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ACKNOWLED G MENTS<br />
I would very much like to thank Sebastian Carter, Oliver Clark, Jeffrey Cooper, John Grice, Michael Mitchell, Martyn<br />
Ould and Michael Taylor for their help with all manner of questions. My thanks also to the many artists for their<br />
permission to reproduce their engravings as shown in the illustrated section.<br />
Special acknowledgments go to the following:<br />
Ruth Fine, for without her book The Janus <strong>Press</strong> 1975-80 (published by the University of Vermont, 1982), descriptions of the Janus<br />
<strong>Press</strong> editions of The Missed Beat (item 3c in Section A), The Closed Door (item 5b in Section A) and Winter Wind (item 10b in Section A)<br />
would have been considerably less detailed.<br />
Gerald Lange at the Bieler <strong>Press</strong>, whose website (bielerpressvi.blogspot.com) was a partial source of information in the<br />
descriptions of both The Phoenix and Turtle (item 33 in Section A) and Weathercock (items 36a and 36b in Section A).<br />
Jack W. C. Hagstrom and George Bixby, for without their book Thom Gunn: Bibliography, 1940-78 (published by Bertram Rota, 1979),<br />
my information on the partially handwritten edition of The Missed Beat (item 3f in Section A) would have been far less<br />
informative.<br />
Most of all though, very special thanks go to Anthony Baker for the many hours of invaluable help he has put into<br />
aiding me with this bibliography, and also for helping furnish my shelves with pretty much all things Gruffyground.<br />
Published by <strong>Chestnut</strong> Editions, Hitchin, Hertfordshire, 2012. Copyright © <strong>Chestnut</strong> Editions, 2012.<br />
All engravings copyright © Gruffyground <strong>Press</strong>, or the artists. Cover photograph copyright © Mark Askam, 2012.<br />
2
C O N TENT S<br />
THE GRU FFYGROU N D P R E SS: A BRIEF H ISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4<br />
sec t i on a<br />
GRU FFYGROU N D P R E SS PUB L ICATIO N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5<br />
AN ILL U S TRATIVE SELEC T I ON OF ITEM S F ROM THE GRU FFYGROU N D P R E SS . . . . . . . . . . . . . . . 26<br />
sec t i on b<br />
PROSPECTUSES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51<br />
sec t i on c<br />
GREETINGS CARDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55<br />
sec t i on d<br />
LIMITED EDITION PRINTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58<br />
sec t i on e<br />
OTHER PRINTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60<br />
sec t i on f<br />
ALL OTHER EPHEMERA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63<br />
sec t i on g<br />
UNPUB L ISHED I T EMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73<br />
THE ‘TERRIBLE RULES’ OF THE GRUFFYGROUND PRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76<br />
A TRI BUTE TO THE GRUFFYGROUND PRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77<br />
CHECKLIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78<br />
3
T H E G R U FFYGROUN D PRESS<br />
A BRIEF H I S TORY<br />
Back in the 1960s, whilst working in the reference<br />
department at Bristol Library, Anthony Baker was<br />
given the task of sorting out all the private press<br />
books and ephemera held t<strong>here</strong>. This involved collecting<br />
and cataloguing all the items in their collection, plus<br />
finding and purchasing new and missing pieces. Being a<br />
particularly orderly character with rather refined tastes,<br />
this was a most suitable undertaking for him to be handed,<br />
and it quickly became something he thoroughly<br />
enjoyed. So much so that he managed to make it last as<br />
pretty much a permanent part of his job.<br />
After a while he started to feel that publishing such<br />
pieces was something he’d rather like to do; with the aim<br />
of producing the kind of items that he wanted to grace<br />
his shelves (and also, he has admitted, to achieving some<br />
form of lasting recognition, albeit on the back of the<br />
talents of others).<br />
When the time came that Anthony chose to actively<br />
pursue this notion he decided that he would not be the<br />
one doing the actual printing. Only a small percentage of<br />
the work he’d seen came up to his exacting standards,<br />
and he felt t<strong>here</strong> was no reason to expect himself capable<br />
of producing good enough results. Instead he followed<br />
the example of the Nonesuch <strong>Press</strong>, whose output was<br />
mostly printed by other presses. This had the advantage<br />
of giving Anthony access to a great deal more typefaces<br />
than if he were just printing himself – something that<br />
has proved more than good reason for his decision over<br />
the years.<br />
As for naming the press, Anthony wanted a name that<br />
related to his locality, the village of Sidcot, part of the<br />
parish of Winscombe in Somerset’s Mendip Hills. After<br />
much consideration Gruffyground <strong>Press</strong> was settled on;<br />
‘gruffy ground’ being the name given to the disturbed,<br />
uneven terrain left behind by shallow lead mining in the<br />
Mendips in the nineteenth-century.<br />
Anthony’s first forays into publishing came in the early<br />
1970s after coming across a particularly fine epitaph. He<br />
thought that some collections of epitaphs from counties<br />
in his near vicinity would make interesting items to start<br />
his imprint with, so he decided to seek out more that he<br />
felt worthy of publication. After getting three suitable<br />
collections together he commissioned local printers to<br />
produce small letterpress editions of them. Unfortunately,<br />
the quality of the presswork on the second and third<br />
collections was not to Anthony’s satisfaction, and he<br />
disowned them; now regarding the whole Epitaphs series<br />
as a ‘false start’.<br />
4<br />
The first serious publication came about in the mid<br />
1970s after reading a poem by Thom Gunn entitled<br />
Aqueduct (uncollected at the time) in an issue of Critical<br />
Quarterly. Most taken by the piece, Anthony wrote to the<br />
author in America to ask whether he might be allowed<br />
to publish it, along with some more of his uncollected<br />
poems. Thom agreed, and posted a number of pieces<br />
from which Anthony picked a suitable selection that he<br />
then decided should be illustrated with a wood engraving.<br />
Simon Brett, an up-and-coming engraver at the time,<br />
was chosen for the task and asked to create a suitable<br />
illustration. This he duly did with a most praiseworthy<br />
depiction of a dilapidated old aqueduct.<br />
With the poems and engraving now in hand, Anthony<br />
needed a printer of extremely high standards to print<br />
them. Anthony decided he wanted to use an American<br />
printer as he felt at the time that, on the whole, printers<br />
in the United States were better than those in England<br />
(although, a few years later this viewpoint was to change).<br />
Additionally, using an American printer would make it<br />
easier to get the copies signed by Thom. Now came the<br />
difficult decision as to which printer to commission. In<br />
his personal library, Anthony owned several titles from<br />
the Janus <strong>Press</strong> in Vermont; all beautifully printed by<br />
Claire van Vliet. With her superb quality of production it<br />
was obvious that the Janus <strong>Press</strong> was the perfect choice.<br />
Anthony got in contact and successfully managed to<br />
persuade Claire to print the project for him.<br />
Finally, all the elements successfully came together in<br />
The Missed Beat; an excellent example of how well a piece<br />
of fine press can be created with the right ingredients.<br />
Anthony has since gone on to publish over forty titles.<br />
Many feature a wood engraving (always printed from the<br />
original block), and all have been immaculately printed<br />
by the finest printers, on the highest quality papers<br />
(nearly always handmade or mould-made), using a wide<br />
selection of classic and rare typefaces. His extremely high<br />
standards, and the rigid set of rules he has in place to help<br />
achieve them, have resulted in what he once described as<br />
‘a rather satisfying body of work’.<br />
Now, after four decades of the Gruffyground <strong>Press</strong>, this<br />
bibliography is a testament to Anthony Baker’s singleminded<br />
pursuit of producing items of beauty, excellence<br />
and literary merit, both to enrich his own shelves, and<br />
hopefully the shelves of others.<br />
Mark Askam, December 2012
SECTION A<br />
G R U FFYGROUN D PRESS P U B L I CAT I ON S<br />
This section describes all the full, non-ephemeral publications from the Gruffyground <strong>Press</strong>, using Anthony Baker’s<br />
definition that a publication is anything sewn in covers or presented in a folder. A couple of notes should be made on<br />
the information given <strong>here</strong> (and indeed throughout this bibliography). Firstly, all sizes given are height by width, and<br />
are prone to slight variation across the copies due to the handmade nature (deckle edges and such) of the publications.<br />
Secondly, the number of pages given is counted from the first printed page to the colophon page. Finally, this bibliography<br />
corrects all errors that have appeared previously in Gruffyground <strong>Press</strong> stocklists, prospectuses and colophons.<br />
1. ‘SIX SOM E RS E T E P ITAP H S ’<br />
Printed by John Craig at the Piccolo <strong>Press</strong>, 48 Lansdown,<br />
Stroud, Gloucestershire, England.<br />
This unillustrated publication contains six epitaphs taken<br />
from across the county of Somerset.<br />
a . standar d e d i t i on<br />
203 mm × 88 mm. 8 pages. 130 (out of 140) copies; printed<br />
in grey and red in Garamond on white Zerkall Silurian<br />
mould-made paper, in an unprinted French-folded red<br />
Mingei handmade paper cover. Unsigned.<br />
b. s p ec ia l e d i t i on i<br />
203 mm × 88 mm. 8 pages. 10 (out of 140) copies; printed in<br />
grey and red in Garamond on white Gifu Shoji handmade<br />
paper, in an unprinted French-folded red Mingei<br />
handmade paper cover. Unsigned.<br />
Published December 1972 (exact date not recorded). Not for sale.<br />
Distributed free to friends and acquaintances as a Christmas greeting.<br />
c . s p ec ia l e d i t i on i i<br />
203 mm × 88 mm. 16 pages. 1 ‘out of series’ copy; printed<br />
in grey and red in Garamond on white Gifu Shoji handmade<br />
paper, in an unprinted French-folded red Mingei<br />
handmade paper cover. Unsigned.<br />
Unpublished personal copy for Anthony Baker.<br />
edition notes:<br />
Anthony Baker started his publishing career with this small collection<br />
of epitaphs that he’d gat<strong>here</strong>d from churches and graveyards across his<br />
home county of Somerset. It was to be the first of a series of six such<br />
collections from southern counties, from Devon to Kent, but in practice<br />
only two more followed; six dorset epitaphs and six hampshire<br />
epitaphs (see items 2 and 6 later in this section). The presswork of the<br />
two later collections was far from the high standard which Anthony<br />
wished to represent his imprint, so he decided they were best disowned.<br />
The printing of this collection is perfectly good, so it hasn’t been disowned<br />
as such, but Anthony still doesn’t count it as a proper part of his output<br />
5<br />
due to its association with the other two. He rather counts the whole<br />
‘Epitaphs’ series as a false start.<br />
The colophon incorrectly states that the special copies are printed on<br />
Mungei (a mis-spelling of Mingei) rather than the Gifu Shoji that was<br />
actually used. As t<strong>here</strong> was some show-through of the ink on the rather<br />
thin Gifu Shoji, John Craig printed one variant special copy (item c)<br />
for Anthony with each page printed on one side of the paper only.<br />
Although not an illustration as such, the title page does feature a linocut<br />
‘AB’ pressmark cut by the printer. John Craig printed the job using the<br />
pressmark without having first sent a proof of the design for approval.<br />
Afterwards he felt sure that Anthony wouldn’t like it, although his wife<br />
was equally sure he would. The copies were sent out hesitantly, but as it<br />
turned out Anthony liked the pressmark a great deal; so much so that he<br />
asked John to use it again on a Gruffyground letterhead (see item 1 in<br />
Section F).<br />
<br />
2 . ‘SI X D ORS E T E P ITAP H S ’<br />
Printed by Humphrey Stone at the Litton Cheney <strong>Press</strong>,<br />
The Old Rectory, Litton Cheney, Dorset, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Reynolds Stone of a churchyard scene (originally used<br />
in ‘Two Stories’ by T. F. Powys, a limited edition book<br />
published by R. A. Brimmell at Hastings in 1967), contains<br />
six epitaphs taken from across the county of Dorset.<br />
a . firs t s tat e – s tandar d e d i t i on i<br />
292 mm × 193 mm. 8 pages. Unrecorded number of copies<br />
out of an originally intended 60 (out of 150); printed in<br />
black in Janet on cream Inveresk mould-made paper, in<br />
an unprinted yellow Tre Kronor machine-made paper<br />
cover. Unsigned.<br />
b. firs t s tat e – s tandar d e d i t i on i i<br />
292 mm × 193 mm. 8 pages. Unrecorded number of copies<br />
out of an originally intended 40 (out of 150); printed in<br />
black in Janet on cream Hodgkinson handmade paper,
in an unprinted yellow Tre Kronor machine-made paper<br />
cover. Unsigned.<br />
c . firs t stat e – s p ec i a l e d i t ion i<br />
300 mm × 200 mm (The size given is only approximate due<br />
to considerable variation in the Mingei covers). 8 pages.<br />
Unrecorded number of copies out of an originally intended<br />
40 (out of 150); printed in black in Janet on cream<br />
Hodomura handmade paper, in an unprinted Frenchfolded<br />
yellow Mingei handmade paper cover. Unsigned.<br />
d . firs t stat e – s p ec i a l e d i t i on ii<br />
300 mm × 200 mm (The size given is only approximate due<br />
to considerable variation in the Mingei covers). 16 pages.<br />
Unrecorded number of copies out of an originally intended<br />
10 (out of 150); printed in black in Janet on white Shoji<br />
handmade paper, in an unprinted French-folded yellow<br />
Mingei handmade paper cover. Unsigned.<br />
e. s econd s tat e – s tandar d e d i t i on<br />
292 mm × 193 mm. 140 (out of 160) copies; printed in black<br />
in Janet on cream Inveresk mould-made paper, in an unprinted<br />
yellow Tre Kronor machine-made paper cover.<br />
Unsigned.<br />
f. s econd stat e – s p ec i a l e d i t i on<br />
300 mm × 200 mm (The size given is only approximate due<br />
to considerable variation in the Mingei covers). 20 (out of<br />
160) copies; printed in black in Janet on cream Hodomura<br />
handmade paper, in an unprinted French-folded yellow<br />
Mingei handmade paper cover. Unsigned.<br />
Published December 1974 (exact date not recorded), although printed and<br />
dated 1973. Not for sale. Distributed free to friends and acquaintances<br />
as a Christmas greeting.<br />
edition notes:<br />
This, the second of Anthony Baker’s collections of epitaphs from nearby<br />
counties, was disowned by him due to the print quality falling short of<br />
that which he wished to represent his imprint.<br />
Originally, six dorset epitaphs was going to comprise of 150 copies<br />
printed across four different papers. For the standard copies t<strong>here</strong> were<br />
going to be 60 copies printed on Inveresk and 40 copies printed on Hodgkinson,<br />
whilst for the special copies t<strong>here</strong> were to be 40 copies printed on<br />
Hodomura and 10 copies printed on Shoji. The colophon was set with this<br />
information, but after a few copies were printed Anthony had a change<br />
of mind and decided to increase the final total of copies to 160 whilst<br />
