Paynton
(known now as Colin See-Paynton) of a young girl at a
door holding a sprig of the aromatic herb ‘old man’.
 mm ×  mm, French-folded.  copies; printed in
black on cream Zerkall mould-made paper.
 mm ×  mm, French-folded.  copies; printed in
black in Baskerville and Old Face Open on ivory Zerkall
Alice mould-made paper.
Sent out from December .
Anthony Baker had asked for some copies of just the engraving to be
printed off for sending out as Christmas greetings.Instead of printing the
engraving on single leaves, the printer decided instead to print the image
on the front of a French-folded sheet, thus creating the first Gruffyground
Press greetings card. This gave Anthony the idea of having future engravings printed as proper Christmas cards rather than just loose prints.
Unlike all future cards, this one features no text; just the engraving.
Sent out from December .
4. ‘TOP ’
(from ‘TOP S’)
2. ‘C ORONAT I ON ROS E’
(from ‘CYNICS AND ROMANTICS’)
Featuring a boxwood engraving by Christopher Wormell
of a spinning top.
 mm ×  mm.  copies; printed in black in Bembo on
beige Zerkall Silurian mould-made paper.
Featuring a boxwood engraving by Robert Tilleard of a
young woman posing.
Sent out from December .
Gruffyground’s edition of Philip Larkin’s poem tops was planned (and
the engraving obtained) immediately after the poet’s death in . The
original printer for the edition, Cygnet Press, failed to deliver and the
project was abandoned. After a few years it was uncertain whether tops
would ever be published (as it eventually was in ). Rather than let
the engraving go unused, Anthony Baker asked the Rampant Lions Press
to print this card, thus explaining why it features an engraving from an
item published many years later.
 mm ×  mm.  copies; printed in red and black in
Palatino on white St Cuthbert mould-made paper.
Sent out from December .
This card uses the main engraving from cynics and romantics
(see item a in Section A). The engraving is of Coronation Rose Baker,
the publisher’s mother, hence the title.
55
 mm ×  mm.  copies; printed in black in Romulus
and Bembo on white Zerkall mould-made paper.
5. ‘TH E P LAN E T HAP P I N ES S’
Sent out from December .
Featuring a boxwood engraving by Christopher Daunt
of a small boy playing at the water’s edge of a beach.
9. ‘SNOW J OK E’
 mm ×  mm.  copies; printed in black in Hunt
Roman and Palatino on white Fabriano Rosaspina mouldmade paper.
Printed by John Grice at the Evergreen Press, Libbys
Drive, Stroud, Gloucestershire, England.
Featuring a boxwood engraving by Christopher Wormell
of a man walking his dog in a snowy scene.
Sent out from December .
 mm ×  mm.  copies; printed in black in Garamond
on white Canaletto machine-made paper.
6. ‘CHEZ MONS I EUR PRI EUR’
Sent out from December .
This card – the only one so far with a proper seasonal theme – features
an engraving which Anthony Baker commissioned for a collection of poems
by Vernon Scannell entitled extra time. After problems with production, Anthony decided to call a halt to the project (see item  in Section
G). Another part of the project was an edition of Christmas cards but,
as the main publication was abandoned, these were also returned to the
printer for pulping. The printer never got round to destroying them, so
they sat unwanted for a couple of years until their existence was brought
to my attention. Deciding that such a perfectly good item should not go
to waste, I acquired the cards and sent them to Anthony to distribute.
Featuring a boxwood engraving by Simon Brett of a small
garden pond in the rain.
 mm ×  mm.  copies; printed in black in Haarlemmer and Bembo on white Lana  Edition mould-made
paper.
Sent out from December .
7. ‘TH E STORY OF S I GURD’
10. ‘A P OET’S PRAYER’
Featuring a boxwood engraving by Jane Lydbury of
Sigurd and Brynhild in bed with a sword laid between
them.
Featuring a boxwood engraving by Peter Brown of a glass
of whiskey on top of some books and paperwork.
 mm ×  mm.  copies, printed in black in Modern
No.  and Bulmer on white Saunders Waterford mouldmade paper.
 mm ×  mm.  copies; printed in black in Dante on
white Sheepstor handmade paper.
Sent out from December .
Sent out from December .
11. ‘WOODP I GEONS AT RAH E NY’
8. ‘TH E TRE E S ARE D OWN’
Featuring a boxwood engraving by Ian Stephens of a pair
of woodpigeons in a tree, with an abbey in the background.
Featuring a boxwood engraving by Linda Holmes of a
man up a tree lopping off branches.
56
sect ion c
 mm ×  mm.  copies; printed in black in Fournier
on pale cream Vélin Arches mould-made paper, with the
engraving – printed on a  mm ×  mm piece of white
Mohawk Superfine machine-made paper – pasted in.
was initially printed all in black (items a and b). Anthony wasn’t too
disappointed, as the cards looked perfectly fine, though he still rather
liked the idea of having the engraving in green. John Grice offered to
reprint the entire edition, but Anthony thought this unnecessary and asked
instead to have a lesser number with the engraving printed in green (items
c and d), mainly so he would have some for himself.
Sent out from December .
This card features the engraving from an originally intended Gruffyground edition of Donald Davie’s poem ‘Woodpigeons at Raheny’. After
having commissioned the engraving, Anthony Baker decided against
publishing the edition of the poem that it would illustrate. Rather than
see the engraving go unused he settled on having it printed as a Christmas
greeting.
Sent out from December .
The design of this card is quite different to those previously produced for
Gruffyground. Instead of the engraving appearing on the front, as is usual,
there is instead the greetings text. The engraving itself is printed on a
separate piece of paper and pasted on to the inside right of the card.The
title of the engraving and the engraver’s name are printed on the inside
left, and the printer and publisher details are printed on the back.
12. ‘TH E WAY T H ROUGH TH E WOODS’
Featuring a boxwood engraving by Andy English of an
otter emerging from a pool against a backdrop of trees.
a. f irst state – standard vers ion
 mm ×  mm.  copies; printed in black in Lutetia on
ivory white Arches BFK Rives mould-made paper.
b. f irst state – ‘variant name’ vers ion
 mm ×  mm.  copies; printed in black in Lutetia on
ivory white Arches BFK Rives mould-made paper.
c. s econd state – standard vers ion
 mm ×  mm.  copies; printed in mid-green and
black in Lutetia on white Arches mould-made paper.
d. s econd state – ‘variant name’ vers ion
 mm ×  mm.  copies; printed in mid-green and
black in Lutetia on white Arches mould-made paper.
Because of his dislike of diminutives, and to be in keeping with the publication that the engraving was commissioned for (see item  in Section
A), Anthony Baker had variant copies printed, naming the engraver as
Andrew, not Andy. Unlike the publication, the variant name features in
half the edition, rather than a mere handful.
Anthony had always intended for the engraving to be printed in green
but, due to some missed communication, this didn’t happen and the edition
57
sect ion c
S ECTION D
L I M I TE D E DITI ON P RI NTS
This section describes the engravings that have been issued as limited editions, signed and numbered by the artist. These
are studio prints by the artists themselves, with the exception of the closed door (second edition), friends beyond,
home, and rain at sea, which were printed by Michael Mitchell at the Libanus Press. All but churchyard and pine
marten had five copies window mounted, ready for framing. Other engravings from Gruffyground publications have
been issued as limited signed prints by the artists (natura, for example), but are not included here as none of the copies
has been issued by the Gruffyground Press.
3. ‘RH I N OCERO S BE ETL E’
(from ‘BUZ Z BUZ Z’)
1. ‘TH E CLO S ED DOOR’
Boxwood engraving by Richard Shirley Smith of a
mournful girl sitting on the floor.
Pearwood engraving by Richard Shirley Smith of a
rhinoceros beetle and a beetle grub.
a. f irst edition
 copies; printed in black on white Hosho handmade
paper.
 copies; printed in black on white Hosho handmade
paper.
b. s econd edition
paper.
4. ‘FRI ENDS B EYOND’
The second edition is numbered in roman numerals to differentiate it from
the first edition.
Boxwood engraving by Peter Reddick of an old gravestone in the foreground of a hilly landscape.
 copies; printed in black on white Hosho handmade
paper.
2. ‘C H URC HYARD’
(from ‘S IX HAM P SH IRE EP I TAP H S’)
churchyard scene.
5. ‘HOM E’
(from ‘L EARN I NG TH E ROP ES’)
a. f irst edition
paper.
Lemonwood engraving by Colin Paynton (known now
as Colin See-Paynton) of a ‘man winding a handle’ garden
windmill ornament.
b. s econd edition
paper.
 copies; printed in black on white Wookey Hole handmade paper.
The second edition is numbered in roman numerals to differentiate it from
the first edition.
6. ‘RA I N AT S EA’
(from ‘AQUAM AR I N E’)
Boxwood engraving by Christopher Wormell of a ship in
the distance of a stormy sea.
paper.
58
sect ion d
7. ‘COTTAG E ORN É’
(from ‘EVEN TH E F L OWERS’)
Boxwood engraving by Claire Dalby of a cottage and
flowers at night.
paper.
