here - Chestnut Press
Transcription
here - Chestnut Press
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 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 white Shoji handmade paper, in an unprinted French-folded yellow Mingei handmade paper cover. Unsigned. 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. This publication, illustrated with a boxwood engraving by Simon Brett of a dilapidated old aqueduct, contains the following seven poems: f. s econd state – s p ecia l edition mm × mm (The size given is only approximate due 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 Mingei handmade paper cover. Unsigned. 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 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. 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 mm × mm. pages, French-folded. Approximately ‘out of series’ 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. 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’ Printed by Claire van Vliet at the Janus Press, Newark, West Burke, Vermont, United States of America. 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. This publication, illustrated with a boxwood engraving 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 This publication, illustrated with a boxwood engraving 8 sect ion a 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 Mingei handmade paper cover. Unsigned. a. gruffyground press edition 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 as a Christmas greeting. 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. This publication, illustrated with a boxwood engraving 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 sect ion a 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. a. gruffyground 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. 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’ Printed by Claire van Vliet at the Janus Press, Newark, West Burke, Vermont, United States of America. 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. This publication, illustrated with a boxwood engraving 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 sect ion a 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. a. gruffyground press edition 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: This publication, illustrated with a boxwood engraving 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 sect ion a 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. This publication, illustrated with a boxwood engraving 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 sect ion a 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’. Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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. This publication, illustrated with a boxwood engraving 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 £. This publication, illustrated with a boxwood engraving 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 sect ion a 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. Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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 $. b. s p ecia l b inding edition 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 by the author and the artist. 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. This publication, illustrated with a boxwood engraving 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 14 sect ion a 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. This publication, illustrated with a boxwood engraving by Claire Dalby of a cottage and flowers at night, contains the following ten poems: This publication, illustrated with a boxwood engraving 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. b. s p ecia l b inding edition 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 15 sect ion a 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. There were ad personam copies of the standard edition printed for 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’ Printed by Jonathan Stephenson at the Rocket Press, Millcroft Stables, Blewbury, Oxfordshire, England. Printed by Sebastian Carter at the Rampant Lions Press, 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 Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. This unillustrated publication contains the single poem 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 £. 16 sect ion a 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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. This publication, illustrated with a boxwood engraving 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 et Montgolfier Mi-Teintes machine-made paper cover 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. 17 sect ion a Montgolfier Mi-Teintes machine-made endpapers. Signed by the author and the artist. 27. PAUL D E H N ‘CHEZ MONS I EUR PRI EUR’ Unpublished personal copy for Anthony Baker, bound in February . Not for sale. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’. This publication, illustrated with a boxwood engraving 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. There were ad personam copies of the standard edition printed for 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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 et Montgolfier Mi-Teintes machine-made paper cover 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 18 sect ion a 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 30. AL I SON BRACK ENBURY ‘TH E STORY OF S I GURD’ This unillustrated publication contains the single poem Success. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. This publication, illustrated with a boxwood engraving 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. This publication, illustrated with a boxwood engraving 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 19 sect ion a 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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. This unillustrated publication contains the single poem (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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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 £. This unillustrated publication contains the single poem The Phoenix and Turtle. 20 sect ion a 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). Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. This publication, illustrated with a boxwood engraving 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. Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. This unillustrated publication contains the single poem Weathercock. 21 sect ion a 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. This unillustrated publication contains the single poem Menelaus and Helen. This unillustrated publication contains the single poem 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. This unillustrated publication contains the single poem 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 sect ion a 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. Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. This publication, illustrated with a boxwood engraving 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. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. This unillustrated publication contains the single poem 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 sect ion a 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’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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. This unillustrated publication contains the single poem 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’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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 sect ion a 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! Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. This publication, illustrated with a boxwood engraving 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 sect ion a 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’ Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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’ Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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. Printed by Sebastian Carter at the Rampant Lions Press, Chesterton Road, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Michael Mitchell at the Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, 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’ Printed by Michael Mitchell at the Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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 ‘TH E PHOEN IX AND T URT L E’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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’ Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. a. standard 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. 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’) Printed by Jonathan Stephenson at the Rocket Press, Steventon Vicarage, Abingdon, Oxfordshire, England. Printed by Jonathan Stephenson at the Rocket Press, 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’) Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 2. ‘C ORONAT I ON ROS E’ (from ‘CYNICS AND ROMANTICS’) Featuring a boxwood engraving by Christopher Wormell of a spinning top. Printed by Sebastian Carter at the Rampant Lions Press, Chesterton Road, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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 copies; printed in black on white Hosho handmade 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’) Boxwood engraving by Richard Shirley Smith of a churchyard scene. 5. ‘HOM E’ (from ‘L EARN I NG TH E ROP ES’) a. f irst edition copies; printed in black on white Hosho handmade 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 copies; printed in black on white Hosho handmade 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. copies; printed in black on white Hosho handmade 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. copies; printed in black on white Hosho handmade paper. 8. ‘O L D M AN, OR LAD’S L OVE…’ (from ‘O L D M AN’) 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’. 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’) Printed by Claire van Vliet at the Janus Press, Newark, West Burke, Vermont, United States of America. Printed by Claire van Vliet at the Janus Press, Newark, West Burke, Vermont, United States of America. Boxwood engraving by Richard Shirley Smith of a mournful girl sitting on the floor. 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 as a Christmas greeting. 