decreasing the number of different papers to two. The colophon was reset<br />
to feature the revised edition details and the full edition printed. T<strong>here</strong>’s<br />
only a small handful of any of the variants of first state copies in existence,<br />
and they were distributed along with the final second state edition. It is<br />
not even certain that any of the first state standard edition copies (items<br />
a and b) exist, as I have yet to come across any, or know of anyone who<br />
has. The entries appear <strong>here</strong>, though, as it is still most likely that at least<br />
a couple of standard copies would have been printed in the first state, as<br />
6<br />
was definitely the case with both the first state special editions (items c<br />
and d). Due to the considerable show-through of the rather thin Shoji<br />
used for the first state special edition II copies (item d), the printer<br />
decided to print them on one side of each page only.<br />
The title page wood engraving was a suitable one that the printer had to<br />
hand from a selection of blocks engraved by his father, Reynolds Stone.<br />
This is the only instance of a Gruffyground <strong>Press</strong> publication w<strong>here</strong> an<br />
engraving not commissioned by Anthony has been used.<br />
Although printed in 1973, copies were not ready in time to send out as<br />
Christmas greetings for that year (as was Anthony Baker’s intention).<br />
Instead, they were put by for sending out the following Christmas. It’s<br />
quite possible that some copies were distributed before then.<br />
<br />
3 . T H O M G U N N<br />
‘THE M I S S E D BEAT ’<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
This publication, illustrated with a boxwood engraving<br />
by Simon Brett of a dilapidated old aqueduct, contains<br />
the following seven poems:<br />
The Soldier<br />
Light Sleeping<br />
Excursion<br />
From an Asian Tent<br />
The Clock<br />
Aqueduct<br />
The Missed Beat<br />
a . g ru f f yg ro u n d p r e s s e d i t i o n – firs t s tat e<br />
240 mm × 165 mm. 12 pages, French-folded. Approximately<br />
70 (out of 170) copies; printed in black and olive in Times<br />
on ivory Okawara handmade paper, in a French-folded<br />
verona verde (green) Fabriano Miliani Ingres mouldmade<br />
paper cover printed in black. Signed by the author<br />
and the artist.<br />
b. gruffyground press edition – s e c o nd s tat e<br />
240 mm × 165 mm. 12 pages, French-folded. Approximately<br />
100 (out of 170) copies; printed in black and olive in Times<br />
on ivory Okawara handmade paper, in a French-folded<br />
verona verde (green) Fabriano Miliani Ingres mouldmade<br />
paper cover printed in black. Signed by the author<br />
and the artist.<br />
Published May 23rd 1976. Price £6.<br />
c . janu s p r e s s e d i t ion<br />
235 mm × 164 mm (in a 240 mm × 166 mm slipcase). 14<br />
pages, French-folded. 50 copies; printed in black and olive<br />
section a
in Times on ivory Okawara handmade paper. Quarter<br />
bound in dark grey cloth, with verona verde (green) Fabriano<br />
Miliani Ingres mould-made paper (decorated with<br />
darker green stripes printed from a woodblock cut by<br />
Claire van Vliet) over boards, and an author/title label on<br />
the spine printed in black on undecorated verona verde<br />
Fabriano Miliani Ingres mould-made paper (used also for<br />
the free endpapers and pastedowns). This book comes<br />
housed in a slipcase covered with dark grey cloth over<br />
boards, with front and back onlays of the same decorated<br />
Fabriano paper as used on the book, plus an author/title<br />
label on the spine that’s the same as that which appears<br />
on the spine of the book. These copies, with a half-title<br />
page not present in the version published by the Gruffyground<br />
<strong>Press</strong>, were bound by James Bicknel and published<br />
by the Janus <strong>Press</strong>. Signed by the author only.<br />
Published May 1st 1976. Price $35.<br />
d . janu s press edition – s o f t c ov e r v ersion<br />
240 mm × 165 mm. 12 pages, French-folded. Approximately<br />
20 ‘out of series’ copies; printed in black and olive in Times<br />
on ivory Okawara handmade paper, in a French-folded<br />
verona verde (green) Fabriano Miliani Ingres mouldmade<br />
paper cover printed in black. Half of the copies<br />
signed by the author and the artist, and the other half<br />
signed by the author only.<br />
Published 1976 (exact date unknown). Not for sale.<br />
e. gru f f yg ro u n d p r e s s e d i t i on –<br />
h ar d bound version<br />
235 mm × 164 mm (in a 240 mm × 166 mm slipcase). 14<br />
pages, French-folded. 1 ‘out of series’ copy; printed in<br />
black and olive in Times on ivory Okawara handmade<br />
paper. Quarter bound in dark grey cloth, with verona<br />
verde (green) Fabriano Miliani Ingres mould-made paper<br />
(decorated with darker green stripes printed from a woodblock<br />
cut by Claire van Vliet) over boards, and an author/<br />
title label on the spine printed in black on undecorated<br />
verona verde Fabriano Miliani Ingres mould-made paper<br />
(used also for the free endpapers and pastedowns). This<br />
book comes housed in a slipcase covered with dark grey<br />
cloth over boards, with front and back onlays of the same<br />
decorated Fabriano paper as used on the book, plus an<br />
author/title label on the spine that’s the same as that<br />
which appears on the spine of the book. This copy, with<br />
a half-title page not present in the other Gruffyground<br />
copies, was bound by James Bicknel. Signed by the author<br />
only.<br />
Unpublished personal copy for Anthony Baker.<br />
f. thom gunn edition<br />
T<strong>here</strong> were five incomplete sets of the pages left over<br />
from the printing of the missed beat that lacked the title<br />
7<br />
page, the copyright page, the poem The Missed Beat and<br />
the colophon. Rather than let them go to waste, Claire<br />
van Vliet placed them in the green paper wrappers used<br />
for the Gruffyground <strong>Press</strong> edition and sent them to<br />
Thom Gunn, who, on a blank page near the end, wrote<br />
out the missing poem by hand in black ink, and then<br />
added underneath in red ink his own colophon, number<br />
and signature. These were distributed by Thom to friends.<br />
e d i t ion notes:<br />
This collection was the first of a handful of Gruffyground <strong>Press</strong> items<br />
printed and co-published in the United States. Anthony Baker had<br />
concluded that, with the exception of the Rampant Lions <strong>Press</strong> (which<br />
appeared to have all the commissions it could cope with), t<strong>here</strong> were<br />
better printers in America than in England. Deciding that he wanted<br />
American printers to produce his publications for him, Anthony approached<br />
the Janus <strong>Press</strong> in Vermont, asking if they would print his<br />
edition. When responding to the request, the printer, Claire van Vliet,<br />
suggested that the missed beat could be a co-publication between<br />
Gruffyground and Janus. This would have benefits for both parties; the<br />
printer would get free use of the engraving, and Anthony would receive<br />
a considerably lower bill than if he were publishing alone. Anthony<br />
thought this a reasonable idea and agreed. The Janus <strong>Press</strong> edition was<br />
published a little ahead of the Gruffyground <strong>Press</strong> one – something that<br />
Anthony Baker was displeased with. He felt that, despite having become<br />
a co-publication, it was still his project.<br />
The difference between the first and second state Gruffyground copies<br />
(items a and b) is not a particularly obvious one. After several copies<br />
had been printed it was decided that the spacing between the first and<br />
second lines on the title page was too wide. In the first state copies the<br />
gap between the lines was 16 mm. This was reduced in the second state<br />
copies to 11 mm.<br />
T<strong>here</strong> were a couple of variants produced in addition to the published<br />
copies. One was a Janus <strong>Press</strong> softcover version (item d). Bound in the<br />
same cover as the Gruffyground <strong>Press</strong> edition and lacking the half-title<br />
page featured in the hardbound Janus <strong>Press</strong> edition, these copies were<br />
split equally between both publishers, with Anthony’s copies signed by<br />
both the author and the artist and Claire van Vliet’s signed by the author<br />
only. The other variant was a one-off hardcover Gruffyground <strong>Press</strong> copy<br />
(item e) that came about when a set of the Gruffyground <strong>Press</strong> sheets<br />
was accidentally sent to the binder amongst the Janus <strong>Press</strong> sheets. Claire<br />
van Vliet sent this to Anthony as a gift.<br />
The engraving for the missed beat was Simon Brett’s first book<br />
illustration (although he’d built up quite a reputation for his bookplates).<br />
Thom Gunn was delighted with it, and contrasting it with Leonard<br />
Baskin’s illustrations for a Rainbow <strong>Press</strong> collection of his poems, he<br />
wrote ‘Baskin’s pictures were marvellous, but they had very little to do<br />
with the feeling of my poetry. But Brett’s is just like me – meticulous<br />
and romantic, visions founded on substances’.<br />
This collection well and truly set the standard for all of Anthony’s future<br />
projects and is regarded by him as the first true Gruffyground publication.<br />
section a
4. RO B ERT GRAV E S<br />
‘TWIN TO TWI N ’<br />
Printed by Kenneth Hardacre at the Kit-Cat <strong>Press</strong>, Hunton<br />
Bridge, Hertfordshire, England.<br />
This unillustrated publication contains the following two<br />
poems:<br />
Considine<br />
Twin to Twin<br />
194 mm × 129 mm. 4 pages, French-folded. 25 copies;<br />
printed in black in Palatino on white Hosho handmade<br />
paper, in a French-folded red Tumba Ingres machinemade<br />
paper cover printed in black. Unsigned.<br />
Published September 15th 1977. Not for sale.<br />
edition notes:<br />
Frustrated by being unable to obtain permission to publish this pair of<br />
previously uncollected poems, Anthony Baker effectively pirated them<br />
(though Robert’s wife Beryl Graves subsequently gave approval for<br />
private distribution). The edition was split, with eight copies sent to<br />
Beryl, eight kept by the printer, and the remainder for Anthony.<br />
The Kit-Cat <strong>Press</strong> was one of the few presses in England at the time<br />
whose work Anthony Baker felt was easily good enough to reach his high<br />
standards. The number of copies Anthony wanted was so low that t<strong>here</strong><br />
seemed no point in sending the production abroad for printing, plus the<br />
fact that it was a ‘pirated’ edition had him wanting to keep its production<br />
a more local, and t<strong>here</strong>fore (hopefully) a more ‘hush-hush’ affair.<br />
<br />
5. JAM E S REEVE S<br />
‘TH E CLO S ED D O OR ’<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
This publication, illustrated with a boxwood engraving<br />
by Richard Shirley Smith of a mournful girl sitting on<br />
the floor, contains the following eight poems:<br />
Madrigal<br />
The Closed Door<br />
The Hope, The Hurt<br />
I Tread The Years<br />
Ragtime: Jeunesse Dorée<br />
The Marriage of Figaro<br />
Autumn Day<br />
The Act of Death<br />
a . gru f f yg ro u n d p r e s s e d i t i on<br />
240 mm × 165 mm. 12 pages. 165 copies; printed in black<br />
8<br />
and brown in Walbaum on cream Twinrocker Sweetbutter<br />
handmade paper, in a French-folded sienna brown<br />
Fabriano Miliani Ingres mould-made paper cover printed<br />
in black. Signed by the author and the artist.<br />
Published December 22nd 1977. Price £6.<br />
b. janu s p r e s s / t w i n ro c k e r e d i t ion<br />
238 mm × 160 mm. 12 pages. 75 copies; printed in black and<br />
brown in Walbaum on cream Twinrocker Sweetbutter<br />
handmade paper. Case-bound in pink and purple marbled<br />
(by Claire van Vliet and Susan Johanknecht) Fabriano<br />
handmade paper over boards, with a natural Hewitt calf<br />
spine, and a title label on the front cover printed in black,<br />
with a dark gold framing line, on cream Twinrocker<br />
Sweetbutter handmade paper (used also for free endpapers<br />
and pastedowns). Bound by James Bicknell and<br />
Susan Johanknecht and co-published by the Janus <strong>Press</strong><br />
and Twinrocker, Brookston, Indiana. Unsigned.<br />
Published 1977 (exact date unknown). Price $50.<br />
e d i t ion notes:<br />
Anthony Baker again decided to make use of the printing talents of the<br />
Janus <strong>Press</strong>. As with the missed beat, the decision was made to<br />
make the project a co-publication between Gruffyground and Janus, with<br />
the same benefits to each party as before (see edition notes for the<br />
missed beat). This time, the Janus <strong>Press</strong> copies were themselves a<br />
joint publication between the Janus <strong>Press</strong> and the Twinrocker paper mill<br />
that supplied the paper for the edition. The Twinrocker paper used in<br />
both this and the Janus <strong>Press</strong> copies was specially made for the job. As<br />
well as the usual Twinrocker watermark, a rather abstract ‘AB’ watermark<br />
was also added. This is not present in all copies.<br />
During initial negotiations, James Reeves had declined to sign the<br />
colophons due to his partial sightedness (he suffered from glaucoma).<br />
When he saw (as far as he was able) the sheets, and in particular the<br />
engraving, he insisted on signing the edition after all.<br />
Due to some miscommunication, a couple of small errors managed to<br />
make their way into this publication. In the poem ‘Ragtime: Jeunesse<br />
Dorée’, both cases of ‘doddle’ should say ‘doodle’. Also, in ‘The Act of<br />
Death’, the last line should end with a question mark.<br />
The sheets for the closed door somehow managed to get dented<br />
in transit. To rectify this, Anthony had to spend many hours damping<br />
and pressing the sheets to bring them back to a publishable state.<br />
<br />
6 . ‘SI X HAMPSHIRE E P ITAP H S ’<br />
Printed by George Tee at the Cernel <strong>Press</strong>, Cerne Abbas,<br />
Dorset, England.<br />
This publication, illustrated with a boxwood engraving<br />
section a
y Richard Shirley Smith of a churchyard scene, contains<br />
six epitaphs taken from across the county of Hampshire.<br />
a . standar d e d i t i on<br />
160 mm × 237 mm. 8 pages. 110 (out of 130) copies; printed<br />
in black in Bell on pale blue Portals mould-made paper,<br />
in an unprinted French-folded dark blue Mingei handmade<br />
paper cover. Unsigned.<br />
b. s p ec ia l e d i t i on<br />
160 mm × 237 mm. 8 pages, French-folded. 20 (out of 130)<br />
copies; printed in black in Bell on white Hosho handmade<br />
paper, in an unprinted French-folded dark blue<br />
Mingei handmade paper cover. Unsigned.<br />
Published December 1978 (exact date not recorded), although printed and<br />
dated 1977. Not for sale. Distributed free to friends and acquaintances<br />
as a Christmas greeting.<br />
edition notes:<br />
This – the last of Anthony Baker’s three collections of epitaphs from<br />
nearby counties – had been progressing slowly in the background since<br />
its inception a couple of years previous. T<strong>here</strong> were several reasons for<br />
the lengthy delay, mainly due to problems with the actual press, but the<br />
most entertaining has to be the one that Anthony learned about in a letter<br />
from the printer, informing him that ‘Six Wiltshire Epitaphs’ was finished.<br />
In a hasty reply, Anthony questioned whether ‘Wiltshire’ was a typo<br />
in the letter. It was not. The printer had inexplicably printed the job with<br />
the title ‘Six Wiltshire Epitaphs’ (despite knowing the collection was one<br />
of epitaphs from Hampshire), and humbly responded ‘I feel, and am, an<br />