8. ‘O L D M AN, OR LAD’S L OVE…’
(from ‘O L D M AN’)
as Colin See-Paynton) of a young girl at a door holding a
sprig of the aromatic herb ‘old man’.
 copies; printed in black on cream Gampi handmade
paper.
9. ‘P I N E MART E N’
Boxwood engraving by Simon Brett of a pine marten on
a tree trunk, with Anthony Baker’s name carved in the
bark.
 copies; printed in black on white Hosho handmade
paper.
A limited, signed edition of Anthony Baker’s bookplate.
59
S ECTION E
OTH ER PRI NTS
This section describes all the unsigned and unnumbered prints of engravings that have been either issued freely or sold
by Anthony Baker. In many cases quantities were not recorded, so approximations from the publisher’s memory are
given.
3. ‘TH E CLO S ED DOOR’
1. ‘AQ U E DUCT P OE M AN D E NGRAV I NG’
(from ‘TH E MIS S ED B EAT’)
Boxwood engraving by Simon Brett of a dilapidated old
aqueduct.
 copies; printed in black on cream Twinrocker Sweetbutter handmade paper.
Unrecorded number of copies (although, as they were
taken from a rejected run of  copies, then it is likely
that there were around ); printed in black in Times on
ivory Okawara handmade paper.
As with the missed beat, Claire van Vliet printed – unasked –
some extra prints of the engraving and sent them to Anthony with his
copies of the closed door. Anthony Baker sold some of these
through the Basilisk Press & Bookshop in Hampstead and sent out others
There were errors in an initial printing of the missed beat. Rather
than totally waste the copies already printed, Anthony Baker guillotined
out the French-folded page that had the engraving of an aqueduct printed
in black on one side and the poem ‘Aqueduct’ on the other, and sent them
out as a Christmas greeting.
4. ‘TH E CLO S ED DOOR’ –
P O S TC ARD VE RS I ON
2. ‘AQ U E DUCT’
(from ‘TH E MIS S ED B EAT’)
Boxwood engraving by Simon Brett of a dilapidated old
aqueduct.
 mm ×  mm. Single page. Unknown number of
copies (although according to the printer there would
have been at least ); printed in black in Bembo on an
unidentified cream paper (which the printer thinks may
have been a heavy weight Basingwerk).
a. black vers ion
 copies; printed in black on ivory Okawara handmade
paper.
Michael Mitchell printed a run of this engraving as a postcard while
the block was in his possession for printing a second limited artist’s edition
for Richard Shirley Smith (see item b in Section D).To make it a little
different to the official version, text stating the title, artist, publisher and
original publication year was printed underneath. Anthony Baker originally knew nothing of these prints (it was the engraver who authorised the
printing), but obtained some for his own use (as postcards) when he
learned of their existence.
b. olive vers ion
 copies; printed in olive on ivory Okawara handmade
paper.
Along with the final copies of the missed beat, Claire van Vliet
printed – unasked – some extra prints of just the engraving. Some of
these were printed in black and some in olive. Anthony Baker was most
pleased to receive these bonus items; selling some through the Basilisk
Press & Bookshop in Hampstead and sending out others as a Christmas
greeting.
60
5. ‘NAT URA’
The woodblock was required by the Florin Press for printing in a collection
of Monica Poole’s engravings. Unfortunately, it had been slightly damaged after the printing of winter wind and Anthony Baker had to
get Monica to repair it. Luckily, the damage was in an area where the
engraving could be altered without too much trouble. Now, if you look at
the bottom of the moon in these later prints, there is more of it showing
through the clouds. As a way of thanks for the loan of the block, Graham
Williams offered to print these copies for Anthony, who sent them out as
a Christmas greeting.
Printed by Karl Kimber Merker at the Windhover Press,
Iowa City, Iowa, United States of America.
Boxwood engraving by Peter Reddick of a countryside
landscape.
Unrecorded number of copies (although, as they were
taken from the rejected run of  copies, then it is likely
that there were around ); printed in black on white
Barcham Green Windhover handmade paper.
8. ‘RH I N OCERO S BE ETL E’
(from ‘BUZ Z BUZ Z’)
These prints came from a first printing of natura that Anthony Baker
rejected on grounds of poor presswork (see item  in Section G). Before
the copies were destroyed, Anthony Baker asked if the engraving could
be cut from the title pages and sent to him so that he would have some
prints to distribute. Anthony sold some of them through the Basilisk Press
& Bookshop in Hampstead and sent out others as a Christmas greeting.
Pearwood engraving by Richard Shirley Smith of a
rhinoceros beetle and a beetle grub.
Approximately  copies; printed in black on cream Vélin
d’Arches mould-made paper.
6. ‘TH E ON LY C H I L D ’
(from ‘WI NTER W I ND’)
Having gotten rather used to having prints of just the engravings from
his projects printed in addition to the publication they appeared in,
Anthony Baker asked the printer if he would continue the trend for him
and print a small number of copies of the engraving from buzz buzz
for him whilst working on the publication.These were sent out by Anthony
Boxwood engraving by Monica Poole of a girl asleep in
bed next to the billowing curtains of an open window.
Unrecorded number of copies (but fewer than the usual
 that Janus Press had been printing previously, as during
the printing of these extra prints the engraved block
sustained some damage); printed in black on cream
Gampi handmade paper.
9. ‘CLAS S I CAL TEXT’
(from ‘TE LL I NG TAL E S’)
Once again, unsolicited prints of just the engraving were printed and sent
along with the finished publication. Anthony Baker sold some through
the Basilisk Press & Bookshop in Hampstead and sent out others as a
Christmas greeting.
Boxwood engraving by Simon Brett of a bird skull and a
roman coin.
Approximately  copies; printed in black on white
7. ‘TH E ON LY C H I L D’
(from ‘WI NTER WI ND’) –
ALT ERE D VE RS I ON
As with buzz buzz, Anthony Baker asked the printer to print these
copies of just the engraving for him whilst working on the publication.
They were sent out by Anthony as a Christmas greeting.
Boxwood engraving by Monica Poole of a girl asleep in
bed next to the billowing curtains of an open window.
10. ‘H OM E’
(from ‘L EARN I NG TH E ROP ES’)
Approximately  copies; printed in black on cream
61
sect ion e
sect ion e
as Colin See-Paynton) of a ‘man winding a handle’ garden
windmill ornament.
Approximately  copies; printed in black on white
Wookey Hole handmade paper.
As was now customary, Anthony Baker asked the printer to print these
copies of just the engraving for him whilst working on learning the
ropes. They were sent out as a Christmas greeting.
11. ‘RAI N AT S EA’
(from ‘AQUAMAR I N E’)
England.
Boxwood engraving by Christopher Wormell of a ship in
the distance of a stormy sea.
Approximately  copies; printed in black on white
Canson et Montgolfier Johannot mould-made paper.
Anthony Baker asked the printer to print these copies of just the engraving
for him to send out as a Christmas greeting.
12. ‘COTTAG E O RN É’
(from ‘EVEN TH E F L OWERS’)
England.
Boxwood engraving by Claire Dalby of a cottage and
flowers at night.
Approximately  copies; printed in black on ivory
Amatruda handmade paper.
For the final time, Anthony Baker asked the printer to print copies of just
the engraving for him to send out as a Christmas greeting.
62
S ECTION F
AL L OTH ER E P H E M ERA
This section describes all the ephemera that Anthony Baker has had produced that don’t fall into any of the previous
categories. Along with many other items, it details all the pieces collected together in copies of a gruffymaufry (see
item  in Section A).
3. ‘C ORONAT I ON ROS E BAK E R’
M EMORIA L
1. L E TT ERH EAD – VE RS I ON I
Printed by John Craig at the Piccolo Press,  Lansdown,
Stroud, Gloucestershire, England.
Printed by David Chambers at the Cuckoo Hill Press,
Pinner, Middlesex, England.
 mm ×  mm. Single page.  copies; printed in black
and red in Bembo and Garamond on white Eden Grove
machine-made paper.
 mm ×  mm. Single French-folded sheet.  copies;
printed in black in Romanée on white Hosho handmade
paper.
Used from .
Issued June .
A letterhead printed with the linocut ‘AB’ pressmark designed and cut
by John Craig, as used in six somerset epitaphs (see item  in
Section A).
A memorial card for Anthony Baker’s mother, which re-uses the engraving from six hampshire epitaphs (see item  in Section A).
Anthony Baker ordered a run of  of these letterheads.The printer sent
 as a first installment, along with apologies about inking problems but,
for reasons unknown, the remainder never materialised.
4. ‘WITH THANK S’ SL I P
2. ‘AN T HONY BAK E R’ BOOK P LAT E –
F I RST PRI NTI NG
 mm ×  mm. Single page.  copies; printed in black
and olive in Bembo on white Zerkall mould-made paper.
Printed by Will Carter at the Rampant Lions Press, 
Chesterton Road, Cambridge, England.
Used from .
a. mould-made paper vers ion
 mm ×  mm. Single page.  (out of ) copies; printed in black on white Barcham Green mould-made paper.