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’) Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. Printed by Claire van Vliet at the Janus Press, Newark, West Burke, Vermont, United States of America. Boxwood engraving by Richard Shirley Smith of a mournful girl sitting on the floor. 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. Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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 as a Christmas greeting. Printed by Claire van Vliet at the Janus Press, Newark, West Burke, Vermont, United States of America. 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’) Printed by Graham Williams at the Florin Press, Biddenden, Kent, England. 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 Zerkall mould-made paper. 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. Printed by Graham Williams at the Florin Press, Biddenden, Kent, England. 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 Zerkall mould-made paper. Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 61 sect ion e sect ion e Lemonwood engraving by Colin Paynton (known now 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’) Printed by Michael Mitchell at the Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, 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’) Printed by Michael Mitchell at the Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, 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 Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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 Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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. Used from . 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 Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 63 mm × mm. Single page. copies; printed in black and red in Bembo on white Zerkall mould-made paper. a. standard 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. 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 Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. Used from . 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. Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. mm × mm. Single page. copies; printed in black in Bembo on white Zerkall mould-made paper. Used from . 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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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 Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 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 Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Michael Mitchell at the Libanus Press, Katherine House, The Parade, Marlborough, Wiltshire, England. 64 sect ion f mm × mm. Single page. copies; printed in black and orange in Walbaum and Gresham on cream Zerkall mould-made paper. Swan House, Over, Cambridge, England. 151 mm × mm. Single folded sheet. copies; printed in black and grey-blue in Bembo and Lutetia on white Zerkall mould-made paper. 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. This appears in at least some of the copies of a gruffymaufry (see item in Section A). This appears in at least some of the copies of a gruffymaufry (see item in Section A). 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 Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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). Issued . 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 Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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 Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Published . mm × mm. Single page. copies; printed in black and brown in Palatino and Thorne Shaded on white Barcham Green handmade paper. 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. Issued . 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 Printed by Sebastian Carter at the Rampant Lions Press, 65 sect ion f This appears in at least some of the copies of a gruffymaufry (see item in Section A). 18. ‘ATQUE AVE’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. mm × mm. Single page. copies; printed in black and green in Palatino with Thorne Shaded on white Barcham Green handmade paper. 21. ‘THI S S TON E BARN WAS CO NVERT E D…’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. This appears in at least some of the copies of a gruffymaufry (see item in Section A). This appears in at least some of the copies of a gruffymaufry (see item in Section A). 19. ‘I SYNG OF A M Y D EN’ 22. ‘S IC VO S NON VOB I S…’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. This appears in at least some of the copies of a gruffymaufry (see item in Section A). 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’. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 66 sect ion f 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…’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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 . This appears in at least some of the copies of a gruffymaufry (see item in Section A). 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. mm × mm. Single page. copies; printed in black in Modern No. on dark terracotta Fabriano Roma Moretto handmade paper. This appears in at least some of the copies of a gruffymaufry (see item in Section A). Issued April . 25. ‘D OM US CAEDET ARB OR E M’ A short poem by John Leicester Warren, Baron de Tabley. Printed by Michael Mitchell at the Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, England. This 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 Romulus on white Vélin d’Arches mould-made paper. 67 sect ion f 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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. Printed by John Grice at the Evergreen Press, Libbys Drive, Stroud, Gloucestershire, England. 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. Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. 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. Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 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’. Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. mm × mm. Single page. copies; printed in black and dark grey in Granjon on white Ragston machinemade paper. This appears in at least some of the copies of a gruffymaufry (see item in Section A). 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’ Printed by Sebastian Carter at the Rampant Lions Press, Swan House, Over, Cambridge, England. 68 sect ion f 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. Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. 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. Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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’ Printed by Gerald Lange at the Bieler Press, Marina del Rey, California, United States of America. 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. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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 . Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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 sect ion f 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. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’. Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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). a. standard vers ion mm × mm. Single page. copies; printed in grey and red in Baskerville on white Saunders Waterford Rough mould-made paper. 70 sect ion f 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…’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. Issued from January . mm × mm. Single page. copies; printed in black 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). Issued from January . 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…’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. mm × mm. Single page. copies; printed in black and salmon pink in Dante and Optima on white Vélin Arches Blanc mould-made paper. 46. ‘I P ITY TH E U N L EARN E D…’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. Issued from January . mm × mm. Single page. copies; printed in black and brown-grey in Dante and Optima on white Vélin Arches Blanc mould-made paper. 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). Issued from January . 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’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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…’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. Issued from July . mm × mm. Single page. copies; printed in black and golden yellow in Dante and Optima on white Vélin Arches Blanc mould-made paper. An amusing pair of anonymous rewrites: one a parody of an Isaac Newton quote, the other a parody of a quote from Oscar Wilde. Issued from January . 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). Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. 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. Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. Issued from July . 71 sect ion f sect ion f A quote by Pelham Grenville Wodehouse. 52. ‘QUEM DEUS VULT…’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. mm × mm. Single sheet. copies; printed in purple in Romanée Titling on cream Somerset mouldmade paper. Issued from July . 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…’ Printed by John Grice at the Evergreen Press, Bonds Mill, Stonehouse, Gloucestershire, England. mm × mm. Single sheet. copies; printed in scarlet and orange in Cristal and Lutetia on cream Somerset mould-made paper. Issued from July . 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’ Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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 ‘TH E PHOEN IX AND T URT L E’ 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 ‘TH E PHOEN IX AND T URT L E’ 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’ Printed by John Grice at the Evergreen Press, Libbys Drive, Stroud, Gloucestershire, England. 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. Printed by Michael Mitchell at the Libanus Press, Rose Tree House, Silverless Street, Marlborough, Wiltshire, 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 Printed by John Grice at the Evergreen Press, Libbys Drive, Stroud, Gloucestershire, England. 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 Printed by Martyn Ould at the Old School Press, The Green, Hinton Charterhouse, Bath, Somerset, England. 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