ass’. When the corrected edition finally surfaced Anthony was greatly<br />
disappointed with the presswork and quickly disowned the publication.<br />
He was so unsatisfied with the copies that he only ever distributed a handful.<br />
Most have, to this day, remained uncollated, unfolded, unsewn and<br />
without covers. It is fair to say that the standard copies are by far the<br />
worst printed items ever distributed by Anthony. The presswork of the<br />
special copies is considerably better than that of the standard edition,<br />
but still far from the publisher’s high standards.<br />
Although printed in 1977, copies were not ready in time to send out as<br />
Christmas greetings for that year. As with six dorset epitaphs<br />
(see item 2 earlier in this section), they were put by for sending out the<br />
following Christmas. It is quite possible that a couple of copies were<br />
distributed before then.<br />
7. P E TER SCUPHAM<br />
‘NAT URA ’<br />
<br />
Printed by Karl Kimber (Kim) Merker at the Windhover<br />
<strong>Press</strong>, Iowa City, Iowa, United States of America.<br />
This publication, illustrated with a boxwood engraving<br />
by Peter Reddick of a countryside landscape, contains the<br />
following sequence of nine nature poems:<br />
9<br />
i Water<br />
ii Cottage Flowers<br />
iii Sky<br />
iv Lanes<br />
v Natura<br />
vi Woods<br />
vii Grass<br />
viii Stubble Fires<br />
ix Frost<br />
a . g ru f f yg ro u n d p r e s s e d i t ion<br />
217 mm × 132 mm. 16 pages. 225 copies; printed in black in<br />
Romanée on white Barcham Green Windhover handmade<br />
paper, in a beige Barcham Green Katuscha handmade<br />
paper cover printed in black. Signed by the author<br />
and the artist.<br />
Published December 4th 1978. Price £6.<br />
b. w i n d h ov e r p r e s s e d i t ion<br />
219 mm × 133 mm. 16 pages. 225 copies; printed in black in<br />
Romanée on white Barcham Green Windhover handmade<br />
paper. Quarter bound in green cloth, with silverygreen<br />
Sudare handmade paper printed in black over<br />
boards, and free endpapers and pastedowns of white<br />
Barcham Green Windhover handmade paper. Bound by<br />
the Black Oak bindery. Unsigned.<br />
Published December 4th 1978. Price $7.<br />
e d i t ion notes:<br />
Deciding to try out American printers other than the Janus <strong>Press</strong>,<br />
Anthony Baker commissioned Kim Merker to print natura at his<br />
private Stone Wall <strong>Press</strong>, with the suggestion put forward that, like his<br />
earlier co-publications with the Janus <strong>Press</strong>, this collection could also be<br />
a co-publication with the same benefits to each party as suggested by the<br />
Janus <strong>Press</strong> previously (see edition notes for the missed beat earlier<br />
in this section). The printer agreed, and so another Gruffyground <strong>Press</strong><br />
co-publication was produced. For reasons unknown the edition didn’t get<br />
printed by Kim at his private press as requested, but was instead printed<br />
by his students at the Windhover <strong>Press</strong>; the fine press he’d founded at the<br />
University of Iowa.<br />
natura ended up having to be printed twice. The first printing was<br />
rejected by Anthony on grounds of poor presswork (see item 3 in Section<br />
G), so a reprint was called for. This published reprint features two errors<br />
in the first poem, absent from the original printing: ‘whose’ is omitted<br />
before ‘edges’ in the third line, and an added comma after ‘shape’ in the<br />
last line makes no sense. It is most likely that the type had been distributed<br />
by the time the demand for a reprint reached the printer, and so the edition<br />
would have needed resetting. The whole edition was then reprinted, but<br />
without the publisher being sent a new proof. Incredibly, it was only after<br />
nearly thirty years that the aforementioned omission of ‘whose’ was<br />
noticed and brought to the attention of both the publisher and poet.<br />
The misprints were not the only problem with natura. The sheets also<br />
section a
got dented in transit, calling for hours of damping and pressing to rectify<br />
them. In addition to this the surface of the wood engraving sustained a<br />
little damage during printing, resulting in white spots in areas of the print<br />
that should have been black. As if rectifying the dented sheets hadn’t<br />
been enough, Anthony Baker now had to spend an age laboriously painting<br />
these spots out with the finest of brushes and some Indian ink. In a letter<br />
to Anthony at the time, Peter Scupham amusingly wrote, ‘Do not become<br />
obsessed with white spots. Leave that to the breeders of tropical fish’.<br />
The text paper, made specially for the Windhover <strong>Press</strong> by Barcham<br />
Green, features a watermark of a windhover (a kestrel). This is not<br />
present in all copies.<br />
<br />
8. JOHN WILMOT, E ARL O F RO C H E STER<br />
‘THRE E S ONG S ’<br />
Printed by Harry Duncan at the Cummington <strong>Press</strong>,<br />
Omaha, Nebraska, United States of America.<br />
This unillustrated publication contains the following<br />
three poems:<br />
Song<br />
Song<br />
The Mock Song<br />
a . gru f f yg ro u n d p r e s s e d i t i on<br />
226 mm × 133 mm. 7 pages. 110 copies; printed in black and<br />
green-grey in Joanna with Romulus Open on white<br />
Hodomura handmade paper, in a green-grey Kizuki<br />
handmade paper wrapper with a white Hodomura handmade<br />
paper title label printed in black.<br />
Published December 28th 1978. Price £2.<br />
b. cumming t o n p r e s s e d i t i on<br />
226 mm × 133 mm. 7 pages. 70 copies; printed in black and<br />
green-grey in Joanna with Romulus Open on white<br />
Hodomura handmade paper, in a green-grey Kizuki<br />
handmade paper wrapper with a white Hodomura handmade<br />
paper title label printed in black.<br />
Published 1978 (exact date unknown). Price $5.<br />
edition notes:<br />
Anthony Baker decided to approach yet another American printer. Again<br />
wishing to keep his costs down, he suggested that the project be a copublication.<br />
The printer agreed, and so for the fourth time a Gruffyground<br />
<strong>Press</strong> project appeared under two different imprints. The Cummington<br />
<strong>Press</strong> copies are identical to the Gruffyground <strong>Press</strong> ones except for the<br />
publisher details on the title page.<br />
Here, Anthony showed his willingness to publish something somewhat<br />
‘stronger’. In this, the first of Gruffyground’s backward glances, some of<br />
10<br />
the notorious Restoration rake’s most obscene poems are presented. The<br />
printer, when invited to produce the booklet for the Gruffyground <strong>Press</strong>,<br />
described them as ‘stunning’, but later remarked that they had ‘caused<br />
some embarrassment to a few of those I’ve let read them’.<br />
These poems, as with all Gruffyground publications of old texts, are<br />
presented keeping the original text and spelling as it appears in its first<br />
ever printed edition. Having said that, Anthony sees that any obvious<br />
errors in the original text are amended.<br />
<br />
9 . RO B ERT GRAV E S<br />
‘ADVIC E TO CO L O NEL VA L E NT I N E ’<br />
Printed by Kenneth Hardacre at the Kit-Cat <strong>Press</strong>, Hunton<br />
Bridge, Hertfordshire, England.<br />
This unillustrated publication contains the following two<br />
poems:<br />
Hippopotamus’ Address to the Freudians<br />
Advice to Colonel Valentine<br />
194 mm × 129 mm. 4 pages, French folded. 25 copies;<br />
printed in black in Palatino on white Hosho handmade<br />
paper, in a French-folded yellow Tumba Ingres machinemade<br />
paper cover printed in black. Unsigned.<br />
Published July 12th 1979. Not for sale.<br />
e d i t ion notes:<br />
Once again, Anthony Baker asked the Kit-Cat <strong>Press</strong> to produce a small<br />
piratical edition for him. As had been the case with the earlier twin<br />
to twin, permission was only given for private distribution, with copies<br />
being given out to a very select few. The edition was split as before, with<br />
eight copies sent to Beryl Graves, eight kept by the printer, and the<br />
remainder for Anthony.<br />
<br />
10. E L I ZABET H J E N N I NG S<br />
‘ W INT E R W IND ’<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
This publication, illustrated with a boxwood engraving<br />
by Monica Poole of a girl asleep in bed next to the billowing<br />
curtains of an open window, contains the following<br />
nine poems:<br />
Near The End<br />
A Happy End<br />
The Deepest Love<br />
Winter Wind<br />
section a
A Widow<br />
Van Gogh<br />
The Only Child<br />
The Rake<br />
Eurydice<br />
a . gru f f yg ro u n d p r e s s e d i t i on<br />
240 mm × 153 mm. 12 pages. 170 copies; printed in black and<br />
silver in Trump Mediaeval on green-grey Barcham Green<br />
Charles The First handmade paper, in a French-folded<br />
adriatic blue (navy) Fabriano Miliani Ingres mould-made<br />
paper cover printed in silver. Signed by the author and<br />
the artist.<br />
Published March 20th 1980 (although printed and dated 1979). Price £6.<br />
b. janu s press edition<br />
237 mm × 152 mm. 12 pages. 50 copies; printed in black and<br />
silver in Trump Mediaeval on green-grey Barcham Green<br />
Charles The First handmade paper. Case-bound in white<br />
linen over boards, with an author/title label on the spine<br />
printed in silver on grey-green Barcham Green Charles<br />
The First handmade paper (used also for free endpapers),<br />
and pastedowns of grey-green Barcham Green Michelle<br />
handmade paper. Bound by James Bicknell. Unsigned.<br />
Published 1980 (exact date unknown ). Price $35.<br />
edition notes:<br />
Just like the previous two items printed at the Janus <strong>Press</strong>, Anthony Baker<br />
went for the co-publication option.<br />
As had happened with natura, the wood engraving sustained some<br />
damage during printing. Once again a less than happy Anthony Baker<br />
had to painstakingly repair the results of the damage in the printing with<br />
a very fine brush and some Indian ink.<br />
<br />
11. JOHN F U L L E R<br />
‘THE SHIP O F S O U N D S ’<br />
Printed by Richard-Gabriel Rummonds and Alessandro<br />
Zanella at the Plain Wrapper <strong>Press</strong>, Verona, Veneto, Italy.<br />
This publication, illustrated with a boxwood engraving<br />
by Garrick Palmer of an ancient ship, contains the poem<br />
The Ship of Sounds – a sequence separated into eight parts,<br />
numbered i to viii.<br />
a . standar d e d i t i on<br />
244 mm × 170 mm. 15 pages. 130 copies, plus 3 ad personams;<br />
printed in black and green in Spectrum on white<br />
Fabriano Roma Michelangelo handmade paper, in a<br />
green Fabriano Roma Veronese handmade paper wrapper<br />
printed in black. Signed by the author and the artist.<br />
11<br />
Published December 29th 1981. Price £20.<br />
b. s p ec i a l b i n d i ng e d i t ion<br />
248 mm × 170 mm. 15 pages. 5 ‘out of standard edition’<br />
copies; printed in black and green in Spectrum on white<br />
Fabriano Roma Michelangelo handmade paper. Bound<br />
by James Brockman at Headington, Oxfordshire, England<br />
in full green Oasis goatskin lettered along the spine in<br />
palladium, with a yellow silk headband and tailband and<br />
green Fabriano Roma Veronese handmade endpapers.<br />
Signed by the author and the artist.<br />
Published June 1986 (exact date not recorded ). Price £96.<br />
e d i t ion notes:<br />
Again, Anthony Baker used an American printer, albeit one who had<br />
relocated to Italy. A co-publication was not an option this time as the<br />
printer didn’t want to print a larger run than the number of copies that<br />
Anthony wished for himself.<br />
The special binding edition came about when five complete sets of pages<br />
were left over minus covers after the edition had been sewn. Rather than<br />
see them go to waste, Anthony decided on the wonderfully extravagant<br />
solution of having them specially bound instead. In addition to being the<br />
first Gruffyground <strong>Press</strong> publication to have a limited special binding,<br />
the ship of sounds was also the first Gruffyground publication to<br />
have ad personam copies printed, with copies for Anthony Baker, Jill<br />
Langford and Monica Wynter. Anthony was most surprised to find an<br />
ad personam for himself as he’d not actually asked for one.<br />
This was the last of Anthony’s early run of using American printers as<br />
his faith had been somewhat shaken by the various problems he’d<br />
encountered. Fortunately, t<strong>here</strong> were homegrown newcomers such as the<br />
Libanus <strong>Press</strong> and Rocket <strong>Press</strong> whose most capable printing abilities<br />
Anthony now wished to use.<br />
<br />
12. J O H N HEAT H - STUB B S<br />
‘ BUZ Z BUZ Z ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
This publication, illustrated with a pearwood engraving<br />
by Richard Shirley Smith of a rhinoceros beetle and a<br />
beetle grub, contains the following series of ten insect<br />
poems:<br />
Rhinoceros Beetle<br />
Soldier Beetles<br />
Cicada<br />
Moth<br />
Ladybird<br />
Tiger Beetle<br />
Wasps<br />
section a
Crane Fly<br />
Crab Louse<br />
Silver Fish<br />
a . ‘mesozoic’ version<br />
241 mm × 163 mm. 16 pages. 100 (out of 200) copies, plus 2<br />
ad personams; printed in black and ochre in Bodoni on<br />
cream Vélin d’Arches mould-made paper, in an ochre<br />
Mingei handmade paper wrapper printed in black. Signed<br />
by the author and the artist.<br />
b. ‘secondary e p o c h ’ version<br />
241 mm × 163 mm. 16 pages. 100 (out of 200) copies; printed<br />
in black and ochre in Bodoni on cream Vélin d’Arches<br />
mould-made paper, in an ochre Mingei handmade paper<br />
wrapper printed in black. Signed by the author and the<br />
artist.<br />
Published December 29th 1981. Price £14.<br />
c . ‘printed la b e l ’ v ersion<br />
241 mm × 163 mm. 16 pages. A small number of copies (2<br />
or 3); printed in black and ochre in Bodoni on cream<br />
Vélin d’Arches mould-made paper, in an ochre Mingei<br />
handmade paper wrapper with a cream Vélin d’Arches<br />
mould-made paper author/title label printed in ochre.<br />
Unsigned.<br />
Distributed by the printer December 1981 (exact date unknown). Not<br />
for sale.<br />
edition notes:<br />
John Heath-Stubbs wrote two slightly different versions of the poem ‘Silver<br />
Fish’. He could not decide which version to use, so it was decided that<br />
one half of the print run would be printed with one version of the poem<br />
and the other half with the other. In the Mesozoic version (item a), line<br />
four of the first stanza ends with ‘mesozoic’, and in the Secondary Epoch<br />
version (item b) line four of the first stanza ends with ‘secondary epoch’.<br />
Michael Mitchell originally designed buzz buzz with an author/title<br />
label on the cover. The label featured the same text as that which appears<br />
on the final covers, but contained within a distressed line border. This<br />
idea was decided against before final production, although some labels<br />
had been printed. After finishing buzz buzz, Michael had a couple<br />
of extra copies left over which, rather than destroy, he decided to distribute<br />
himself as ‘out of series’ copies. On some (item c), if not all, he stuck<br />
his original cover label over the existing title. The exact number of copies<br />
featuring this label is unknown, but Michael believes t<strong>here</strong> were only two<br />
or three.<br />
Being completely blind, John Heath-Stubbs had to have his hand placed<br />
in the correct position on each colophon page in order to sign the copies.<br />
This accounts for the huge variation in his signatures and their most<br />
interesting, if rather illegible, nature.<br />
12<br />
The colophon page features a small wood engraving of a pine cone<br />