5. ‘WITH COM P L I M ENT S’ SL I P
b. handmade paper vers ion
 mm ×  mm. Single page.  (out of ) copies; printed in black on white Barcham Green handmade paper.
 mm ×  mm. Single page.  copies; printed in black
and olive in Bembo on white Zerkall mould-made paper.
Used from .
Anthony Baker wanted these prints of his bookplate to be split over two
papers, with a lesser number printed on a superior, more textured handmade paper for placing in his more special and valuable books.
The bookplate is a boxwood engraving by Simon Brett of a pine marten
on a tree trunk with the words ‘Anthony Baker’ carved into the bark. It
was later used as the illustration for the Gruffyground catalogue baker’s
dozen (see item  in Section A).
6. L E TT ERH EAD – VERS I ON II
63
 mm ×  mm. Single page.  copies; printed in black
and red in Bembo on white Zerkall mould-made paper.
 mm ×  mm. Single page. Unrecorded number of
copies (out of ); printed in black and olive in Bembo
on white Zerkall mould-made paper.
Used from .
b. small vers ion
 mm ×  mm. Single page. Unrecorded number of
copies (out of ); printed in black and olive in Bembo
on white Zerkall mould-made paper.
10. ‘BOOK S F ROM TH E GRUF F YGRO UND
PRES S’ – VERS I ON II
Anthony Baker decided to have two different sized letterheads produced.
As well as having some standard size copies printed, he also wanted some
shorter, slightly landscape-format ones produced for briefer notes.
 mm ×  mm. Single folded sheet.  copies; printed
in black and red in Bembo on white Rives mould-made
paper.
Published .
7. L E TT ERH EAD – VE RS I ON III
A redesigned and updated version of the stocklist from three years previous
(see item  in this section). This lists the illustrated poetry publications
from natura to learning the ropes (except winter wind),
three available limited edition engravings, and the ‘specials’ of the
ship of sounds.
 mm ×  mm. Single page.  copies; printed in black
in Bembo on white Zerkall mould-made paper.
11. ‘GR I F F YGRO UND VAR IAT I ONS’
These letterheads use the same design as the standard Version II ones
described above, except that the Press name in olive has been omitted.
Anthony Baker wanted these to use for more general correspondence.
 mm ×  mm. Single page.  copies; printed in
orange and black in Goudy Text, Hunt Roman, Albertus
Light, Optima, Walbaum, Bembo, Gresham, Klang and
(on the back) Palatino, on cream Barcham Green handmade paper.
8. ‘BOOK S F ROM TH E GRUF F YGRO UND
PRES S’ – VERS I ON I
Issued .
 mm ×  mm. Single folded sheet.  copies; printed
in black and olive in Perpetua on white Zerkall mouldmade paper.
A greetings keepsake featuring some of the spelling variations that have
turned up on letters addressed to the Gruffyground Press. The title given
here is not mis-spelt; Anthony Baker calls this ephemeron ‘Griffyground
Variations’ as it is the first example of erroneous spelling to appear on
the item.
Published .
A stocklist of the illustrated poems from natura to (in anticipation)
private view, which was then expected to carry the Gruffyground Press
imprint.
This appears in at least some of the copies of a gruffymaufry
(see item  in Section A).
12. ‘BAK E R’S DOZ EN’ HAN DB I L L
9. L E TT ERH EAD – VE RS I ON IV
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 mm ×  mm. Single page.  copies; printed in black
and orange in Walbaum and Gresham on cream Zerkall
mould-made paper.
151 mm ×  mm. Single folded sheet.  copies; printed
in black and grey-blue in Bembo and Lutetia on white
Issued October th .
A small advertising flyer produced for the Gruffyground Press exhibition
that Anthony Baker held at the Cheltenham Festival of Literature in
October .
Issued .
A memorial card for Anthony Baker’s father. This ephemeron re-uses
the engraving from the closed door (see item  in Section A),
but it is here handsomely printed in grey-blue.
13. ‘AN T HONY BAK E R’ BOOK P LAT E –
S E CON D PRI NT I NG
16. ‘VAL E’ – LARG E VERS I ON
 mm ×  mm. Single page.  copies; printed in black
on cream Barcham Green mould-made paper.
 mm ×  mm. Single page.  copies; printed in black
and brown in Palatino with Thorne Shaded on white
Barcham Green handmade paper.
Used from .
A second print run to replenish dwindling stocks of the previous printing
(see items a and b earlier in this section).
This ephemeron was printed to announce the closure of the Gruffyground
Press after the publication of to robert graves in deyá. We now
know this to have been far from the case, with the Press continuing to
publishing for a great many years. This first version of the vale notice
also contains all the information on, and so acts as a prospectus for, the
five specially bound copies of even the flowers. The latin ‘Vale’
translates as ‘Farewell’.
14. ‘P OETRY AN D PRI NTS F ROM TH E
GRUF F YGRO UND PRES S’ – VERS I ON I
 mm ×  mm. Single folded sheet.  copies; printed
in black in Walbaum with Hunt Roman on cream Zerkall
mould-made paper.
17. ‘VAL E’ – S MAL L VERS I ON
Published .
 mm ×  mm. Single page.  copies; printed in black
and brown in Palatino and Thorne Shaded on white
A newly designed and updated stocklist from those printed previously at
the Libanus Press (see items  and  earlier in this section).This version
lists the illustrated poetry publications from the ship of sounds
to old man, six available limited edition engravings, private view,
baker’s dozen, and the ‘specials’ of the ship of sounds and
aquamarine.
Unhappy with the specially bound copies of even the flowers, and
unsure whether he would distribute them, Anthony Baker had this second
version of the vale notice produced, excluding the information for the
even the flowers specials.
15. ‘BAD EN I AN D UN DONAL D BAK E R’
M EMORIA L
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18. ‘ATQUE AVE’
 mm ×  mm. Single page.  copies; printed in black
and green in Palatino with Thorne Shaded on white
21. ‘THI S S TON E BARN WAS
CO NVERT E D…’
Issued .
 mm ×  mm. Single page.  copies; printed in black
and red in Hunt Roman on white Fabriano Rosaspina
mould-made paper.
Having decided to resume his publishing activities, Anthony Baker had
this small card produced to announce Gruffyground’s return. The latin
is a reversal of ‘Ave Atque Vale’ (‘Hail and Farewell’), therefore translating instead as ‘Farewell and Hail’. The printing of ‘The Gruffyground
Press returns, slightly’ is a reference to the return publication (newark
abbey) being a small piece not, as some might have thought, a return
to publish just one more item.
Issued .
A commemoration piece to mark the full restoration of Anthony Baker’s
house, once a barn.
19. ‘I SYNG OF A M Y D EN’
22. ‘S IC VO S NON VOB I S…’
 mm ×  mm. Single folded sheet.  copies; printed
in scarlet in Samson on cream Vélin d’Arches mouldmade paper.
 mm ×  mm. Single page.  copies; printed in
orange, blue, green and grey in Golden Cockerel and
Perpetua on white Vélin d’Arches mould-made paper.
Issued December .
Issued Easter Sunday, April .
This printing of a medieval carol dating from around the year  was
used as a Gruffyground Christmas greeting and precedes the full publication in sewn covers (see item  in Section A) by nine years.
Anthony Baker had this ephemeron – a quote from Virgil, of doubtful
authenticity – printed as a keepsake for the Forty-Five Years On Reunion
of the Sidcot School Upper VI of  which he attended (‘Sic Vos Non
Vobis’ being the Sidcot School motto). The full quote; ‘Sic vos non vobis
mellificatis apes. Sic vos non vobis nidificatis aves. Sic vos non vobis
vellera fertis oves.’ translates from the latin as ‘Thus you bees make honey,
but not for yourselves. Thus you birds make nests, but not for yourselves.
Thus you sheep bear fleeces, but not for yourselves’.
20. ‘CORRECT ION TO W I LL IAM M ORRI S’
 mm ×  mm. Single folded sheet.  copies; printed
in purple and black in Kelmscott Troy on beige Fabriano
Ingres mould-made paper.
23. ‘P OETRY AN D PRI NTS F ROM TH E
GRU F F YGRO UND PRES S’ – VERS I ON II
Issued .
Here, Anthony Baker takes issue with William Morris’s famous ‘Have
nothing in your houses that you do not know to be useful or believe to be
beautiful’, substituting ‘and’ for ‘or’.
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 mm ×  mm. Single folded sheet.  copies; printed
in black in Walbaum with Hunt Roman on cream Zerkall
mould-made paper.
Issued September .
Keen to represent all of the typefaces designed by Jan van Krimpen,
Anthony Baker had this short poem by Charlotte Mew printed as a
specimen of Romulus.After a while he felt it unsubstantial and decided
that a larger showing was in order. This eventually led to the publication
of the trees are down (see item  in Section A).
Published .
An updated stocklist in the same design that Sebastian Carter used
previously (see item  earlier in this section). This lists the illustrated
poetry publications from telling tales to chez monsieur
prieur, the unillustrated to robert graves in deyá, six available
limited edition engravings, private view and baker’s dozen.
26. ‘CAE LVM N ON AN I MVM MVTAN T…’
24. ‘ALL, ALL OF A P I ECE
THROUGHOUT…’
 mm ×  mm. Single page.  copies; printed in red
and lime in Dartmouth with Octavian on cream Barcham
Green RWS (Royal Watercolour Society) handmade
paper.
a. handmade paper vers ion
 mm ×  mm. Single page. Unrecorded quantity (out
of  copies); printed in red in Caslon and Ehrhardt on
cream Millbourn handmade paper.
Issued November .
This piece is a quote from Quintus Horatius Flaccus (more commonly
known as Horace). The full quote; ‘Caelvm non animvm mvtant qvi trans
mare cvrrant’ translates from the latin as ‘Those who cross the sea (only)
change the sky, not their soul’. It features a rare metal cutting of Dartmouth; a typeface designed by Will Carter and issued by Letraset. It’s
really a titling version of Octavian (which Will was co-designer of) and
was based on an alphabet he drew for wooden panels in the Hopkins
Center, Dartmouth College, New Hampshire. The printer and typefounder Paul Hayden Duensing then offered to cut it, but it was never
properly issued.
b. mould-made paper vers ion
 mm ×  mm. Single page. Unrecorded quantity (out
of  copies); printed in red in Caslon and Ehrhardt on
pale grey Zerkall mould-made paper.
Issued December .
John Dryden’s ‘Secular Ode’ was written for the year ; here Gruffyground quotes its last six lines, which Anthony Baker felt most fitting for
the year .
There wasn’t quite enough of the Millbourn handmade paper to print
the whole edition, so the balance was made up with copies printed on the
Zerkall mould-made paper that had been used for four sonnets
to a coquette (see item  in Section A). Although numbers are
not recorded, there are considerably fewer copies of this mould-made
paper version.
27. ‘TH E P OWER OF I NT ERVAL’
 mm ×  mm. Single page.  copies; printed in black
in Modern No.  on dark terracotta Fabriano Roma
Moretto handmade paper.
Issued April .
25. ‘D OM US CAEDET ARB OR E M’
A short poem by John Leicester Warren, Baron de Tabley.
England.
 mm ×  mm. Single page.  copies; printed in black
in Romulus on white Vélin d’Arches mould-made paper.
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a. ‘with fleuron’ vers ion
 mm ×  mm. Single page. Approximately  (out of
) copies; printed in black in Optima on green Hahnemühle Bugra Bütten mould-made paper.
28. ‘I LLUS TRAT E D P OETRY’
 mm ×  mm. Single folded sheet.  copies; printed
in black in Bembo on a green-blue Hahnemühle Bugra
Bütten mould-made paper.
b. ‘without fleuron’ vers ion
 mm ×  mm. Single page. Approximately  (out of
) copies; printed in black in Optima on green Hahnemühle Bugra Bütten mould-made paper.
Published July .
Issued .
A list of the  illustrated poetry publications from the missed beat
to the trees are down.
29. ‘CASTL E S IN TH E AIR’
For this quote on old age by Anthony Powell, the printer was keen to add
a fleuron to the design, whilst the publisher was not. As a compromise
the edition was split, with about half of the copies printed with a fleuron
between the quote and the author’s name, and the remainder printed
without.
The version without the fleuron appears in at least some of the copies of
a gruffymaufry (see item  in Section A).
 mm ×  mm. Single page.  copies; printed in black
in Bell on pale cream Canaletto machine-made paper.
32. ‘S H ERPA M EMORIA L’
Issued .
A short poem by Thomas Love Peacock.
30. ‘AM IC I DI EM P ERDI D I’
 mm ×  mm. Single page.  copies; printed in black
and red in Poliphilus and Blado on grey Rives mouldmade paper.
Issued April .
A memorial card for Anthony Baker’s beloved cat Sherpa, quoting the
last six lines of Thomas Hardy’s poem ‘Last Words to a Dumb Friend’.
 mm ×  mm. Single page.  copies; printed in golden
yellow and grey in Castellar and Perpetua on white
Inveresk Somerset mould-made paper.
Issued .
33. ‘GRUF F YGRO UND RARI T I E S’
A quote by the emperor Titus Flavius Vespasianus (the clement emperor),
as recorded by Suetonius, on a day when he’d achieved no good at all.
The quote; ‘Amici diem perdidi’ translates from the latin as ‘Friends I
have lost a day’.
 mm ×  mm. Single page.  copies; printed in black
and dark grey in Granjon on white Ragston machinemade paper.
Issued December .
A short list which prints the title in the same dark grey (that can barely
be told apart from the black) as used in the first state copies of
weathercock (see item a in Section A).
31. ‘GROW I NG OL D’
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34. ‘W EAT H ER COCK’ MI S PRI NT L EAF
previous. Anthony had intended to issue two further pairs of uncollected
poems by Robert Graves matching in design, type and papers with his
two earliest Graves publications (see items  and  in Section A).
Learning that the robust colours of the Tumba Ingres paper needed for
the covers were being replaced by what he described as ‘mimsy pastels’,
Anthony hastily bought supplies of two colours, khaki and orange. When
it unexpectedly proved impossible to obtain the identical Hosho text paper
to match the earlier Graves publications, the plan was abandoned. The
Tumba Ingres paper was then stashed away for the best part of three
decades until Anthony decided to use it for both this list and the one
described next.
 mm ×  mm. Single folded sheet. Approximately 
copies; printed in black and dark grey in Granjon on
white Ragston machine-made paper.
Issued March .
After sewing the reprinted page of the poem into the remaining and
recalled copies of weathercock(see item b in Section A),Anthony
Baker was left with several copies of the page from the original printing
featuring the misprint. Some of these were sent to customers along with
their revised editions, and other copies were sent out to friends and
acquaintances who would no doubt be amused by the glaring error allowed
to sneak in by the most perfectionist and diligent of men.
35. ‘W EAT H ER COCK’ RE PRI NT L EAF
 mm ×  mm. Single folded sheet.  copies; printed
in black in Romulus with Gill Sans and Gill Sans Extra
Bold on orange Tumba Ingres machine-made paper.
37. ‘TH E VES S EL S AT LA DRAM’
Issued January .
A descriptive list of unique ceramic and glass pots and bowls in Anthony
Baker’s collection.
 mm ×  mm. Single folded sheet. Approximately 
copies; printed in black and brown-grey in Granjon on
white Ragston machine-made paper.
38. ‘TH ERE IS NOTH I NG GOOD TO BE
HAD IN TH E COU NTRY…’
Issued March .
After sewing the reprinted leaves into the erroneously printed copies of
weathercock (as mentioned in the previous item), Anthony Baker
was left with a handful of leftover copies of the reprinted sheet. Rather
than discard them, Anthony kept them for sending out as greetings for
Christmas and such.
 mm ×  mm. Single page.  copies; printed in dark
orange and golden brown in Koch Kursiv and Koch
Antiqua on pale cream Somerset Textured mould-made
paper.
36. ‘TH E F URN I TURE AT LADRAM’
Issued January .
An anti-rural quote from William Hazlitt.
 mm ×  mm. Single folded sheet.  copies; printed
in black in Romulus with Gill Sans and Gill Sans Extra
Bold on khaki Tumba Ingres machine-made paper.
39. ‘DIRC E’
Issued January .
A descriptive list of mostly unique pieces, commissioned for the home of
Gruffyground.
- mm × - mm (Both width and height vary
throughout the edition). Single page.  copies; printed
in black in Romulus on green-grey Barcham Green
Turner Grey handmade paper.
The paper used for this list had been in Anthony Baker’s possession since
he’d bought it as cover stock for an unrealised project nearly thirty years
69
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b. ‘variant paper’ vers ion
 mm ×  mm. Single page.  copies; printed in grey
and red in Baskerville on an unidentified heavyweight
brown paper.
Issued January .
A short poem by Walter Savage Landor.
Issued September .
40. ‘MO ONL I T AP P L E S’ L EAF
This ephemeron is a notice for the imminent first birthday of Baskerville,
the Gruffyground cat, who just so happens to share the same birthday as
the proprietor.
 mm ×  mm. Single folded sheet.  copies; printed
in black and lime green in Centaur and Arrighi on white
Saint-Armand Frobisher handmade paper.
The variant paper version was printed on the separating packing card
that came with the batch of paper used for printing the standard copies
of this ephemeron. As it was about the same weight as the paper used,
the printer left it in and printed it along with the rest. Rather happy with
the results, he sent them to Anthony Baker along with the main copies.
Issued February .
After sewing up the edition of moonlit apples, Anthony Baker was
left with a handful of folded leaves of the text pages.As the edition was
so small, Anthony decided to keep the extra leaves for sending out as
greetings rather than discard them.
43. ‘B IRTHR I GH T’
 mm ×  mm. Single page.  copies; printed in purple
in Centaur and Arrighi on cream Somerset Textured
mould-made paper.