surrounded by swirling ribbons. Engraved by Richard Shirley Smith, this<br />
is the pressmark of the publication’s printer, the Libanus <strong>Press</strong>. As the<br />
title page engraving was by the same artist, Anthony Baker felt it OK<br />
to have this extra little engraving feature on the colophon.<br />
The ad personam copies were printed for Jill Langford and Monica<br />
Wynter; both in copies of the ‘Mesozoic’ version.<br />
<br />
13. A N T H O N Y T H WA I T E<br />
‘ TELLIN G TAL E S ’<br />
Printed by Graham Williams at the Florin <strong>Press</strong>, Biddenden,<br />
Kent, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Simon Brett of a bird skull and a roman coin, contains<br />
the following ten poems:<br />
Observation in Winter<br />
What Animal<br />
Fuel<br />
The Stump<br />
Telling Tales<br />
Indian Images<br />
The View From Hakone<br />
Classical Text<br />
Bournemouth: September 3rd 1939<br />
Lustration<br />
251 mm × 149 mm. 16 pages. 230 copies; printed in black and<br />
brown in Lutetia with Egmont Inline on white Zerkall<br />
mould-made paper, in a brown Kozo handmade paper<br />
wrapper with a grey-beige Kozo handmade paper author/<br />
title label printed in black. Signed by the author and the<br />
artist.<br />
Published December 15th 1983. Price £16.<br />
e d i t ion notes:<br />
Anthony Baker had four different engravings produced for telling<br />
tales before he was happy with the result. He first commissioned Sarah<br />
van Niekerk, who produced an engraving of washing hands. Anthony<br />
disliked this and so Sarah produced another engraving, this time of<br />
pheasants in a winter scene. Anthony initially accepted – and paid for –<br />
this engraving, but came to dislike it also. Deciding to try elsew<strong>here</strong> for<br />
an engraving he’d be happy with, Anthony commissioned Simon Brett,<br />
whose first engraving was also one of hands being washed. Anthony was<br />
again dissatisfied with the result, so a fourth engraving was called for.<br />
Simon’s next engraving, the bird skull and roman coin image featured in<br />
the final publication, was very much to Anthony’s liking and happily<br />
given full approval.<br />
<br />
section a
14. THOMAS HAR DY<br />
‘FRI E N D S BEYON D ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Peter Reddick of an old gravestone in the foreground<br />
of a hilly landscape, contains the single poem Friends Beyond.<br />
202 mm × 130 mm. 8 pages. 200 copies, plus 6 ad personams;<br />
printed in black and green in Blado and Poliphilus on<br />
cream Barcham Green Chester handmade paper, in a<br />
citron (dark green) Mingei handmade paper wrapper<br />
printed in black. Signed by the artist.<br />
Published November 19th 1984. Price £6.<br />
edition var i at i o n s<br />
T<strong>here</strong> are so many variations in friends beyond, and<br />
possible random combinations of them, that it would be<br />
most difficult to note accurately how many different versions<br />
actually exist. Instead, <strong>here</strong> follow details of the<br />
separate differences that occur throughout the edition.<br />
T<strong>here</strong> are two slightly different versions of the eighth<br />
stanza in the poem. One half of the print run has a<br />
version with the original ending of ‘decry’ and the other<br />
half with Hardy’s revised version ending in ‘die’.<br />
T<strong>here</strong> are two versions of the front cover. One half of the<br />
print run has a small fleuron (described by Anthony Baker<br />
as a ‘flying soup tureen’) printed between the author’s<br />
name and the title, and the other half does not.<br />
Finally, t<strong>here</strong> are three different cover stiffeners used<br />
across the publication; a rough Barcham Green Chester<br />
handmade paper to match the paper used for the text, a<br />
smooth version of the Barcham Green Chester handmade<br />
paper, and a beige Barcham Green handmade paper.<br />
edition notes:<br />
The ideal copy in the publisher’s eyes would be in a cover printed without<br />
the fleuron, use the rough Barcham Green Chester paper for the stiffener,<br />
and feature Hardy’s ‘die’ revision.<br />
The engraving featured on the title page was originally commissioned<br />
for a reprint of six dorset epitaphs. After his disappointment with<br />
the original edition, Anthony Baker wanted to completely recreate the<br />
project with John Craig at the Piccolo <strong>Press</strong>. He wanted the new version<br />
to match in size and format with the six somerset epitaphs<br />
collection that John had previously printed, and so commissioned a small<br />
‘gravestone’ engraving from Peter Reddick to suit the dimensions of the<br />
page. The engraving was completed and the job was ready to go to print,<br />
but unfortunately the correct paper to match with six somerset<br />
epitaphs could not be obtained and the reprint was scrapped. Rather<br />
13<br />
than waste the engraving, Anthony decided to cast around for a poem<br />
that he felt it would suit. Eventually he decided on using it in this edition<br />
of Thomas Hardy’s ‘Friends Beyond’.<br />
The ad personam copies were printed for Anthony Baker, Patricia<br />
Knight, Jill Langford, Michael Mitchell, Peter Reddick and Monica<br />
Wynter. It is likely that the ad personam colophons were sewn into different<br />
variations of the publication.<br />
15. JONATHAN P R I C E<br />
‘ P R I VAT E V IEW ’<br />
<br />
Printed by Jonathan Stephenson at the Rocket <strong>Press</strong>,<br />
Steventon Vicarage, Abingdon, Oxfordshire, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Simon Brett of a dead bird on a window sill that looks<br />
out onto a bonfire, contains the following nine poems:<br />
A Considered Reply to a Child<br />
Kilroy Was Here<br />
Burning Letters<br />
Experiment With an Air Pump by Joseph Wright ‘of Derby’<br />
Ars Poetica<br />
At a Private View<br />
Among My Souvenirs<br />
A Winter’s Tale<br />
The Old, Old Story<br />
288 mm × 198 mm. 16 pages. 230 copies; printed in black<br />
and blue in Garamond with Castellar on white Zerkall<br />
mould-made paper, in a blue Richard de Bas handmade<br />
paper cover with a beige Zerkall Silurian mould-made<br />
paper author/title label printed in black and blue. Signed<br />
by the artist.<br />
Published May 22nd 1985. Price £16.<br />
e d i t ion notes:<br />
This was originally going to be printed by the Florin <strong>Press</strong> as a companion<br />
piece to telling tales, with both editions having similar design<br />
themes to tie them together. Unfortunately, t<strong>here</strong> were problems early in<br />
production and the Florin <strong>Press</strong> had to cancel the project. As private<br />
view could no longer be printed at the Florin <strong>Press</strong> in the format he had<br />
planned, Anthony Baker decided that the collection would no longer be<br />
published bearing the Gruffyground imprint. Instead he decided it would<br />
be printed in an entirely different format, by a different printer, and carry<br />
a different publisher’s name. Anthony eventually got the Rocket <strong>Press</strong> to<br />
print the collection, and published it under the imprint ‘Valerie Parry’<br />
(his cousin’s name). It’s still a valid addition to this bibliography, being<br />
something of a Gruffyground item in disguise. It has been sold by the<br />
Gruffyground <strong>Press</strong> and appears in three of the Gruffyground <strong>Press</strong> stock<br />
lists.<br />
section a
After learning that he was very ill, it was Jonathan Price’s wish that<br />
the collection be published before his death. Sadly, he died just days<br />
before it was ready, hence the absence of his signature in the copies.<br />
<br />
16. JOH N MOL E<br />
‘LEARN I N G T H E ROPE S ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
This publication, illustrated with a lemonwood engraving<br />
by Colin Paynton (known now as Colin See-Paynton)<br />
of a ‘man winding a handle’ garden windmill ornament,<br />
contains the following eight poems:<br />
A Short History of State Funerals<br />
The Song of The Pie<br />
Star Song<br />
On Parade<br />
Learning The Ropes<br />
Messiaen<br />
Home<br />
Sheep<br />
242 mm × 152 mm. 16 pages. 205 copies, plus 6 ad personams;<br />
printed in black and red in Perpetua on white Wookey<br />
Hole handmade paper, in a vermilion Mingei handmade<br />
paper wrapper printed in red. Numbered and signed by<br />
the author and signed by the artist.<br />
Published January 27th 1986 (although printed and dated 1985). Price<br />
£14.<br />
edition notes:<br />
The ad personam copies were printed for Anthony Baker, Thomas<br />
Griffith, Patricia Knight, Michael Mitchell, John Mole and Colin<br />
Paynton.<br />
17. L AWREN C E SAI L<br />
‘AQUA M ARINE ’<br />
<br />
Printed by Michael Mitchell and Thomas Griffith at the<br />
Libanus <strong>Press</strong>, Rose Tree House, Silverless Street, Marlborough,<br />
Wiltshire, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Christopher Wormell of a ship in the distance of a<br />
stormy sea, contains the following ten sea poems:<br />
Aquamarine<br />
Out of Land<br />
Rain at Sea<br />
14<br />
The Bell-Buoy<br />
Calm Sea at Night<br />
Wreath<br />
Small Island<br />
Harbour<br />
Anchor<br />
Old Man Dying<br />
a . s tandar d e d i t ion<br />
272 mm × 176 mm. 18 pages. 130 copies, plus 9 ad personams;<br />
printed in black and aquamarine in Bembo with Lutetia<br />
Open on white Canson et Montgolfier Johannot mouldmade<br />
paper and cream Barcham Green Bodleian handmade<br />
paper, in an aquamarine Mingei handmade paper<br />
wrapper printed in black. Numbered and signed by the<br />
author and signed by the artist.<br />
Published April 5th 1988. Price 30 guineas (£31.50), or $60.<br />
b. s p ec i a l b i n d i ng e d i t ion<br />
268 mm × 169 mm. 18 pages. 5 ‘out of standard edition’<br />
copies, including 1 ad personam; printed in black and<br />
aquamarine in Bembo with Lutetia Open on white<br />
Canson et Montgolfier Johannot mould-made paper<br />
and cream Barcham Green Bodleian handmade paper.<br />
Bound by Lester Capon at Oxford, England in full sloe<br />
Oasis goatskin lettered along the spine in platinum, with<br />
a purple silk headband and tailband and aquamarine<br />
Mingei handmade endpapers. 4 copies signed and numbered<br />
in roman numerals by the author and signed by<br />
the artist, and one unnumbered ad personam copy signed<br />
by the author and the artist.<br />
Published February 1991 (exact date not recorded). Price £142.<br />
e d i t ion notes:<br />
You may have noticed that the price for this publication is given in two<br />
unusual forms. Firstly, t<strong>here</strong> is the English price, but in guineas; an oddity<br />
considering that they had not been an actual currency since decimalisation<br />
in 1971. Anthony Baker has always been against decimalisation, and as<br />
the price of aquamarine was to be more expensive than usual, he<br />
decided to revert to the ‘grander’ use of old fashioned guineas in his<br />
pricing. Anthony was not alone <strong>here</strong>; barristers at this time were still<br />
charging their fees in guineas. Secondly, t<strong>here</strong> is a price in US dollars.<br />
As t<strong>here</strong> were some regular Gruffyground <strong>Press</strong> customers in America,<br />
Anthony decided to have a second version of the prospectus printed for<br />
sending out especially to them. This was identical to the English one,<br />
except for the price being announced in dollars. This is the only instance<br />
of a publication that Anthony did this for.<br />
The rhymed prologue and epilogue of this collection are distinguished<br />
from the unrhymed main sequence not only by the italic type printed in<br />
aquamarine ink, but also the use of thin Bodleian repairing paper.<br />
Normally, such severe show through would not be used in a publication,<br />
but Anthony Baker wanted to give the effect of a theatrical gauze.<br />
section a
T<strong>here</strong> were ad personam copies of the standard edition printed for<br />
Anthony Baker, Thomas Griffith, Anna and David Jameson Evans,<br />
Patricia Knight, Michael Mitchell, Erica Sail, Lawrence Sail, Matthew<br />
Sail and Christopher Wormell. One copy of the special binding edition<br />
is also printed ad personam for Anthony Baker.<br />
<br />
18. RO B ERT GRAV E S<br />
‘CYNICS AN D RO M ANTICS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
12 Chesterton Road, Cambridge, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Robert Tilleard of a young woman posing, contains<br />
the single poem Cynics and Romantics.<br />
a . standar d e d i t i on<br />
208 mm × 128 mm. 8 pages. 145 (out of 150) copies, plus 8 ad<br />
personams; printed in black and red in Palatino on cream<br />
Fabriano Umbria Gialetto handmade paper, in a coquelicot<br />
(red) Canson et Montgolfier Mi-Teintes machinemade<br />
paper cover printed in black. Numbered and signed<br />
by the artist.<br />
b. ‘var ian t e ng r av i ng ’ version<br />
208 mm × 128 mm. 8 pages. 5 (out of 150) copies; printed in<br />
black and red in Palatino on cream Fabriano Umbria<br />
Gialetto handmade paper, in a coquelicot (red) Canson<br />
et Montgolfier Mi-Teintes machine-made paper cover<br />
printed in black. Numbered and signed by the artist.<br />
Published July 17th 1989. Price 12 guineas (£12.60).<br />
edition notes:<br />
Two different engravings were commissioned for this project, each taken<br />
from photographs of Anthony Baker’s mother. The intention was that one<br />
half of the publication would be printed with one engraving and the other<br />
half with the other. After seeing the completed engravings, Anthony had<br />
a strong preference for one of them and so decided to print the edition<br />
with just that. Rather than waste the other engraving entirely, it was<br />
printed in a token number of five copies. The standard version features<br />
the favoured engraving, which has the figure facing almost face on, whilst<br />
the ‘variant engraving’ copies feature the figure facing away at an angle.<br />
As with aquamarine, Anthony decided to price this publication in<br />
guineas. This was to be the last time though, as some customers, confused<br />
when converting from the old system of currency, sent payments for the<br />
wrong amount.<br />
Unlike Gruffyground’s two previous Robert Graves editions, the publication<br />
of this poem was fully authorised.<br />
The ad personam copies were printed for Anthony Baker, Sebastian<br />
Carter, Ingrid Clothier (more widely known as the actress Ingrid<br />
15<br />
Hafner), Alexandra Fairbairn, Beryl Graves, Tomás Graves, Patricia<br />
Knight and Robert Tilleard. All appear in the standard version.<br />
<br />
19. F R EDA D OWNIE<br />
‘ E V E N T H E FLOW E R S ’<br />
Printed by Michael Mitchell and Thomas Griffith at the<br />
Libanus <strong>Press</strong>, Rose Tree House, Silverless Street, Marlborough,<br />
Wiltshire, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Claire Dalby of a cottage and flowers at night, contains<br />
the following ten poems:<br />
The Whole Thing<br />
Cerne Abbas<br />
Almondtears<br />
All Hallows Eve<br />
Cottage Orné<br />
Star<br />
Even The Flowers<br />
Scarecrow<br />
You Are Almost<br />
Window<br />
a . s tandar d e d i t ion<br />
260 mm × 174 mm. 16 pages. 125 copies, plus 7 ad personams;<br />
printed in black and olive in Fournier with Fry’s Ornamented<br />
on ivory Amatruda handmade paper, in an olive<br />
Mingei handmade paper wrapper printed in black. Numbered<br />
and signed by the author and signed by the artist.<br />
Published August 21st 1989. Price £26.<br />
b. s p ec i a l b i n d i ng e d i t ion<br />
254 mm × 175 mm. 16 pages. 5 ‘out of standard edition’<br />
copies, including 1 ad personam; printed in black and olive<br />
in Fournier with Fry’s Ornamented on ivory Amatruda<br />
handmade paper. Bound by Romilly Saumarez Smith at<br />
Limehouse, London, England in full olive Oasis goatskin<br />
lettered along the spine in gold, with a carmine silk headband<br />
and tailband and olive Mingei handmade endpapers.<br />
4 copies signed and numbered in roman numerals by the<br />
author and signed by the artist, and one copy printed ad<br />
personam and signed by the author and the artist.<br />
Published July 1990 (exact date not recorded). Price £138.<br />
e d i t ion notes:<br />
Unhappy with the binding of the specially bound copies, Anthony Baker<br />
added them to his list of disowned items.<br />
T<strong>here</strong> is a minute reference to one of the poems in the engraving. If you<br />
look carefully you will see that t<strong>here</strong> is a little white line in the top window<br />
section a
of the cottage. This is the telescope mentioned in the poem ‘Cottage<br />
Orné’. Anthony was only aware of this after the engraver mentioned it<br />
– not surprising really, considering its size.<br />
T<strong>here</strong> were ad personam copies of the standard edition printed for<br />
Anthony Baker, Ingrid Clothier, Claire Dalby, Freda Downie, Thomas<br />
Griffith, Patricia Knight and Michael Mitchell. One copy of the special<br />
binding edition is also printed ad personam for Anthony Baker.<br />
20. E DWAR D T H O M A S<br />
‘OLD MAN ’<br />
<br />
Printed by Jonathan Stephenson at the Rocket <strong>Press</strong>,<br />
Millcroft Stables, Blewbury, Oxfordshire, England.<br />
This publication, illustrated with a lemonwood engraving<br />
by Colin Paynton (known now as Colin See-Paynton)<br />
of a young girl at a door holding a sprig of the aromatic<br />
herb ‘old man’, contains the single poem Old Man.<br />
205 mm × 142 mm. 8 pages. 240 copies, plus 5 ad personams;<br />
printed in black and lilac in Baskerville with Old Face<br />
Open on ivory Zerkall Alice mould-made paper, in a lilac<br />
Hahnemühle Bugra Bütten mould-made paper wrapper<br />
printed in black. Numbered and signed by the artist.<br />
Published August 16th 1990. Price £12.<br />
edition notes:<br />
This poem was published on the eightieth birthday of the poet’s daughter,<br />
Myfanwy Thomas; the girl featured in the poem.<br />
The ad personam copies were printed for Anthony Baker, Ingrid Clothier,<br />
Colin Paynton, Jonathan Stephenson and Myfanwy Thomas.<br />
21. ‘BAKER’S DOZEN’<br />
<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
Illustrated with a boxwood engraving by Simon Brett of<br />
a pine marten on a tree trunk, with Anthony Baker’s<br />
name carved in the bark.<br />
208 mm × 129 mm. 8 pages. 450 copies; printed in black and<br />
orange in Walbaum with Gresham on cream Zerkall<br />
mould-made paper, in an orange Canson et Montgolfier<br />
Mi-Teintes machine-made paper cover printed in black.<br />
Unsigned.<br />
Published October 12th 1991. Price £2.<br />
16<br />
e d i t ion notes:<br />
Anthony Baker had this catalogue produced for his Gruffyground <strong>Press</strong><br />
exhibition at the Cheltenham Festival of Literature in October 1991. It<br />
details the first thirteen pieces of illustrated poetry published by the <strong>Press</strong>,<br />
hence the title (also a rather good play on the publisher’s surname).<br />
Incredibly – and rather sadly – only two copies were sold at the exhibition.<br />
The engraving, printed strikingly in orange, is Anthony’s bookplate.<br />
<br />
22. JAM E S R E EVE S<br />
‘ TO RO B ERT GRAV E S I N D E YÁ ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This unillustrated publication contains the single poem<br />
To Robert Graves in Deyá.<br />
195 mm × 132 mm. 4 pages. 350 copies; printed in black in<br />
Walbaum on grey Zerkall Silurian mould-made paper, in<br />
a jaune soleil (orange) Canson et Montgolfier Mi-Teintes<br />
machine-made paper cover printed in black. Unsigned.<br />
Published January 1st 1992. Price £4.<br />
e d i t ion notes:<br />
James Reeves actually submitted this along with the poems printed in<br />
the closed door, but Anthony Baker felt that its occasional nature<br />
made it more suitable for separate publication.<br />
This was officially announced at the time to be the last publication from<br />
the Gruffyground <strong>Press</strong>. A further twenty years (so far) of publications<br />
have shown this to be far from the case.<br />
<br />
23. T H O MAS LOV E PEACOCK<br />
‘ N E WAR K ABB E Y ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.<br />
This unillustrated publication contains the single poem<br />
Newark Abbey.<br />
a . s tandar d e d i t ion<br />
203 mm × 131 mm. 8 pages. 200 copies, plus 3 ad personams;<br />
printed in black and plum in Bell with Thorne Shaded<br />
on white Barcham Green Chilham handmade paper, in<br />
a plum Mingei handmade paper wrapper printed in black.<br />
Published June 13th 1995. Price £6.<br />
section a
. ‘alt ernat i v e w r a p p e r ’ v ersion<br />
203 mm × 131 mm. 8 pages. 2 ‘out of series’ ad personam<br />
copies; printed in black and plum in Bell with Thorne<br />
Shaded on white Barcham Green Chilham handmade<br />
paper, in a plum Kayazuki handmade paper wrapper<br />
printed in black.<br />
Published January 24th 1995. Not for sale.<br />
edition notes:<br />
The two ‘alternative wrapper’ copies – both ad personam for Pauline<br />
Dean – were created as a wedding present for her from Anthony Baker<br />
(the second copy having been printed as a back-up in case of mishap).<br />
They have a slightly different wrapper to the standard edition as Anthony<br />
wanted them ready for Pauline’s wedding, which was four and a half<br />
months before the publication date, and the correct Mingei could not be<br />
obtained in time. As a substitute, a similar plum coloured Kayazuki<br />
paper was used instead. The colophon still states the wrapper as being<br />
Mingei.<br />
Like buzz buzz, the colophon page features a small wood engraving<br />
of a pine cone surrounded by swirling ribbons. Engraved by Richard<br />
Shirley Smith, this is the pressmark of the publication’s printer; the<br />
Libanus <strong>Press</strong>. As no other embellishments featured in the publication,<br />
Anthony Baker felt it would be most suitable to have this little engraving<br />
printed on the colophon.<br />
T<strong>here</strong> are ad personam copies of the standard edition for Anthony Baker<br />
(two copies) and Michael Mitchell.<br />
<br />
24. JOHN WEBSTER<br />
‘A FAYR E AN D HAPP Y MILKE - MAY D ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This unillustrated publication contains the prose piece<br />
A Fayre and Happy Milke-Mayd.<br />
209 mm × 129 mm. 8 pages. 205 copies; printed in black and<br />
brown in Octavian with Golden Cockerel on white<br />
Hahnemühle Laid mould-made paper, in a cachou (greybrown)<br />
Canson et Montgolfier Mi-Teintes machinemade<br />
paper cover printed in black.<br />
Published December 18th 1995. Price £6.<br />
edition notes:<br />
The title character of this publication – the only prose piece from the<br />
Gruffyground <strong>Press</strong> – is the ninth of thirty-two characters, anonymously<br />
added to the Thomas Overbury collection in the sixth edition of 1615,<br />
which are attributed to John Webster.<br />
<br />
17<br />
25. DAVI D S U T TON<br />
‘ T H E PLANET HAPPINESS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Christopher Daunt of a small boy playing at the<br />
water’s edge of a beach, contains the following nine<br />
poems:<br />
The Lame Ant<br />
Consider<br />
The Planet Happiness<br />
The Cherry Tree<br />
The Refusal<br />
Endangered Species<br />
Atlas<br />
Njal<br />
Novices<br />
a . s tandar d e d i t ion<br />
258 mm × 168 mm. 16 pages. 185 copies, plus 6 ad personams;<br />
printed in black and red in Plantin Light with<br />
Sistina and Hunt Roman on white Hahnemühle Bugra<br />
Bütten mould-made paper, in a rouge vif (red) Canson<br />
et Montgolfier Mi-Teintes machine-made paper cover<br />
printed in black. Numbered and signed by the author and<br />
signed by the artist.<br />
Published September 18th 1996. Price £38.<br />
b. s p ec i a l b i n d i ng e d i t i on i<br />
255 mm × 169 mm. 16 pages. 5 ‘out of standard edition’<br />
copies, including 1 ad personam; printed in black and red<br />
in Plantin Light with Sistina and Hunt Roman on white<br />
Hahnemühle Bugra Bütten mould-made paper. Bound<br />
by Anton Henley at Yate, Gloucestershire, England in full<br />
crimson Oasis goatskin lettered along the spine in gold,<br />
with an orange silk headband and tailband and rouge vif<br />
(red) Canson et Montgolfier Mi-Teintes machine-made<br />
endpapers. 4 copies signed and numbered in roman numerals<br />
by the author and signed by the artist, and one<br />
printed ad personam for Anthony Baker and signed by<br />
the author and the artist.<br />
Published December 1996 (exact date not recorded). Price £122.<br />
c . s p ec i a l b i n d i ng e d i t i on i i<br />
253 mm × 168 mm. 16 pages. 1 ‘out of standard edition’ ad<br />
personam copy; printed in black and red in Plantin Light<br />
with Sistina and Hunt Roman on white Hahnemühle<br />
Bugra Bütten mould-made paper. Bound by David Sellars<br />
at Todmorden, Lancashire, England in full crimson Oasis<br />
goatskin lettered along the spine in gold, with an orange<br />
silk headband and tailband and rouge vif (red) Canson et<br />
section a
Montgolfier Mi-Teintes machine-made endpapers. Signed<br />
by the author and the artist.<br />
Unpublished personal copy for Anthony Baker, bound in February 2005.<br />
Not for sale.<br />
edition notes:<br />
Dissatisfied with the quality of Anton Henley’s binding of the ‘special’<br />
copies (item b), Anthony Baker disowned them. Still most keen on having<br />
a special binding of the planet happiness for his personal<br />
collection, Anthony eventually got one copy (item c) bound to his satisfaction<br />
by David Sellars in an identical fashion to the original ‘specials’.<br />
The wood engraving for this publication had to be done three times. When<br />
printing trial proofs of the initial engraving, the printer discovered that<br />
the engraved block had a split, rendering it useless. Christopher Daunt<br />
was asked to engrave it again, which he did, but this second version was<br />
decided by both Anthony and Christopher to be of a lesser standard than<br />
either was happy with, so a third version was engraved. Thankfully, this<br />
one was fine.<br />
T<strong>here</strong> were ad personam copies of the standard edition printed for<br />
Anthony Baker, Sebastian Carter, Christopher Daunt, Peter Dunn,<br />
David Sutton and Elizabeth Sutton. One copy of the original special<br />
binding, plus the single copy of the second special binding are also ad<br />
personam copies for Anthony Baker.<br />
<br />
26. ALFRE D T E N N YSON<br />
‘FOUR SONNETS TO A COQU ETTE ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This unillustrated publication contains four untitled<br />
sonnets.<br />
196 mm × 132 mm. 8 pages. 200 copies; printed in black in<br />
Arrighi Vincenza with Thorowgood on pale grey Zerkall<br />
mould-made paper, in a bouton d’or (lemon) Canson<br />
et Montgolfier Mi-Teintes machine-made paper cover<br />
printed in black.<br />
Published February 13th 1997. Price £6.<br />
edition notes:<br />
These sonnets are associated with Tennyson’s disillusion with Rosa Baring.<br />
Tennyson only ever published the first three sonnets, perhaps feeling that<br />
the fourth was excessively savage. It was left to his grandson Sir Charles<br />
Tennyson to first publish the fourth sonnet in a magazine in 1931.<br />
<br />
18<br />
27. PAU L D E H N<br />
‘CH E Z MONSIEUR PRIEUR ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Simon Brett of a small garden pond in the rain,<br />
contains the single poem Chez Monsieur Prieur.<br />
a . ‘ w i t h half-title’ version<br />
222 mm × 143 mm. 10 pages. Approximately 50 (out of 175<br />
copies, plus 6 ad personams); printed in black and violet<br />
in Haarlemmer on ivory Lana mould-made paper, in a<br />
violet Canson et Montgolfier Mi-Teintes machine-made<br />
paper cover printed in black. Numbered and signed by<br />
the artist.<br />
b. ‘ w i t h o ut h a l f - t i t l e ’ version<br />
222 mm × 143 mm. 8 pages. Approximately 125 (out of 175<br />
copies, plus 6 ad personams); printed in black and violet<br />
in Haarlemmer on ivory Lana mould-made paper, in a<br />
violet Canson et Montgolfier Mi-Teintes machine-made<br />
paper cover printed in black. Numbered and signed by<br />
the artist.<br />
Published December 11th 1997. Price £12.<br />
e d i t ion notes:<br />
Late in the printing stage, Anthony Baker discovered that this publication<br />
had been designed to open directly onto the title page. Being strongly<br />
against this, Anthony asked the printer if he would print a half-title<br />
page. The printer agreed and set about printing the extra sheet. However,<br />
he only had enough of the paper left to print about fifty half-title sheets,<br />
so this amount would have to do. The ‘with half-title’ copies (item a)<br />
have a half-title page printed in black. Anthony didn’t want the remaining<br />
copies (item b) to be without at least blank endleaves before opening<br />
onto the title page, so he managed to get hold of some of the same paper<br />
stock from Sebastian’s supplier, got them cut to size, and then sewed them<br />
in place of the half-title.<br />
The poem is published <strong>here</strong> with its original title and in its original form<br />
as a single poem. Paul Dehn later included it in a sequence entitled ‘Four<br />
Poems After Debussy’ under the title ‘Garden Under The Rain’.<br />
James Bernard – Paul Dehn’s partner when he was alive – held the copyright<br />
of the poem, but generously waived the royalty fee for this publication.<br />
The ad personam copies were printed for Anthony Baker, James Bernard,<br />
Simon Brett, Sebastian Carter and Eric Dehn. It is believed that most<br />
of them appear in copies that feature the half-title page – although not<br />
all. For example, t<strong>here</strong> is a second Sebastian Carter ad personam copy<br />
which does not feature the half-title page. This came about when Anthony<br />
Baker found he had left over a spare cover, plus a set of inner pages minus<br />
the half-title and colophon sheets. T<strong>here</strong> was a spare copy of the Sebastian<br />
Carter ad personam colophon sheet (Anthony frequently has extra ad<br />
section a
personam sheets printed in case of mishaps), plus a spare blank endleaf<br />
sheet, so rather than let these leftovers go to waste, Anthony sewed them<br />
up, making a second, unofficial Sebastian Carter ad personam copy<br />
without a half-title page.<br />
28. DAVI D S U T TON<br />
‘SUCCESS ’<br />
<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This unillustrated publication contains the single poem<br />
Success.<br />
209 mm × 130 mm. 4 pages. 60 copies; printed in black in<br />
Plantin Light with Hunt Roman on white Hodgkinson<br />
handmade paper, in a bleu clair (grey-blue) Canson et<br />
Montgolfier Mi-Teintes machine-made paper cover<br />
printed in black. Unsigned.<br />
Published December 11th 1997. Price £4.<br />
edition notes:<br />
This publication commemorated twenty-five years of the Gruffyground<br />
<strong>Press</strong>.<br />
For the second time (despite not officially stating it), Anthony Baker<br />
decided to close the press. Although it turned out not to be the end of<br />
Gruffyground, it was the longest break he took from publishing poetry. It<br />
wasn’t a complete break from fine press though as a handful of ephemeral<br />
items was printed in the five years between success and the story<br />
of sigurd – nearly all of which appeared collected in copies of a<br />
gruffymaufry (which itself was also published in the ‘poetry break’).<br />
<br />
29. ‘A GRUFFYMAUFRY ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
240 mm × 148 mm (folder size). 25 collected sets of eight<br />