41. ‘UNA L IT ERAS DI D IC I M US’
Issued from February .
 mm × - mm (Width varies throughout the
edition). Single page.  copies; printed in dark green-blue
and grey in Molé Foliate and Garamond on an unidentified blue-white handmade paper (possibly Van Gelder,
judging from the partially visible watermark) .
A short poem by John Drinkwater.
Anthony Baker decided to stock up on ephemera for future use as greetings
and such. This, and the following items, will be mainly issued over the
coming years.
Issued Easter Sunday, April .
This ephemeron, printed for the Sixty Years On Reunion of the Sidcot
School Upper VI of , features the motto of the Old Sidcotians (not,
as Anthony Baker believed – and so had printed on the reverse – a
secondary motto of Sidcot School). ‘Una literas didicimus’ translates
from the latin as ‘As one we learned our lessons’.
42. ‘BAS K ERVI LL E’S B IRTH DAY’
 mm ×  mm. Single folded sheet.  copies; printed
in scarlet in Cancelleresca Bastarda on cream Somerset
Book mould-made paper.
44. ‘TWO P O E M S’
Issued from May .
Two poems by Thomas Carew taking an opposite stance to the subject
matter of Gruffyground’s previous Carew publication perswasions
to love (see item  in Section A).
 mm ×  mm. Single page.  copies; printed in grey
and red in Baskerville on white Saunders Waterford
Rough mould-made paper.
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 mm ×  mm. Single page.  copies; printed in black
and dark green in Dante and Optima on white Vélin
Arches Blanc mould-made paper.
45. ‘A WO M AN W ITH AN E D UCAT I ON…’
Issued from January .
and mid-blue in Dante and Optima on white Vélin Arches
Blanc mould-made paper.
One of a series of five quotes; this one by ‘that prolific author, Anon’.
Of the  copies,  have been used in collected sets of all five quote
cards, published in a folder (see item  in Section A).
One of a series of five quotes; this one by James Boswell. Of the  copies,
 have been used in collected sets of all five quote cards, published in a
folder (see item  in Section A).
49. ‘EVERY GREAT MAN NOWADAYS…’
and salmon pink in Dante and Optima on white Vélin
46. ‘I P ITY TH E U N L EARN E D…’
and brown-grey in Dante and Optima on white Vélin
One of a series of five quotes; this one by Oscar Wilde. Of the  copies,
 have been used in collected sets of all five quote cards, published in a
folder (see item  in Section A).
One of a series of five quotes; this one by Lucius Cary,Viscount Falkland.
Of the  copies,  have been used in collected sets of all five quote
cards, published in a folder (see item  in Section A).
50. ‘TWO R EWRI T E S’
 mm ×  mm. Single sheet.  copies; printed in light
green and sky blue in Helvetica on white Saunders Waterford mould-made paper.
47. ‘S OM E C I RCUM S TANT I AL
EVI DENCE…’
Issued from July .
and golden yellow in Dante and Optima on white Vélin
An amusing pair of anonymous rewrites: one a parody of an Isaac
Newton quote, the other a parody of a quote from Oscar Wilde.
51. ‘IT I S N EVER DI F F I CU LT…’
One of a series of five quotes; this one by Henry David Thoreau. Of the
 copies,  have been used in collected sets of all five quote cards,
published in a folder (see item  in Section A).
48. ‘TRY EVERYT H I NG ONC E…’
 mm ×  mm. Single sheet.  copies; printed in dark
violet and turquoise in Bembo Titling and Lutetia on
white Saunders Waterford mould-made paper.
71
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A quote by Pelham Grenville Wodehouse.
52. ‘QUEM DEUS VULT…’
 mm ×  mm. Single sheet.  copies; printed in
purple in Romanée Titling on cream Somerset mouldmade paper.
A quote of unknown origin. The full quote ‘Quem deus vult perdere
dementat prius’ translates from the latin as ‘Those whom the Gods would
destroy, they first make mad’.
53. ‘IVPP ITER EX ALTO…’
 mm ×  mm. Single sheet.  copies; printed in scarlet
and orange in Cristal and Lutetia on cream Somerset
mould-made paper.
A quote by Publius Ovidus Naso. The full quote ‘Ivppiter ex alto perivria
ridet amantum’ translates from the latin as ‘Jupiter from on high laughs
at the perjury of lovers’.
54. ‘TWO AN D TWO’
 mm ×  mm. Single sheet.  copies; printed in red
and warm grey in Centaur and Goudy Village on white
Vélin Arches Blanc mould-made paper.
Issued from November .
An anonymous quote.
72
S ECTION G
UN P UB L I S H ED IT EM S
Over the years a handful of items were fully printed for the Gruffyground Press but for one reason or another didn’t get
published. The main descriptions in this section describe the item as it would have been if fully published, with further
information regarding the actual state and number of existing copies in the notes that follow.
1. WI LLIAM S HAK E S P EARE
DE TUINWI JK P ERS E D I T I ON
edition was split between the standards and specials, or whether there
was a mix across both. I have only ever seen a handful of the specials
and a single copy of the standard, but the specials I’ve seen were all
printed in black and dark orange, whilst the standard was printed in black
and dark blue. Although not conclusive, this would seem to point towards
the possibility of a colour split between the standards and specials.
Printed by Sem Hartz at De Tuinwijkpers, Haarlem,
Holland.
a. standard edition
 mm ×  mm.  pages.  copies; printed in black and
either dark orange or dark blue in Lettre Françoise Civilité
with English-bodied Blackletter and Four-line Pica Ornamental Initials on pale cream Barcham Green handmade
paper, in a grey Barcham Green handmade paper wrapper printed in black.
Although the colophon states the special edition copies are printed on
Gifu Shoji, they are actually printed on Hodomura as there was severe
show-through with the rather thin Gifu Shoji.
2. WI LLIAM SHAK E S P EARE
DE TUINWI JK P ERS E D I T I ON
PRO S P ECTU S
b. special edition
 mm ×  mm.  pages.  copies; printed in black and
either dark orange or dark blue in Lettre Françoise Civilité
with English-bodied Blackletter and Four-line Pica Ornamental Initials on pale cream Hodomura handmade
paper, in a grey Barcham Green handmade paper wrapper printed in black.
Printed by Sem Hartz at De Tuinwijkpers, Haarlem,
Holland.
 mm ×  mm. Single page.  copies; printed in black
and grey-blue in Emergo with English-bodied Blackletter,
Lettre Françoise Civilité and Cancelleresca Bastarda on
cream Barcham Green handmade paper.
Printed, but unpublished, .
edition notes:
This edition, rejected on grounds of poor presswork, was printed in an
original and unobtainable Granjon Civilité from the Enschedé foundry
(unlike the Bieler Press edition which used a digitally reconstructed
version of the font). It preceded the published version printed by the Bieler
Press (see item  in Section A) by nearly thirty years, and would have
been the first poetry item published by the Gruffyground Press.
Printed, but unpublished, .
Several copies of this prospectus still exist as Anthony Baker kept them
when he was not asked for their return. Only a handful has ever left his
ownership to be sent to collectors.
The quantities printed for this job are rather uncertain to say the least,
but were certainly not the  standard copies and  (or , according to
the prospectus) special copies as stated in the colophon. In a letter to
Anthony Baker, Sem Hartz claimed to be sending (without distinguishing numbers of ordinaries and specials)  copies, and keeping another
 for himself. When they arrived there were fewer copies, although there
is no record of the exact amounts. It is known that Sem Hartz distributed
several (if not all) copies of this publication himself.
3. P ETER SCUP HAM
‘NAT URA’
GRUF F YGRO UND PRES S EDITION –
OR I G I NA L PRI NT I NG
Printed by Karl Kimber Merker at the Windhover Press,
Iowa City, Iowa, United States of America.
With a boxwood engraving by Peter Reddick of a countryside landscape.
There are two variations regarding the second colour used in this edition.
Some of the copies feature a dark orange as the second colour and some
feature a dark blue. It is not known whether the second colour for the
73
 mm ×  mm.  pages.  copies; printed in black in
Romanée on white Barcham Green Windhover handmade paper, in a beige Barcham Green Katuscha handmade paper cover printed in black. Signed by the author
and the artist.
edition notes:
Unhappy with the printing of this edition of the trees are down
Anthony Baker rejected it and returned the copies to the Libanus Press
where they were destroyed.
One single copy did actually get issued. Before he took time to properly
look at the printing, Anthony Baker hastily sewed up and posted the
one ad personam copy that was printed for the actress Jean Simmons
in Hollywood, in hopes of reminding her of her days as an evacuee in
Gruffyground’s neighbouring village of Winscombe during the Second
World War. She did not acknowledge it. In addition to Jean’s ad personam
copy, two other copies survived, one of which is signed by the artist.
Printed, but unpublished, .
edition notes:
According to correspondence between Kim Merker and Anthony Baker,
there was a sub-standard initial printing of natura caused by problems
with the press used. This original printing differed from the published
version (see item  in Section A) in a couple of ways; unlike the published
version, the first poem ‘Water’ contained no errors. Also, the colophon
was quite different; stating that this version was printed on a Washington
hand-press (changed to a Vandercook Test press in the published version
to improve the print quality), and that there were only  copies for the
Gruffyground Press and  copies for the Windhover Press, compared to
the  copies for each in the published edition. One curious detail in the
colophon is that it states that ‘the papers are handmade Windhover and
L’Amatruda’. Whether this meant that the edition would originally have
had covers, or endpapers, of L’ Amatruda (surely a mis-naming of
Amatruda), or whether the edition would have been split, with some
copies printed on Windhover and some on L’Amatruda, is unknown.
5. V ERNON S CAN N E L L
‘EXTRA TI M E’
With a boxwood engraving by Christopher Wormell of a
man walking his dog in a snowy scene.
 mm ×  mm.  pages.  copies; printed in black and
orange in Garamond with Molé Foliate on pale cream
Canaletto machine-made paper, in an orange Zerkall
Ingres mould-made paper wrapper printed in dark
orange. Signed by the author and the artist.
The single proof copy that Anthony was sent for approval – the only
example of the original printing known to still exist – was printed on
Barcham Green Windhover paper, with endpapers of the same, and came
in an unprinted beige Barcham Green Katuscha paper cover with deckle
edges (rather than the trimmed and printed version the publication
eventually ended up with).There was no L’ Amatruda paper present at
all.Anthony rejected the presswork of this sample copy, so the Windhover
Press pulped the remainder of the edition, but only after the engraving
had been cut from the title pages for Anthony to send out as Christmas
greetings (see item  in Section E). The sample copy is unsigned.
Printed, but unpublished, .
edition notes:
After printing was completed and the type dissed, a significant error was
spotted in one of the poems.Anthony Baker couldn’t accept this and the
copies were returned to the printer for pulping. There are two copies of
this first state version known to exist; one normal copy, and one early trial
copy which differs by having the title page printed all in black instead of
black and orange. Both copies are unsigned.
4. C HARL OTT E M EW
‘TH E TR E E S ARE DOWN’
L I BANUS PRES S E D I T I ON
Horrifyingly, after resetting and reprinting the whole job from scratch,
another error was noticed.After rejecting this second printing,Anthony
Baker decided to hand over the entire project to the printer, who eventually
reprinted and published the collection under his own Evergreen Press
imprint. All the second state Gruffyground copies were sent back to the
printer for pulping, although five copies are known to have survived, all
of which are unsigned.
England.
With a boxwood engraving by Linda Holmes of a man up
a tree lopping off branches.
The engraving for this collection was also printed as a Gruffyground
Christmas card. Unlike the collection, Anthony Baker did eventually
issue the card (see item  in Section C).
 mm ×  mm.  pages.  copies; printed in black in
Romulus with Open Roman on white Inveresk Somerset
mould-made paper, in a golden yellow Mingei handmade
paper wrapper printed in black. Signed and numbered by
the artist.
Printed, but unpublished, .
74
sect ion g
sect ion g
6. V ERNON S CAN N E L L
‘EXTRA TI M E’
PRO S P ECTU S
 mm ×  mm. Single page.  copies; printed in black
and orange in Garamond with Molé Foliate on pale
cream Canaletto machine-made paper.
Printed, but unpublished, .
This item is a unique instance of an abandoned project for which a small
number of prospectuses was, in anticipation of the final unrealised publication, sent out. The vast majority of copies went back to the printer for
pulping.
7. ‘BAS K ERVI LL E AT LADRAM’
GRE ET I NG S CARD
Featuring a boxwood engraving by Anne Cathcart of the
Gruffyground cat, Baskerville, in the garden of his home,
Ladram.
 mm ×  mm.  copies; printed in black in Dante
on white Vélin Arches Blanc mould-made paper, with the
engraving – printed on a  mm ×  mm piece of cream
Basingwerk Parchment machine-made paper – pasted in.
Printed, but unpublished, November .
Anthony Baker decided not to issue these greetings cards after becoming
dissatisfied with the engraving (which he had commissioned especially
for the card). In a letter to Anthony from the engraver, it seems the feeling
must have been shared, as she raised concerns that the work wasn’t particularly satisfactory, and that maybe a second version might be required.
This was not to happen, though, as the engraver sadly passed away a few
months after sending the block.
Some of the cards have actually been issued, but not by Gruffyground.
Anthony asked for the printer to send twenty-five copies direct to Anne
Cathcart’s widower for his personal use.
The unusual design of the card follows that which the printer produced
the previous year (see item  in Section C), with the greetings text on
the front, the title of the engraving and the engraver’s name printed inside
left, the engraving (printed on a separate piece of paper) pasted on to
the inside right, and the printer and publisher details printed on the back.
75
T H E ‘ T E R R I B L E RU L E S ’ O F
T H E GRU F F YGROUN D PRE S S
Being very particular with regards to how he has wanted his publications produced over the years, Anthony Baker has
had in place a set of rules that must be kept to. These rules were properly set in place after the three ‘Epitaphs’ booklets
and have been strictly adhered to ever since. Below, in no particular order, are the rules that have exasperated many
printers (and Anthony) over the years.
In the case of booklets, each typeface, whether text or
display, must be exclusively associated with a specific
author: so that once an author, say James Reeves, has
made an appearance (with the closed door) printed in
Walbaum, any subsequent James Reeves appearance (to
robert graves in deyá) must be printed in Walbaum
too; and no other author’s may be. This does not apply
to subsidiary works not themselves literature; thus the
descriptive catalogue baker’s dozen is also printed in
Walbaum. If a typeface is first used for an ephemeron
relating to a specific poet, any later booklet to feature the
work of that same poet has to be printed in the same face
(for example, the poem card domus caedet arborem,
and the later produced booklet the trees are down,
both by Charlotte Mew, are both set in Romulus).
Garamond has been used on three different booklets; six
somerset epitaphs, private view and tops. As Anthony
doesn’t count either six somerset epitaphs or private
view as belonging to the main series, their use of Garamond did not prevent it being used for tops.
Text papers for booklets must be different for every title,
unless two or more are totally in series. (In practice, this
has happened only with twin to twin and advice to
colonel valentine, though private view would have
been in series with telling tales had it been printed, as
originally intended, by the Florin Press.) This rule does
not apply to anonymous works, hence i syng of a myden
is printed on the same paper as previously used for buzz
buzz. As with cover stock papers, it is perfectly acceptable to use text papers from a specific maker (such as
Zerkall or Magnani) in multiple publications, as long as
the product itself is different in each case.
Prospectuses must be printed in the same typefaces, in
the same colours, and on the same papers as the item
they are advertising.
The rules fall more lightly on ephemera. These may be
in any typeface unless they are by (or are quoted from)
an author represented among the booklets. Thus, the
poem card castles in the air, and the booklet newark
abbey, both by Thomas Love Peacock, are set in Bell.
However, a typeface associated with a specific author in
the booklets may be used for any other author if the use
is ephemeral (for example, the Henry David Thoreau
quote card some circumstantial evidence... uses Dante,
the typeface associated with John Whitworth).
Each cover paper for a booklet must be exclusively associated with a specific printer. For example, anything printed
at the Janus Press had to have a cover of Fabriano Miliani
Ingres mould-made paper, with no other Gruffyground
booklets printed elsewhere being allowed to use that
paper for their covers. This does not stop additional printers from using cover stock from a specific paper maker
previously used, as long as each new printer uses a different product. This is exemplified by the Celtic Cross Press
who, like the Janus Press, chose Fabriano as a cover stock,
but in their case used Fabriano Tiziano machine-made
paper. Additionally, for each different booklet a printer
prints, a different colour must be used for the cover.
The thread for sewing the booklets (almost always a
Coton à Broder thread) has to match, as nearly as possible, the colour of the cover paper if it is visible at the
spine, or the text paper if it is not.
76
A TRI BUT E TO
T H E GRU F F YGROUN D PRE S S
Whilst working on some Gruffyground Press projects, Sebastian Carter wrote (based on Paul Dehn’s most amusing ‘Mrs
Ravoon’ saga) the following stanzas. Sebastian printed and published the poem in an edition of  copies under his
Rampant Lions Press imprint and tentatively sent ten copies to Anthony Baker, hoping that he’d like it. As it happens,
Anthony liked the poem a great deal, so it seems rather a good way to end this bibliography by reproducing it here (with
kind permission from Sebastian).
THE SON G OF THE
GRUFFYGROUN D PRE S S
We came to the gibbet by the cold light of dawn,
Where dangled the body, hung, quartered and drawn:
A hideous warning to those who transgress
The terrible Rules of the Gruuyground Press.
I sprang to the stirrup, and Joris, and he;
I galloped, Dirck galloped, we galloped all three.
And what was our mission – a maid in distress?
No! we carried the proofs for the Gruuyground Press.
The aged engraver sat huddled and spent;
His fingers were shaking, his burin was bent,
His clothes were in tatters. The cause of it? Yes!
He’d argued the toss with the Gruuyground Press.
The Grand Inquisitor muttered and cursed,
‘Lay on, Master Torturer, and do your worst!
To the rack with this miscreant till he confess
He used the wrong paper for Gruuyground Press!’