pieces of ephemera designed and printed by Sebastian<br />
Carter over the years, in various typefaces and on various<br />
papers. Contained in a grey-brown Canson et Montgolfier<br />
Mi-Teintes machine-made paper folder printed in black<br />
in Egyptian Expanded and Plantin Light. The back of the<br />
folder is signed by Anthony Baker and Sebastian Carter.<br />
Published April 25th 2002. Price £12.<br />
edition notes:<br />
After having so many beautiful pieces of ephemera printed for him by<br />
the Rampant Lions <strong>Press</strong>, Anthony Baker thought it a fine idea to publish<br />
19<br />
some of them in foldered sets. The number of sets published was rather<br />
limited as most of the pieces it contained had been pretty much used up<br />
for their original purposes; even the contents of the folders sometimes<br />
differed due to a shortfall in the remaining number of ephemera intended<br />
for inclusion. Some later sold sets of a gruffymaufry even contain<br />
ephemera printed after the Gruffymaufry’s original publication date. For<br />
details on contents see throughout Section F.<br />
<br />
30. ALISON BRACKE N B URY<br />
‘ T H E STORY O F SIGURD ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Jane Lydbury of Sigurd and Brynhild in bed with a<br />
sword laid between them, contains the following nine<br />
poems:<br />
Tabby<br />
After The Rats<br />
Down Under<br />
The Story of Sigurd<br />
A Fuel Blockade<br />
What<br />
The Blue Door<br />
At Home<br />
The Lincolnshire Accent<br />
255 mm × 170 mm. 16 pages. 130 copies; printed in black and<br />
turquoise in Bulmer with Dartmouth on white Saunders<br />
Waterford mould-made paper, in a turquoise Canson et<br />
Montgolfier Mi-Teintes machine-made paper cover printed<br />
in black. Signed by the author and the artist.<br />
Published December 9th 2002. Price £32.<br />
<br />
31. CHARLOT T E MEW<br />
‘THE TRE E S AR E D OWN ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Linda Holmes of a man up a tree lopping off branches,<br />
contains the single poem The Trees Are Down.<br />
225 mm × 165 mm. 8 pages. 125 copies; printed in black and<br />
maroon in Romulus with Open Roman on white Zerkall<br />
mould-made paper, in a lie de vin (maroon) Canson et<br />
Montgolfier Mi-Teintes machine-made paper cover printed<br />
in black. Signed by the artist.<br />
section a
Published January 7th 2003 (although printed and dated 2002). Price £12.<br />
edition notes:<br />
A couple of years before the trees are down, Anthony Baker had<br />
a poem card of another similarly themed Charlotte Mew poem, domus<br />
caedet arborem (see item 25 in Section F), printed as a specimen<br />
of Jan van Krimpen’s Romulus typeface. After a while he decided that<br />
a more substantial showing was in order. In accordance with the ‘Terrible<br />
Rules’ (see page 76), as Romulus had now been used for a specific poet,<br />
any further non-ephemeral use for the typeface would have to be work<br />
by that same poet. With this in mind, Anthony settled on this longer poem<br />
by Charlotte Mew as the text to make a better showing of Romulus.<br />
This item had originally been printed for Gruffyground at the Libanus<br />
<strong>Press</strong> (see item 4 in Section G). Unhappy with the presswork, Anthony<br />
rejected it and asked the Rampant Lions <strong>Press</strong> to print the edition instead.<br />
<br />
32. ANON Y MOUS<br />
‘I SYNG OF A M Y D E N ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This unillustrated publication contains the single poem<br />
(or rather medieval carol) I Syng of a Myden.<br />
134 mm × 181 mm. 4 pages. 100 copies; printed in scarlet in<br />
Samson on cream Vélin d’Arches mould-made paper, in<br />
a peach Canson et Montgolfier Mi-Teintes machinemade<br />
paper cover printed in scarlet.<br />
Published May 22nd 2003. Price £2.<br />
edition notes:<br />
In a departure from using roman typefaces,Anthony Baker decided that,<br />
as the poem dates from around 1400, it would be more appropriate to use<br />
an uncial typeface that related to the period.<br />
i syng of a myden was first printed by the Rampant Lions <strong>Press</strong> as<br />
a Christmas keepsake (see item 19 in Section F). Years later, Anthony<br />
decided to have it reprinted; this time as a full Gruffyground production<br />
in covers rather than just an ephemeron. So, nearly a decade after the<br />
original keepsake, this version was completely reset and printed.<br />
<br />
33. WIL L IAM S HAK E SPEAR E<br />
‘TH E PHOEN I X AN D TURTL E ’<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
This unillustrated publication contains the single poem<br />
The Phoenix and Turtle.<br />
20<br />
159 mm × 105 mm. 11 pages. 220 copies; printed in black in<br />
Lettre Françoise Civilité on cream Zerkall Frankfurt<br />
mould-made paper, in a grey-brown Curtis Flannel<br />
machine-made paper cover printed in black.<br />
Published September 25th 2003. Price £16.<br />
e d i t ion notes:<br />
This was a return to one of Anthony Baker’s earliest projects (see item<br />
1 in Section G). the phoenix and turtle was originally printed<br />
for the Gruffyground <strong>Press</strong> in 1975 by Sem Hartz at De Tuinwijkpers in<br />
Haarlem, Holland, but rejected on grounds of poor presswork.<br />
For this edition the setting was created digitally and printed from photopolymer<br />
plates – a Gruffyground first.<br />
The cover features a digitally reconstructed engraved ornamental capital<br />
S, with the head and elongated neck of a mythological bird extending out<br />
from the letterform. This was originally designed by the printer Richard<br />
Pynson around 1505.<br />
Civilités – a generic term – are the continental equivalent of the Secretary<br />
hand written by Shakespeare. The idea of using this kind of typeface was<br />
to give something of the feel of a copy written by the poet himself.<br />
<br />
34. J O H N LEVETT<br />
‘A CLEARER LIGHT ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This publication, illustrated with a lemonwood engraving<br />
by Barry Woodcock of sunlight shining through a<br />
group of trees, contains the following nine poems:<br />
Sea Song<br />
Whitewash<br />
Woodwork<br />
Lemonade<br />
Last<br />
Pillion<br />
Magnesium<br />
Fridge<br />
Tipp-Ex<br />
255 mm × 173 mm. 16 pages. 130 copies; printed in black and<br />
blue in Imprint with Cristal on white Inveresk Somerset<br />
mould-made paper, in an outremer (blue) Canson et<br />
Montgolfier Mi-Teintes machine-made paper cover printed<br />
in black. Signed by the author and the artist.<br />
Published August 5th 2004. Price £40.<br />
section a
edition notes:<br />
Cristal, the display face that Anthony Baker wanted to use for the title,<br />
could no longer be had in hot metal.As the previous publication had been<br />
computer-set with digital type by Gerald Lange at the Bieler <strong>Press</strong>,<br />
Anthony contacted him to ask if he could digitally set the title for this<br />
collection in Cristal at the required size. It turned out that Cristal had<br />
already been digitised for computer setting, but had been somewhat<br />
altered in the process, so Gerald decided to digitally redraw from scratch<br />
the letters that were required for the title just as they would have been in<br />
the original foundry version. He then created a relief copper block to<br />
print from and sent it to Anthony. The printer was very much against<br />
printing from a solid block rather than moveable type and strongly advised<br />
against it, but Anthony was totally set on using the block, especially<br />
after having Gerald Lange go to so much time and effort to create it.As<br />
a result of its use the printer refused to have himself named in the colophon<br />
as the designer.<br />
35. PHILIP LARK I N<br />
‘TOPS ’<br />
<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Christopher Wormell of a spinning top, contains the<br />
single poem Tops.<br />
196 mm × 133 mm. 7 pages. 125 copies; printed in black in<br />
Garamond with Optima on cream Fabriano Ingres<br />
mould-made paper, in a marron foncé (dark brown)<br />
Canson et Montgolfier Mi-Teintes machine-made paper<br />
cover printed in black. Signed by the artist.<br />
Published August 6th 2004. Price £4.<br />
edition notes:<br />
This was a return to a project from many years earlier. Anthony Baker<br />
had planned the publication of tops immediately after the death of<br />
Philip Larkin in 1985. The original printer, Cygnet <strong>Press</strong>, failed to deliver<br />
and the project was abandoned until Anthony decided to revive it nearly<br />
two decades later with this publication.<br />
36. J O H N H O L L OWAY<br />
‘WEAT HER COCK ’<br />
<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
This unillustrated publication contains the single poem<br />
Weathercock.<br />
21<br />
a . firs t s tat e<br />
189 mm × 120 mm. 5 pages. Approximately 10 (out of 45)<br />
copies; printed in black and dark grey in Granjon on<br />
white Ragston machine-made paper, in a charcoal Curtis<br />
Flannel machine-made paper cover printed in black, with<br />
the title hand-bronzed with pale gold, natural copper,<br />
and silver metallic powders.<br />
Published January 1st 2006. Price £4.<br />
b. s e c o nd s tat e<br />
189 mm × 120 mm. 5 pages. Approximately 35 (out of 45)<br />
copies; printed in black and brown-grey in Granjon on<br />
white Ragston machine-made paper, in a charcoal Curtis<br />
Flannel machine-made paper cover printed in black, with<br />
the title hand-bronzed with pale gold, natural copper,<br />
and silver metallic powders.<br />
Re-issued March 21st 2006. Price £4.<br />
e d i t ion notes:<br />
Within days of its original publication a misprint was noticed in the first<br />
line (‘Fird’ instead of ‘Fire’). T<strong>here</strong> is a handful of first state copies<br />
(item a) that Anthony Baker didn’t manage to recall for rectifying.<br />
These copies have the title on the title page printed in a very dark grey<br />
(hardly any different to the black) that would probably not be noticed as<br />
a second colour unless actually pointed out. Neither the prospectus nor<br />
the colophon mentions that a grey ink is used at all. In fact, the only<br />
reference made regarding its use is on the gruffyground rarities<br />
list (see item 33 in Section F).<br />
Despite being under no obligation to rectify the printing error (Anthony<br />
had after all signed off the misprinted proofs), Gerald Lange was kind<br />
enough to correct the text and reprint the sheet featuring the misprint.<br />
As the title page was also part of the revised sheet, the title was this time<br />
printed using a much more obvious brown-grey. Anthony then unstitched<br />
all the copies he still had (and had managed to recall from those who<br />
had already purchased copies) and resewed them with the new sheet in<br />
place, thus creating the second state copies (item b).<br />
weathercock is part of a much larger sequence entitled ‘Drinks at<br />
the Weathercock Inn’. Feeling that the ‘Weathercock’ section was the<br />
most autonomous part, and quite capable of standing up as a poem in its<br />
own right,Anthony Baker decided to publish just this part alone.<br />
For a second time, the setting for a Gruffyground publication was created<br />
digitally and printed from photopolymer plates.<br />
For the third time, the closure of the Gruffyground <strong>Press</strong> was decided upon,<br />
with this, in Anthony’s own words, being ‘definitely’ the last publication.<br />
As the continuing list of items shows, this was ‘definitely’ not the case.<br />
<br />
section a
37. RU P ERT BROOKE<br />
‘MENEL AU S AND H E LEN ’<br />
Printed by Rosemary Roberts at the Celtic Cross <strong>Press</strong>,<br />
Ovins Well House, Lastingham, Yorkshire, England.<br />
This unillustrated publication contains the single poem<br />
Menelaus and Helen.<br />
225 mm × 167 mm. 8 pages. 80 copies, plus 1 ad personam;<br />
printed in black in Goudy Old Style on avorio (ivory)<br />
Fabriano Tiziano machine-made paper, in a rosso fuoco<br />
(red) Fabriano Tiziano machine-made paper cover printed<br />
in black.<br />
Published May 17th 2006. Price £6.<br />
edition notes:<br />
Another final farewell from Gruffyground? Anthony Baker yet again<br />
decided so, with this being the thirtieth poetry publication from the<br />
Gruffyground <strong>Press</strong> in the thirty years since its first collection of poems.<br />
Again, the decision was short lived.<br />
The ad personam copy was printed for Mark Askam.<br />
<br />
38. ALFRED E DWAR D H O USMAN<br />
‘TE L L M E N OT HERE ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
This unillustrated publication contains the single poem<br />
Tell Me Not Here.<br />
208 mm × 128 mm. 8 pages. 55 copies, plus 2 ad personams;<br />
printed in black in Van Dijck on white Losin handmade<br />
paper, in a black Somerset Velvet mould-made paper<br />
cover printed blind in Trump Gravur.<br />
Published November 30th 2007. Originally distributed free to friends and<br />
acquaintances, then in May 2008 copies were made generally available<br />
for £6.<br />
edition notes:<br />
tell me not <strong>here</strong> is one of the untitled poems from Housman’s<br />
‘Last Poems’ collection. This publication of the poem takes its title from<br />
the start of its first line.<br />
By now Anthony Baker had given up on the idea of definitely closing the<br />
<strong>Press</strong>, preferring instead to go with ‘T<strong>here</strong> are no new plans to continue<br />
at present’.<br />
The ad personam copies were printed for Mark Askam and Alice Fleur<br />
Le Quesne.<br />
22<br />
39. THOMAS CAREW<br />
‘PERSWAS I ONS TO L OVE ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
This unillustrated publication contains the single poem<br />
Perswasions to Love.<br />
a . s tandar d e d i t ion<br />
230 mm × 125 mm. 11 pages. 44 (out of 45) copies, plus 1 ad<br />
personam; printed in black and burgundy in Cancelleresca<br />
Bastarda on white Magnani Velata handmade paper,<br />
in a dark pink Saint-Armand handmade paper cover<br />
printed in semi-opaque white.<br />
Published September 10th 2009. Price £18.<br />
b. ‘ r ev i s e d c ov e r ’ version<br />
230 mm × 125 mm. 11 pages. 1 copy (out of 45), plus 2 ad<br />
personams; printed in black and burgundy in Cancelleresca<br />
Bastarda on white Magnani Velata handmade paper,<br />
in a dark pink Saint-Armand handmade paper cover<br />
printed in dark burgundy.<br />
Published December 7th 2009. Not for sale.<br />
e d i t ion notes:<br />
The colophon states the cover as burgundy rather than the dark pink it<br />
actually is. The sheets ordered turned out to be considerably lighter than<br />
the burgundy sample in Anthony Baker’s copy of the Saint-Armand<br />
swatch book. Had he been aware that the sheets the printer received were<br />
much lighter than his sample, Anthony would not have chosen to have<br />
the covers printed in white, but more likely black or dark burgundy so as<br />
to better stand out. And Anthony wasn’t alone in being unsatisfied with<br />
the covers; the printer, John Grice, wasn’t happy with the rather transparent<br />
white not showing up enough either. In a conversation between<br />
John and myself, he mentioned that he’d thought about reprinting a cover<br />
in dark burgundy for his personal copy. I liked the idea, and rather wanted<br />
to have a cover like it for myself, so I asked John if he’d reset the text (as<br />
the original setting had been dissed) and reprint in dark burgundy the<br />
last couple of sheets of the cover stock that remained. John agreed, and<br />
three new covers were printed. John kept one for himself and sent the<br />
other two to me. I kept one and sent the remaining one to Anthony,<br />
knowing that he’d be most happy to have a definitive cover on one of his<br />
copies. Of these three covers, two were actually printed on the last remaining<br />
sheet of a correctly coloured batch of sheets that the printer still had<br />
from a previous project.<br />
The ad personam copies were printed for Mark Askam, Anthony Baker<br />
and Alice Fleur Le Quesne. Alice’s copy has the standard cover, whilst<br />
the others have the variant printed on the correctly coloured sheet just<br />
mentioned.<br />
<br />
section a
40. J O H N WH ITWORTH<br />
‘A POET’S P RAY ER ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Peter Brown of a glass of whiskey on top of some books<br />
and paperwork, contains the following ten poems:<br />
A Poet’s Prayer<br />
I Didn’t<br />
God’s Warrant<br />
Poem for ‘The Oldie’<br />
Hat Rack<br />
Toffs and Oiks<br />
A Letter Found in an Attic<br />
Notes and Queries<br />
Seasonal<br />
The Pen is Mightier<br />
264 mm × 180 mm. 15 pages. 120 copies, plus 7 ad personams;<br />
printed in black in Dante and Castellar on white<br />
Ruscombe handmade paper, in a buff (cream) Somerset<br />
Velvet mould-made paper cover printed blind in Castellar.<br />
Signed by the author and the artist.<br />
Published September 22nd 2009. Price £32.<br />
edition notes:<br />
Anthony Baker took a departure from the normal and went most lighthearted<br />
with this collection, presenting a selection of most amusing verse.<br />
T<strong>here</strong> were two ad personam copies printed for Mark Askam (one signed<br />
and one unsigned), two ad personam copies for Anthony Baker (both<br />
unsigned) and single ad personam copies for Peter Brown, Martyn Ould<br />
and John Whitworth (all signed). The printer sent the ad personam<br />
colophon sheets to the poet for signing, but accidentally left out a few,<br />
thus explaining the absence of signatures in three copies.<br />
<br />
41. J O H N DR I NKWAT ER<br />
‘MOONLIT AP P LES ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
This unillustrated publication contains the single poem<br />
Moonlit Apples.<br />
a . standar d e d i t i on<br />
125 mm × 172 mm. 4 pages. 20 copies; printed in black and<br />
lime green in Centaur and Arrighi on white Saint-<br />
Armand Frobisher handmade paper, in a dull lime green<br />
Saint-Armand handmade paper cover printed in black.<br />
23<br />
Published February 4th 2010 (although dated 2009). Price £6.<br />
b. v e l lu m e d i t i on i<br />
125 mm × 170 mm. 4 pages. 2 ‘out of series’ copies; printed<br />
in black and lime green in Centaur and Arrighi on offwhite<br />
calf vellum, in a French-folded lime green Moriki<br />
Kozo handmade paper cover printed in black.<br />
c . v e l lu m e d i t i on i i<br />
125 mm × 170 mm. 4 pages. 3 ‘out of series’ copies; printed<br />
in black and lime green in Centaur and Arrighi on offwhite<br />
sheepskin parchment, in a French-folded lime<br />
green Moriki Kozo handmade paper cover printed in<br />
black.<br />
d . ‘ var i an t pa p e r ’ version<br />
128 mm × 175 mm. 4 pages. 4 ‘out of series’ copies; printed<br />
in black and lime green in Centaur and Arrighi on cream<br />
Saint-Armand Rideau handmade paper, in a mid-green<br />
unidentified paper wrapper printed in black.<br />
Published February 4th 2010 (although dated 2009). Not for sale.<br />
e d i t ion notes:<br />
This scarce edition of just twenty copies was strictly for collectors, with<br />
copies only made available to those who had purchased the previous year’s<br />
perswasions to love.<br />
I’d long since wanted a Gruffyground <strong>Press</strong> publication printed on vellum<br />
to add to my collection, so I asked Anthony Baker if he would allow me<br />
to have a couple of special vellum copies of moonlit apples printed<br />
if I supplied the vellum.Anthony was agreeable to this, as was the printer,<br />
who’d previously printed on this most notoriously difficult material with<br />
great success. A handful of sheets – some calf and some sheepskin –<br />
were obtained and printed. Two copies (item b) were printed on thick<br />
‘manuscript’ calfskin (calfskin being true vellum, for purists), and three<br />
copies (item c) were printed on sheepskin parchment (the usual material<br />
used today for ‘vellum’ printing). These vellum copies had to have another<br />
cover created for them as t<strong>here</strong> was only enough of the Saint-Armand<br />
cover paper for the copies of the actual edition. I asked the printer if he<br />
could obtain some lime green Japanese handmade paper I’d seen that I<br />
thought would be most suitable for the alternative covers.<br />
T<strong>here</strong> were also some ‘variant paper’ copies (item d). These came about<br />
when John Grice printed the text on a handful of sheets of the cream<br />
version of the paper used for the main run just to see how it would look.<br />
As with the vellum copies, these have a variant cover, but instead of the<br />
Moriki Kozo paper used for the vellum copies, these have yet another<br />
variant cover using a suitable mid-green paper that the printer had.<br />
This job was set in – and so dated – 2009, but due to a long delay in<br />
getting the cover stock, it remained unprinted until late January the<br />
following year. Only after printing did the printer realise his minor<br />
oversight of not changing the year accordingly.<br />
<br />
section a
42. ALEXANDER POPE<br />
‘ ELEGY TO THE M E M ORY O F AN<br />
UNFORTUNATE L AD Y ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
This unillustrated publication contains the single poem<br />
Elegy to the Memory of an Unfortunate Lady.<br />
a . standar d e d i t i on<br />
228 mm × 170 mm. 11 pages. 45 copies, plus 1 ad personam;<br />
printed in black and brown in Caslon on grey-beige<br />
Barcham Green Renaissance handmade paper, in a moss<br />
rose (pink-brown) Saint-Armand handmade paper cover<br />
printed in black.<br />
Published September 24th 2010. Price £22.<br />
b. ‘var ian t c ov e r ’ v ersion<br />
228 mm × 170 mm. 11 pages. 2 ad personam copies; printed<br />
in black and brown in Caslon on grey-beige Barcham<br />
Green Renaissance handmade paper, in a moss rose<br />
(pink-brown) Saint-Armand handmade paper cover<br />
printed in dark pink-brown.<br />
Published September 24th 2010. Not for sale.<br />
edition notes:<br />
The colophon page features something that has been missing from<br />
Gruffyground <strong>Press</strong> publications since six somerset epitaphs in<br />
1972; a Gruffyground pressmark. The colophon pages of both buzz buzz<br />
and newark abbey feature a pressmark of a pine cone tied with<br />
ribbons, but this is the pressmark of the printer, Libanus <strong>Press</strong>, not the<br />
publisher. Deciding to remedy this lack, I set about designing a new<br />
Gruffyground pressmark as a thank you for some rare items that Anthony<br />
Baker had sent me. As Anthony was rather fond of the original ‘AB’<br />
pressmark that John Craig had cut in lino for six somerset<br />
epitaphs, I decided to base my version on that. When finished I had<br />
zinc line blocks made in two sizes and sent them to Anthony for his use.<br />
To be in keeping with the ‘variant cover’ copies of perswasions to<br />
love, Anthony Baker wanted a couple of the ad personam copy covers<br />
to be printed using a different coloured ink on a darker shade of the cover<br />
stock used for the main run. He asked Saint-Armand if they could find<br />
a sheet from another batch that was darker than those he’d just ordered<br />
and send it to the printer along with the rest of the sheets. This sheet was<br />
duly printed in a dark pink-brown instead of black to create Anthony’s<br />
‘variant cover’ copies (item b).<br />
The ad personam copies were printed for Mark Askam, Anthony Baker<br />
and Alice Fleur Le Quesne. Alice’s copy has the standard cover, w<strong>here</strong>as<br />
the others have the variant.<br />
<br />
24<br />
43. ‘FIVE QU OTATI ON S ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
132 mm × 200 mm (folder size). 10 collected sets of five<br />
quote cards; printed in black and various secondary<br />
colours in Dante and Optima, plus a ‘title page’ card,<br />
printed in black in Ratdolt Titling and Optima, on white<br />
Vélin Arches Blanc mould-made paper. Contained in a<br />
newsprint (pale beige-grey) Somerset Velvet mould-made<br />
paper folder printed blind in Ratdolt Titling.<br />
Published January 15th 2012. Not for sale.<br />
e d i t ion notes:<br />
Anthony Baker had a series of five different quotes printed for sending<br />
out as greetings in future years (see items 45, 46, 47, 48 and 49 in Section<br />
F). For special publication he decided to have ten sets of all the quotes<br />
collected together in a folder, along with a sixth ‘title-page’ card printed<br />
with the text ‘Five Quotations’ and ‘The Gruffyground <strong>Press</strong> • 2012’.<br />
<br />
44. ‘THE ART AT LADRAM ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
208 mm × 128 mm. 8 pages. 45 copies; printed in black in<br />
Caslon Old Face on soft white Somerset Book mouldmade<br />
paper, in an antique (cream) Somerset Velvet<br />
mould-made paper cover featuring just the Gruffyground<br />
‘AB’ pressmark printed blind.<br />
Published February 29th 2012. Not for sale.<br />
e d i t ion notes:<br />
Anthony Baker decided to follow his two previous ephemeral ‘Ladram’<br />
lists, the furniture at ladram and the vessels at ladram<br />
(see items 36 and 37 in Section F), with this descriptive list of artwork<br />
adorning the walls of the Gruffyground home, Ladram. As it’s sewn in<br />
covers, this counts as a publication rather than an ephemeron, and as such<br />
it doesn’t have to conform to the design of the earlier ‘Ladram’ lists. The<br />
main reason Anthony decided to make it a publication (and t<strong>here</strong>fore a<br />
different design) was that t<strong>here</strong> was no more of the Tumba Ingres paper<br />
he’d used for the previous lists to be able to print a new list in a matching<br />
style. He also wanted the opportunity to have just the Gruffyground pressmark<br />
printed blind on the cover of one of his publications.<br />
This is the only example of a Gruffyground publication w<strong>here</strong> it can be<br />
said that the entire production is Somerset sourced. The printer is based<br />
in Somerset; the paper – both text and cover – is made in Somerset; even<br />
the text describes the contents of the publisher’s Somerset home.<br />
<br />
section a
45. JEFFREY T URNER<br />
‘GHOSTS ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
This unillustrated publication contains the following<br />
three poems:<br />
Ghosts<br />
Benches<br />
November<br />
215 mm × 140 mm. 8 pages. 125 copies; printed in black and<br />
burgundy in Univers Light and Univers Medium on white<br />
Bockingford mould-made paper, in a pink-mauve Saint-<br />
Armand handmade paper cover printed in burgundy.<br />
Unsigned.<br />
Published October 15 2012. Price £12.<br />
edition notes:<br />
For the first time, Anthony Baker decided to have one of his poetry publications<br />
completely set in a sans serif typeface. He felt that a more modern<br />
style of typeface might suit new work from a modern author.<br />
The colophon page features the Gruffyground pressmark.<br />
<br />
46. RUDYARD KIPLIN G<br />
‘THE WAY THROUG H THE WO OD S ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
This publication, illustrated with a boxwood engraving<br />
by Andy English of an otter emerging from a pool against<br />
a backdrop of trees, contains the single poem The Way<br />
Through The Woods.<br />
a . standar d e d i t i on<br />
215 mm × 140 mm. 7 pages. 124 (out of 130) copies; printed<br />
in black and dark green in Modern No. 7 and Gresham<br />
on Avorio (ivory) Magnani Vergata laid handmade paper,<br />
in a fern green Saint-Armand handmade paper cover<br />
printed in dark green. Signed by the artist.<br />
Published October 19 2012. Price £12.<br />
b. ‘var ian t na m e ’ v ersion<br />
215 mm × 140 mm. 7 pages. 6 (out of 130) copies; printed in<br />
black and dark green in Modern No. 7 and Gresham on<br />
Avorio (ivory) Magnani Vergata laid handmade paper, in<br />
a fern green Saint-Armand handmade paper cover printed<br />
in dark green. Signed by the artist.<br />
25<br />
Published October 19 2012. Not for sale.<br />
e d i t ion notes:<br />
Anthony Baker strongly dislikes diminutives, so he asked John Grice if<br />
he would print him his five personal copies with the name of the engraver<br />
on the title page given as Andrew, not Andy (item b). On further<br />
thoughts he added ‘Actually, make that six copies, as Mark (myself)<br />
will want one when he hears about them’. And indeed I did!<br />
The cover paper came in two separate batches and, as has been known<br />
before with Saint-Armand coloured papers, the colour in each batch<br />
turned out to be quite different, resulting in two cover shades across the<br />
edition.<br />
<br />
section a
A N ILL U S TRAT I V E S E LECTION O F I T E M S<br />
F RO M T H E G R U FFYGROUN D PRESS<br />
26
SECTION B<br />
P R O SPE C TUSES<br />
Many of the Gruffyground <strong>Press</strong> publications have had prospectuses printed for sending out to prospective customers.<br />
Here follows a complete list.<br />
1. J O H N HEAT H - STUB B S<br />
‘BUZ Z BUZ Z ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
212 mm × 105 mm. Single page. 100 copies; printed in black<br />
and ochre in Bodoni on cream Vélin d’Arches mouldmade<br />
paper.<br />
<br />
2. THOMAS HAR DY<br />
‘FRI E N D S BEYON D ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
200 mm × 105 mm. Single page. 200 copies; printed in black<br />
in Blado and Poliphilus on an unidentified white machinemade<br />
paper.<br />
One of the rules for Gruffyground <strong>Press</strong> publications is that the prospectus<br />
must be printed on the same paper as the item it is advertising so as to<br />
better show the potential customer what they are being offered. Through<br />
a failure of communication this did not happen with this particular prospectus,<br />
which was instead printed on an ordinary machine-made paper.<br />
As a result, very few copies were sent out as Anthony Baker was most<br />
dissatisfied with them; indeed quickly disowning them.<br />
3. L AWREN C E SAI L<br />
‘AQUA M ARINE ’<br />
<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.<br />
a . eng l ish version<br />
238 mm × 134 mm. Single page. Unrecorded quantity (out<br />
of 250 copies); printed in black and aquamarine in Bembo<br />
with Lutetia Open on white Canson et Montgolfier<br />
Johannot mould-made paper.<br />
51<br />
b. a m e r i c an version<br />
238 mm × 134 mm. Single page. Unrecorded quantity (out<br />
of 250 copies); printed in black and aquamarine in Bembo<br />
with Lutetia Open on white Canson et Montgolfier<br />
Johannot mould-made paper.<br />
As Anthony Baker had some Gruffyground customers in America, he<br />
decided to have two versions of the prospectus for aquamarine printed.<br />
The main version was for his British customers and gave the publication<br />
price in guineas. The second version, of which t<strong>here</strong> were considerably<br />
fewer copies, was specifically for sending to America. The American<br />
version is identical to the British, except for the price being announced<br />
in dollars, and is the only instance w<strong>here</strong> Anthony had a second version<br />
printed for another market.<br />
<br />
4 . RO B ERT GRAV E S<br />
‘ CYNICS AN D RO M ANTICS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
12 Chesterton Road, Cambridge, England.<br />
203 mm × 98 mm. Single page. 200 copies; printed in black<br />
and red in Palatino on cream Fabriano Umbria Gialetto<br />
handmade paper.<br />
<br />
5 . JAM E S R E EVE S<br />
‘ TO RO B ERT GRAV E S I N D E YÁ ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
190 mm × 128 mm. Single page. 200 copies; printed in black<br />
in Walbaum on grey Zerkall Silurian mould-made paper.<br />
<br />
6 . T H O MAS LOV E PEACOCK<br />
‘ N E WAR K ABB E Y ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.