We came to the prison and asked of our guide,
‘Where’s Hobson the carrier?’ The gaoler replied,
‘In the gloomiest dungeon’s darkest recess:
He’s failed to deliver to Gruuyground Press!’
The Assyrian came down like a wolf on the fold,
And his cohorts were gleaming in purple and gold.
And what was the booty he longed to possess?
Why, every book published by Gruuyground Press.
© Sebastian Carter, Rampant Lions Press, .
77
C H E CK L I ST
S E C TIO N A
G RU F F YG RO U N D P R E S S P U B L IC ATIO N S
1a.
1b.
1c.
2a.
2b.
2c.
2d.
2e.
2f.
3a.
3b.
3c.
3d.
3e.
3f.
4.
5a.
5b.
6a.
6b.
7a.
7b.
8a.
8b.
9.
10a.
10b.
11a.
11b.
12a.
12b.
12c.
13.
14.
15.
16.
17a.
17b.
18a.
18b.
19a.
19b.
20.
21.
22.
23a.
23b.
24.
25a.
‘S IX S O M E R S E T E P ITA P H S ’ standard edition
‘S IX S O M E R S E T E P ITA P H S ’ special edition i
‘S IX S O M E R S E T E P ITA P H S ’ special edition ii
‘S IX D O R S E T E P ITA P H S ’ first state – standard edition i
‘S IX D O R S E T E P ITA P H S ’ first state – standard edition ii
‘S IX D O R S E T E P ITA P H S ’ first state – special edition i
‘S IX D O R S E T E P ITA P H S ’ first state – special edition ii
‘S IX D O R S E T E P ITA P H S ’ second state – standard edition
‘S IX D O R S E T E P ITA P H S ’ second state – special edition
TH O M G U N N ‘TH E M IS S E D B E AT’ gruffyground press edition – first state
TH O M G U N N ‘TH E M IS S E D B E AT’ gruffyground press edition – second state
TH O M G U N N ‘TH E M IS S E D B E AT’ janus press edition
TH O M G U N N ‘TH E M IS S E D B E AT’ janus press edition – softcover version
TH O M G U N N ‘TH E M IS S E D B E AT’ gruffyground press edition – hardbound version
TH O M G U N N ‘TH E M IS S E D B E AT’ thom gunn edition
RO B E RT G R AV E S ‘TW IN TO TW IN’
JA M E S R E E V E S ‘TH E C L O S E D D OOR’ gruffyground press edition
JA M E S R E E V E S ‘TH E C L O S E D D OOR’ janus press / twinrocker edition
‘S IX H A M P S H IR E E P ITA P H S ’ standard edition
‘S IX H A M P S H IR E E P ITA P H S ’ special edition
P E TE R S C U P H A M ‘N ATU R A ’ gruffyground press edition
P E TE R S C U P H A M ‘N ATU R A ’ windhover press edition
JO H N W IL M OT, E A R L O F RO C H E STER ‘THREE SONGS’ gruffyground press edition
JO H N W IL M OT, E A R L O F RO C H E STER ‘THREE SONGS’ cummington press edition
RO B E RT G R AV E S ‘A DV IC E TO C OLONEL VALENTINE’
E L IZA B E TH JE N N IN G S ‘W IN TE R WIND’ gruffyground press edition
E L IZA B E TH JE N N IN G S ‘W IN TE R WIND’ janus press edition
JO H N F U L L E R ‘TH E S H IP O F S O U NDS’ standard edition
JO H N F U L L E R ‘TH E S H IP O F S O U NDS’ special binding edition
JO H N H E ATH - S TU B B S ‘B U ZZ B U ZZ’ ‘mesozoic’ version
JO H N H E ATH - S TU B B S ‘B U ZZ B U ZZ’ ‘secondary epoch’ version
JO H N H E ATH - S TU B B S ‘B U ZZ B U ZZ’ ‘printed label’ version
A N TH O N Y TH WA ITE ‘TE L L IN G TALES’
TH O M A S H A R DY ‘F R IE N D S B E YOND’
JO N ATH A N P R IC E ‘P R IVATE V IE W’
JO H N M O L E ‘L E A R N IN G TH E RO PES’
L AW R E N C E S A IL ‘AQUA M A R IN E ’ standard edition
L AW R E N C E S A IL ‘AQUA M A R IN E ’ special binding edition
RO B E RT G R AV E S ‘C YN IC S A N D ROMANTICS’ standard edition
RO B E RT G R AV E S ‘C YN IC S A N D ROMANTICS’ ‘variant engraving’ version
F R E DA D OW N IE ‘E V E N TH E F L OWERS’ standard edition
F R E DA D OW N IE ‘E V E N TH E F L OWERS’ special binding edition
E DWA R D TH O M A S ‘O L D M A N ’
‘B A KE R ’S D O ZE N ’
JA M E S R E E V E S ‘TO RO B E RT G R AVES IN DEYÁ’
TH O M A S L OV E P E AC O C K ‘N E WA RK ABBEY’ standard edition
TH O M A S L OV E P E AC O C K ‘N E WA RK ABBEY’ ‘alternative wrapper’ version
JO H N W E B S TE R ‘A FAYR E A N D HAPPY MILKE-MAYD’
DAV ID S U TTO N ‘TH E P L A N E T H APPINESS’ standard edition
78
25b.
25c.
26.
27a.
27b.
28.
29.
30.
31.
32.
33.
34.
35.
36a.
36b.
37.
38.
39a.
39b.
40.
41a.
41b.
41c.
41d.
42a.
42b.
43.
44.
45.
46a.
46b.
DAV ID S U TTO N ‘TH E P L A N E T H APPINESS’ special binding edition i
DAV ID S U TTO N ‘TH E P L A N E T H APPINESS’ special binding edition ii
A L F R E D TE N N YS O N ‘F O U R S O N NETS TO A COQUETTE’
PAU L D E H N ‘C H E Z M O N S IE U R P RIEUR’ ‘with half-title’ version
PAU L D E H N ‘C H E Z M O N S IE U R P RIEUR’ ‘without half-title’ version
DAV ID S U TTO N ‘S U C C E S S ’
‘A G RU F F YM AU F RY’
A L IS O N B R AC KE N B U RY ‘TH E S TORY OF SIGURD’
C H A R L OTTE M E W ‘TH E TR E E S A RE DOWN’
A N O N YM O U S ‘I S YN G O F A M YDEN’
W IL L IA M S H A KE S P E A R E ‘TH E P HOENIX AND TURTLE’
JO H N L E V E TT ‘A C L E A R E R L IG H T’
P H IL IP L A R KIN ‘TO P S ’
JO H N H O L L OWAY ‘W E ATH E RC O CK’ first state
JO H N H O L L OWAY ‘W E ATH E RC O CK’ second state
RU P E RT B RO O KE ‘M E N E L AU S A ND HELEN’
A L F R E D E DWA R D H O U S M A N ‘TELL ME NOT HERE’
TH O M A S C A R E W ‘P E R S WA S IO N S TO LOVE’ standard edition
TH O M A S C A R E W ‘P E R S WA S IO N S TO LOVE’ ‘revised cover’ version
JO H N W H ITWO RTH ‘A P O E T’S P RAYER’
JO H N D R IN KWATE R ‘M O O N L IT APPLES’ standard edition
JO H N D R IN KWATE R ‘M O O N L IT APPLES’ vellum edition i
JO H N D R IN KWATE R ‘M O O N L IT APPLES’ vellum edition ii
JO H N D R IN KWATE R ‘M O O N L IT APPLES’ ‘variant paper’ version
ALEXANDER POPE ‘ELEGY TO THE MEMORY OF AN UNFORTUNATE LADY’ standard edition
ALEXANDER POPE ‘ELEGY TO THE MEMORY OF AN UNFORTUNATE LADY’ ‘variant cover’ version
‘F IV E QU OTATIO N S ’
‘TH E A RT AT L A D R A M ’
JE F F R E Y TU R N E R ‘G H O S TS ’
RU DYA R D KIP L IN G ‘TH E WAY THROUGH THE WOODS’ standard edition
RU DYA R D KIP L IN G ‘TH E WAY THROUGH THE WOODS’ ‘variant name’ version
S E C TIO N B
P RO S P E C TU S E S
1.
2.
3a.
3b.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
JO H N H E ATH - S TU B B S ‘B U ZZ B U ZZ’
TH O M A S H A R DY ‘F R IE N D S B E YOND’
L AW R E N C E S A IL ‘AQUA M A R IN E ’  
L AW R E N C E S A IL ‘AQUA M A R IN E ’ american version
RO B E RT G R AV E S ‘C YN IC S A N D ROMANTICS’
JA M E S R E E V E S ‘TO RO B E RT G R AVES IN DEYÁ’
TH O M A S L OV E P E AC O C K ‘N E WA RK ABBEY’
JO H N W E B S TE R ‘A FAYR E A N D HAPPY MILKE-MAYD’
DAV ID S U TTO N ‘TH E P L A N E T H APPINESS’
A L F R E D TE N N YS O N ‘F O U R S O N NETS TO A COQUETTE’
‘A G RU F F YM AU F RY’
A L IS O N B R AC KE N B U RY ‘TH E S TORY OF SIGURD’
C H A R L OTTE M E W ‘TH E TR E E S A RE DOWN’
A N O N YM O U S ‘I S YN G O F A M YDEN’
W IL L IA M S H A KE S P E A R E ‘TH E P HOENIX AND TURTLE’
JO H N L E V E TT ‘A C L E A R E R L IG H T’
P H IL IP L A R KIN ‘TO P S ’
JO H N H O L L OWAY ‘W E ATH E RC O CK’
RU P E RT B RO O KE ‘M E N E L AU S A ND HELEN’
TH O M A S C A R E W ‘P E R S WA S IO N S TO LOVE’
79
20.
21a.
21b.
22.
23a.
23b.
JO H N W H ITWO RTH ‘A P O E T’S P RAYER’
JO H N D R IN KWATE R ‘M O O N L IT APPLES’ standard version
JO H N D R IN KWATE R ‘M O O N L IT APPLES’ ‘variant paper’ version
A L E X A N D E R P O P E ‘E L E G Y TO THE MEMORY OF AN UNFORTUNATE LADY’
RU DYA R D KIP L IN G ‘TH E WAY THROUGH THE WOODS’ standard version
RU DYA R D KIP L IN G ‘TH E WAY THROUGH THE WOODS’ ‘variant name’ version
S E C TIO N C
G R E E TIN GS C A R D S
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12a.
12b.
12c.
12d.
‘A M O N G M Y S O U V E N IR S ’ ( from private view)
‘C O RO N ATIO N RO S E ’ ( from cynics and romantics)
‘O L D M A N , O R L A D ’S L OV E … ’ ( from old man)
‘TO P ’ ( from tops)
‘TH E P L A N E T H A P P IN E S S ’
‘C H E Z M O N S IE U R P R IE U R ’
‘TH E S TO RY O F S IG U R D ’
‘TH E TR E E S A R E D OW N ’
‘S N OW JO KE ’
‘A P O E T’S P R AYE R ’
‘WO O D P IG E O N S AT R A H E N Y’
‘TH E WAY TH RO U G H TH E WO O DS’ first state – standard version
‘TH E WAY TH RO U G H TH E WO O DS’ first state – ‘variant name’ version
‘TH E WAY TH RO U G H TH E WO O DS’ second state – standard version
‘TH E WAY TH RO U G H TH E WO O DS’ second state – ‘variant name’ version
S E C TIO N D
L IM ITE D E D ITIO N P R IN TS
1a.
1b.
2a.
2b.
3.
4.
5.
6.
7.
8.
9.
‘TH E C L O S E D D O O R ’ first edition
‘TH E C L O S E D D O O R ’ second edition
‘C H U RC H YA R D ’ ( from six hampshire epitaphs) first edition
‘C H U RC H YA R D ’ ( from six hampshire epitaphs) second edition
‘R H IN O C E RO S B E E TL E ’ ( from buzz buzz)
‘F R IE N D S B E YO N D ’
‘H O M E ’ ( from learning the ropes)
‘R A IN AT S E A ’ ( from aquamarine)
‘C OTTAG E O R N É ’ ( from even the flowers)
‘O L D M A N , O R L A D ’S L OV E … ’ ( from old man)
‘P IN E M A RTE N ’
S E C TIO N E
OTH E R P R IN TS
1.
2a .
2b .
3.
4.
5.
6.
7.
8.
‘AQU E D U C T P O E M A N D E N G R AVING’ (from the missed beat)
‘AQU E D U C T’ ( from the missed beat) black version
‘AQU E D U C T’ ( from the missed beat) olive version
‘TH E C L O S E D D O O R ’
‘TH E C L O S E D D O O R ’ – postcard version
‘N ATU R A ’
‘TH E O N LY C H IL D ’ ( from winter wind)
‘TH E O N LY C H IL D ’ ( from winter wind) – altered version
‘R H IN O C E RO S B E E TL E ’ ( from buzz buzz)
80
9.
10.
11.
12.
‘C L A S S IC A L TE X T’ ( from telling tales)
‘H O M E ’ ( from learning the ropes)
‘R A IN AT S E A ’ ( from aquamarine)
‘C OTTAG E O R N É ’ ( from even the flowers)
S E C TIO N F
A L L OTH E R E P H E M E R A
1.
2a.
2b.
3.
4.
5.
6a.
6b.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24a.
24b.
25.
26.
27.
28.
29.
30.
31a.
31b.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42a.
42b.
L E TTE R H E A D version i
‘A N TH O N Y B A KE R ’ B O O KP L ATE first printing – mould-made paper version
‘A N TH O N Y B A KE R ’ B O O KP L ATE first printing – handmade paper version
‘C O RO N ATIO N RO S E B A KE R M E MORIAL’
‘W ITH TH A N KS ’ S L IP
‘W ITH C O M P L IM E N TS ’ S L IP
L E TTE R H E A D version ii – standard version
L E TTE R H E A D version ii – small version
L E TTE R H E A D version iii
‘B O O KS F RO M TH E G RU F F YG RO UND PRESS’ version i
L E TTE R H E A D version iv
‘B O O KS F RO M TH E G RU F F YG RO UND PRESS’ version ii
‘G R IF F YG RO U N D VA R IATIO N S ’
‘B A KE R ’S D O ZE N ’ H A N D B IL L
‘A N TH O N Y B A KE R ’ B O O KP L ATE second printing
‘P O E TRY A N D P R IN TS F RO M TH E GRUFFYGROUND PRESS’ version i
‘B A D E N IA N D U N D O N A L D B A KE R MEMORIAL’
‘VA L E ’ large version
‘VA L E ’ small version
‘ATQU E AV E ’
‘I S YN G O F A M YD E N ’
‘C O R R E C TIO N TO W IL L IA M M O RRIS’
‘TH IS S TO N E B A R N WA S C O N V E RTED…’
‘S IC VO S N O N VO B IS … ’
‘P O E TRY A N D P R IN TS F RO M TH E GRUFFYGROUND PRESS’ version ii
‘A L L , A L L , O F A P IE C E TH RO U G HOUT...’ handmade paper version
‘A L L , A L L , O F A P IE C E TH RO U G HOUT...’ mould-made paper version
‘D O M U S C A E D E T A R B O R E M ’
‘C A E LV M N O N A N IM V M M V TA N T...’
‘TH E P OW E R O F IN TE RVA L ’
‘IL L U S TR ATE D P O E TRY’
‘C A S TL E S IN TH E A IR ’
‘A M IC I D IE M P E R D ID I’
‘G ROW IN G O L D ’ ‘with fleuron’ version
‘G ROW IN G O L D ’ ‘without fleuron’ version
‘S H E R PA M E M O R IA L ’
‘G RU F F YG RO U N D R A R ITIE S ’
‘W E ATH E RC O C K M IS P R IN T L E A F ’
‘W E ATH E RC O C K R E P R IN T L E A F ’
‘TH E F U R N ITU R E AT L A D R A M ’
‘TH E V E S S E L S AT L A D R A M ’
‘TH E R E IS N OTH IN G G O O D TO BE HAD IN THE COUNTRY…’
‘D IRC E ’
‘M O O N L IT A P P L E S ’ L E A F
‘U N A L ITE R A S D ID IC IM U S ’
‘B A S KE RV IL L E ’S B IRTH DAY’ standard version
‘B A S KE RV IL L E ’S B IRTH DAY’ ‘variant paper’ version
81
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
‘B IRTH R IG H T’
‘TWO P O E M S ’
‘A WO M A N W ITH A N E D U C ATIO N…’
‘I P ITY TH E U N L E A R N E D … ’
‘S O M E C IRC U M S TA N TIA L E V ID E NCE…’
‘TRY E V E RYTH IN G O N C E … ’
‘E V E RY G R E AT M A N N OWA DAYS …’
‘TWO R E W R ITE S ’
‘IT IS N E V E R D IF F IC U LT… ’
‘QU E M D E U S V U LT… ’
‘IV P P ITE R E X A LTO … ’
‘TWO A N D TWO ’
S E C TIO N G
U N P U B L IS H E D ITE M S
1a.
1b.
2.
3.
4.
5.
6.
7.
W IL L IA M S H A KE S P E A R E ‘TH E P HOENIX AND TURTLE’ de tuinwijkpers standard edition
W IL L IA M S H A KE S P E A R E ‘TH E P HOENIX AND TURTLE’ de tuinwijkpers special edition
W IL L IA M S H A KE S P E A R E ‘TH E P HOENIX AND TURTLE’ de tuinwijkpers edition prospectus
P E TE R S C U P H A M ‘N ATU R A ’ gruffyground press edition – original printing
C H A R L OTTE M E W ‘TH E TR E E S ARE DOWN’ libanus press edition
V E R N O N S C A N N E L L ‘E X TR A TIME’
V E R N O N S C A N N E L L ‘E X TR A TIME’ prospectus
‘B A S KE RV IL L E AT L A D R A M ’ greetings card
82

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