210 mm × 100 mm. Single page. 100 copies; printed in black<br />
and plum in Bell with Thorne Shaded on white Barcham<br />
Green Chilham handmade paper.<br />
<br />
7. JOHN WEBSTER<br />
‘A FAYR E AN D HAPP Y MILKE - MAYD’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
207 mm × 104 mm. Single page. 100 copies; printed in black<br />
and brown in Octavian with Golden Cockerel on white<br />
Hahnemühle Laid mould-made paper.<br />
<br />
8. DAVI D SUTTON<br />
‘TH E PLANET HAPPINESS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
209 mm × 147 mm. Single page. 100 copies; printed in black<br />
and red in Plantin Light with Sistina and Hunt Roman on<br />
white Hahnemühle Bugra Bütten mould-made paper.<br />
Shortly after publishing the planet happiness, Anthony Baker<br />
decided to drop the price, leaving him with a large number of prospectuses<br />
that he could no longer use as they featured the original price.<br />
<br />
9. ALFRE D T E N N YSON<br />
‘FOUR SONNETS TO A COQU ETTE ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
204 mm × 102 mm. Single page. 100 copies; printed in black<br />
in Arrighi Vincenza with Thorowgood on grey Zerkall<br />
mould-made paper.<br />
<br />
10. ‘A GRUFFYMAUFRY ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
102 mm × 134 mm. Single page. 70 copies; printed in black<br />
in Egyptian Expanded and Plantin Light on grey-brown<br />
Canson et Montgolfier Mi-Teintes machine-made paper.<br />
52<br />
11. ALISON BRACKE N B URY<br />
‘ T H E STORY O F SIGURD ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
242 mm × 154 mm. Single page. 100 copies; printed in<br />
black and turquoise in Bulmer with Dartmouth on white<br />
Saunders Waterford mould-made paper.<br />
<br />
12. CHARLOT T E MEW<br />
‘THE TRE E S AR E D OWN ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
218 mm × 160 mm. Single page. 100 copies; printed in black<br />
and maroon in Romulus with Open Roman on white<br />
Zerkall mould-made paper.<br />
<br />
13. ANON YMOUS<br />
‘ I S Y N G O F A M Y D E N ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
126 mm × 176 mm. Single page. 100 copies; printed in scarlet<br />
in Samson on cream Vélin d’Arches mould-made paper.<br />
<br />
14. WIL L I AM S HAK E SPEAR E<br />
‘ T H E P H O E N I X AN D TURTL E ’<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
153 mm × 98 mm. Single page. 150 copies; printed in black<br />
in Lettre Françoise Civilité on cream Zerkall Frankfurt<br />
mould-made paper.<br />
<br />
15. J O H N LEVETT<br />
‘A CLEARER LIGHT ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
244 mm × 165 mm. Single page. 100 copies; printed in black<br />
and blue in Imprint with Cristal on white Inveresk<br />
Somerset mould-made paper.<br />
section b
16. PHILIP LARK I N<br />
‘TOPS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
190 mm × 126 mm. Single page. 100 copies; printed in black<br />
in Garamond with Optima on cream Fabriano Ingres<br />
mould-made paper.<br />
17. J O H N H O L L OWAY<br />
‘WEAT HER COCK ’<br />
<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
185 mm × 118 mm. Single page. 50 copies; printed in black<br />
and dark grey in Granjon on white Ragston machinemade<br />
paper.<br />
The grey used to print the title is very dark – hardly any different to the<br />
black – and would probably not be noticed as a second colour unless<br />
actually pointed out.<br />
<br />
18. RU P ERT BROOKE<br />
‘MENEL AU S AND H E LEN’<br />
Printed by Rosemary Roberts at the Celtic Cross <strong>Press</strong>,<br />
Ovins Well House, Lastingham, Yorkshire, England.<br />
219 mm × 165 mm. Single page. 100 copies; printed in black<br />
in Goudy Old Style on avorio (ivory) Fabriano Tiziano<br />
machine-made paper.<br />
This is the first instance w<strong>here</strong> a Gruffyground <strong>Press</strong> prospectus has been<br />
printed on both sides.<br />
<br />
19. THOMAS CAREW<br />
‘PERSWAS I ONS TO L OVE ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
222 mm × 118 mm. Single page. 45 copies; printed in<br />
black and burgundy in Cancelleresca Bastarda on white<br />
Magnani Velata handmade paper.<br />
<br />
53<br />
20. J O H N WH ITWORTH<br />
‘A POET’S P RAY ER ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
260 mm × 169 mm. Single page. 60 copies; printed in black<br />
in Dante and Castellar on white Ruscombe handmade<br />
paper.<br />
<br />
21. J O H N DR INKWAT ER<br />
‘ M O ONLIT AP P LES ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
a . s tan dar d version<br />
130 mm × 152 mm. Single page. 26 copies; printed in black<br />
and lime green in Centaur and Arrighi on white Saint-<br />
Armand Frobisher handmade paper.<br />
b. ‘ var i an t pa p e r ’ version<br />
130 mm × 152 mm. Single page. 4 copies; printed in black<br />
and lime green in Centaur and Arrighi on cream Saint-<br />
Armand Rideau handmade paper.<br />
The prospectus for moonlit apples was printed on offcuts from the<br />
sheets used for printing the actual edition. As the printer had printed a<br />
handful of ‘out of series’ copies of the edition on a cream version of the<br />
paper used for the main run, a few prospectuses on the cream paper offcuts<br />
also got printed, hence the variant.<br />
As with the actual edition of moonlit apples, this prospectus was<br />
set in – and so dated – 2009, but due to a delay in production it remained<br />
unprinted until late January the following year. Only after printing did<br />
the printer realise his minor oversight of not changing the year accordingly.<br />
<br />
22. ALEXANDER POPE<br />
‘ELEGY TO THE M E M ORY O F AN<br />
UNFORTUNATE L AD Y ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
225 mm × 155 mm. Single folded sheet. 45 copies; printed<br />
in brown and black in Caslon on grey-beige Barcham<br />
Green Renaissance handmade paper.<br />
Breaking from the usual format of Gruffyground <strong>Press</strong> prospectuses, this<br />
one was produced as a four page item, printed on the front and inside<br />
right page of a folded sheet.<br />
section b
23. RUDYARD KIPLIN G<br />
‘THE WAY THROUG H THE WO OD S ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
a . stan dar d v ersion<br />
209 mm × 136 mm. Single page. 70 copies; printed in black<br />
and green in Modern No.7 and Gresham on Avorio (ivory)<br />
Magnani Vergata laid handmade paper.<br />
b. ‘var ian t na m e ’ v ersion<br />
209 mm × 136 mm. Single page. 6 copies; printed in black<br />
and green in Modern No.7 and Gresham on Avorio (ivory)<br />
Magnani Vergata laid handmade paper.<br />
To match with the six variant copies of the publication (see item 47b in<br />
Section A), Anthony Baker had six variant copies of the prospectus<br />
printed, naming the engraver as Andrew, not Andy.<br />
<br />
54<br />
section b
SECTION C<br />
GREETING S CARD S<br />
Several of the engravings produced for Gruffyground <strong>Press</strong> publications have also been printed as greetings cards. With<br />
the exception of among my souvenirs and woodpigeons at raheny, all have featured the title of the engraving and<br />
the artist’s name on the inside left, ‘With best wishes for Christmas and the New Year’ on the inside right, and details of<br />
the printer and publisher on the back.<br />
1. ‘AM O N G M Y S O U V E N I R S ’<br />
(from ‘PRIVAT E V IEW ’ )<br />
Printed by Jonathan Stephenson at the Rocket <strong>Press</strong>,<br />
Steventon Vicarage, Abingdon, Oxfordshire, England.<br />
Featuring a boxwood engraving by Simon Brett of a dead<br />
bird on a window sill that looks out onto a bonfire.<br />
215 mm × 128 mm, French-folded. 100 copies; printed in<br />
black on cream Zerkall mould-made paper.<br />
Sent out from December 1985.<br />
Anthony Baker had asked for some copies of just the engraving to be<br />
printed off for sending out as Christmas greetings.Instead of printing the<br />
engraving on single leaves, the printer decided instead to print the image<br />
on the front of a French-folded sheet, thus creating the first Gruffyground<br />
<strong>Press</strong> greetings card. This gave Anthony the idea of having future engravings<br />
printed as proper Christmas cards rather than just loose prints.<br />
Unlike all future cards, this one features no text; just the engraving.<br />
<br />
2. ‘CORONATIO N RO S E ’<br />
(from ‘CYNICS A N D RO M A N TICS’)<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
12 Chesterton Road, Cambridge, England.<br />
Featuring a boxwood engraving by Robert Tilleard of a<br />
young woman posing.<br />
142 mm × 102 mm. 60 copies; printed in red and black in<br />
Palatino on white St Cuthbert mould-made paper.<br />
Sent out from December 1989.<br />
This card uses the main engraving from cynics and romantics<br />
(see item 18a in Section A). The engraving is of Coronation Rose Baker,<br />
the publisher’s mother, hence the title.<br />
<br />
55<br />
3 . ‘OLD MAN , OR L A D’S L OV E … ’<br />
(from ‘OLD MAN ’ )<br />
Printed by Jonathan Stephenson at the Rocket <strong>Press</strong>,<br />
Millcroft Stables, Blewbury, Oxfordshire, England.<br />
Featuring a lemonwood engraving by Colin Paynton<br />
(known now as Colin See-Paynton) of a young girl at a<br />
door holding a sprig of the aromatic herb ‘old man’.<br />
173 mm × 124 mm, French-folded. 100 copies; printed in<br />
black in Baskerville and Old Face Open on ivory Zerkall<br />
Alice mould-made paper.<br />
Sent out from December 1990.<br />
4 . ‘TOP’<br />
(from ‘TOPS ’ )<br />
<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
Featuring a boxwood engraving by Christopher Wormell<br />
of a spinning top.<br />
76 mm × 107 mm. 100 copies; printed in black in Bembo on<br />
beige Zerkall Silurian mould-made paper.<br />
Sent out from December 1991.<br />
Gruffyground’s edition of Philip Larkin’s poem tops was planned (and<br />
the engraving obtained) immediately after the poet’s death in 1985. The<br />
original printer for the edition, Cygnet <strong>Press</strong>, failed to deliver and the<br />
project was abandoned. After a few years it was uncertain whether tops<br />
would ever be published (as it eventually was in 2004). Rather than let<br />
the engraving go unused, Anthony Baker asked the Rampant Lions <strong>Press</strong><br />
to print this card, thus explaining why it features an engraving from an<br />
item published many years later.
5. ‘TH E PLANET HAPPINESS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
Featuring a boxwood engraving by Christopher Daunt<br />
of a small boy playing at the water’s edge of a beach.<br />
152 mm × 152 mm. 60 copies; printed in black in Hunt<br />
Roman and Palatino on white Fabriano Rosaspina mouldmade<br />
paper.<br />
Sent out from December 1996.<br />
<br />
6. ‘CH E Z MONSIEUR PRIEUR ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
Featuring a boxwood engraving by Simon Brett of a small<br />
garden pond in the rain.<br />
149 mm × 105 mm. 60 copies; printed in black in Haarlemmer<br />
and Bembo on white Lana 1590 Edition mould-made<br />
paper.<br />
Sent out from December 1997.<br />
<br />
7. ‘TH E STORY O F SIGURD ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
Featuring a boxwood engraving by Jane Lydbury of<br />
Sigurd and Brynhild in bed with a sword laid between<br />
them.<br />
209 mm × 140 mm. 60 copies, printed in black in Modern<br />
No. 20 and Bulmer on white Saunders Waterford mouldmade<br />
paper.<br />
Sent out from December 2002.<br />
<br />
8. ‘THE TRE E S AR E D OWN ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
Featuring a boxwood engraving by Linda Holmes of a<br />
man up a tree lopping off branches.<br />
56<br />
149 mm × 105 mm. 60 copies; printed in black in Romulus<br />
and Bembo on white Zerkall mould-made paper.<br />
Sent out from December 2003.<br />
9 . ‘ S N OW JOKE ’<br />
<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Libbys<br />
Drive, Stroud, Gloucestershire, England.<br />
Featuring a boxwood engraving by Christopher Wormell<br />
of a man walking his dog in a snowy scene.<br />
100 mm × 148 mm. 70 copies; printed in black in Garamond<br />
on white Canaletto machine-made paper .<br />
Sent out from December 2005.<br />
This card – the only one so far with a proper seasonal theme – features<br />
an engraving which Anthony Baker commissioned for a collection of poems<br />
by Vernon Scannell entitled extra time. After problems with production,<br />
Anthony decided to call a halt to the project (see item 5 in Section<br />
G). Another part of the project was an edition of Christmas cards but,<br />
as the main publication was abandoned, these were also returned to the<br />
printer for pulping. The printer never got round to destroying them, so<br />
they sat unwanted for a couple of years until their existence was brought<br />
to my attention. Deciding that such a perfectly good item should not go<br />
to waste, I acquired the cards and sent them to Anthony to distribute.<br />
<br />
10. ‘A POET’S P RAY ER ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
Featuring a boxwood engraving by Peter Brown of a glass<br />
of whiskey on top of some books and paperwork.<br />
160 mm × 129 mm. 60 copies; printed in black in Dante on<br />
white Sheepstor handmade paper.<br />
Sent out from December 2009.<br />
<br />
11. ‘WO O D PIG E ON S AT RAH ENY ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
Featuring a boxwood engraving by Ian Stephens of a pair<br />
of woodpigeons in a tree, with an abbey in the background.<br />
section c
145 mm × 105 mm. 90 copies; printed in black in Fournier<br />
on pale cream Vélin Arches mould-made paper, with the<br />
engraving – printed on a 114 mm × 78 mm piece of white<br />
Mohawk Superfine machine-made paper – pasted in.<br />
Sent out from December 2011.<br />
This card features the engraving from an originally intended Gruffyground<br />
edition of Donald Davie’s poem ‘Woodpigeons at Raheny’. After<br />
having commissioned the engraving, Anthony Baker decided against<br />
publishing the edition of the poem that it would illustrate. Rather than<br />
see the engraving go unused he settled on having it printed as a Christmas<br />
greeting.<br />
The design of this card is quite different to those previously produced for<br />
Gruffyground. Instead of the engraving appearing on the front, as is usual,<br />
t<strong>here</strong> is instead the greetings text. The engraving itself is printed on a<br />
separate piece of paper and pasted on to the inside right of the card.The<br />
title of the engraving and the engraver’s name are printed on the inside<br />
left, and the printer and publisher details are printed on the back.<br />
<br />
12. ‘THE WAY THROUG H THE WO OD S ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
Featuring a boxwood engraving by Andy English of an<br />
otter emerging from a pool against a backdrop of trees.<br />
a . firs t stat e – s tan dar d v ersion<br />
145 mm × 104 mm. 30 copies; printed in black in Lutetia on<br />
ivory white Arches BFK Rives mould-made paper.<br />
b. firs t stat e – ‘ var i an t na me’ version<br />
145 mm × 104 mm. 30 copies; printed in black in Lutetia on<br />
ivory white Arches BFK Rives mould-made paper.<br />
c . s econd s tat e – s tan dar d v ersion<br />
148 mm × 104 mm. 20 copies; printed in mid-green and<br />
black in Lutetia on white Arches mould-made paper.<br />
d . s econd s tat e – ‘ var i an t na m e ’ version<br />
148 mm × 104 mm. 20 copies; printed in mid-green and<br />
black in Lutetia on white Arches mould-made paper.<br />
Because of his dislike of diminutives, and to be in keeping with the publication<br />
that the engraving was commissioned for (see item 47 in Section<br />
A), Anthony Baker had variant copies printed, naming the engraver as<br />
Andrew, not Andy. Unlike the publication, the variant name features in<br />
half the edition, rather than a mere handful.<br />
Anthony had always intended for the engraving to be printed in green<br />
but, due to some missed communication, this didn’t happen and the edition<br />
57<br />
was initially printed all in black (items a and b). Anthony wasn’t too<br />
disappointed, as the cards looked perfectly fine, though he still rather<br />
liked the idea of having the engraving in green. John Grice offered to<br />
reprint the entire edition, but Anthony thought this unnecessary and asked<br />
instead to have a lesser number with the engraving printed in green (items<br />
c and d), mainly so he would have some for himself.<br />
Sent out from December 2012.<br />
<br />
section c
SECTION D<br />
L I MI T E D E D I T ION P RINT S<br />
This section describes the engravings that have been issued as limited editions, signed and numbered by the artist. These<br />
are studio prints by the artists themselves, with the exception of the closed door (second edition), friends beyond,<br />
home, and rain at sea, which were printed by Michael Mitchell at the Libanus <strong>Press</strong>. All but churchyard and pine<br />
marten had five copies window mounted, ready for framing. Other engravings from Gruffyground publications have<br />
been issued as limited signed prints by the artists (natura, for example), but are not included <strong>here</strong> as none of the copies<br />
has been issued by the Gruffyground <strong>Press</strong>.<br />
1. ‘TH E CLOSED D O OR ’<br />
Boxwood engraving by Richard Shirley Smith of a<br />
mournful girl sitting on the floor.<br />
a . firs t edition<br />
60 copies; printed in black on white Hosho handmade<br />
paper.<br />
b. s econd edition<br />
100 copies; printed in black on white Hosho handmade<br />
paper.<br />
The second edition is numbered in roman numerals to differentiate it from<br />
the first edition.<br />
<br />
2. ‘CHURCHYARD ’<br />
(from ‘SI X HAMPSHIRE E P ITAP H S ’ )<br />
Boxwood engraving by Richard Shirley Smith of a<br />
churchyard scene.<br />
a . firs t edition<br />
50 copies; printed in black on white Hosho handmade<br />
paper.<br />
b. s econd e d i t ion<br />
50 copies; printed in black on white Hosho handmade<br />
paper.<br />
The second edition is numbered in roman numerals to differentiate it from<br />
the first edition.<br />
<br />
58<br />
3 . ‘RHINOCEROS B E ETL E ’<br />
(from ‘ BUZ Z BUZ Z ’ )<br />
Pearwood engraving by Richard Shirley Smith of a<br />
rhinoceros beetle and a beetle grub.<br />
100 copies; printed in black on white Hosho handmade<br />
paper.<br />
<br />
4 . ‘ F R I E N D S BEYON D ’<br />
Boxwood engraving by Peter Reddick of an old gravestone<br />
in the foreground of a hilly landscape.<br />
50 copies; printed in black on white Hosho handmade<br />
paper.<br />
<br />
5 . ‘ H OM E ’<br />
(from ‘LEARN I N G T H E ROPE S ’ )<br />
Lemonwood engraving by Colin Paynton (known now<br />
as Colin See-Paynton) of a ‘man winding a handle’ garden<br />
windmill ornament.<br />
100 copies; printed in black on white Wookey Hole handmade<br />
paper.<br />
<br />
6 . ‘RAIN AT S E A ’<br />
(from ‘AQUA M ARINE ’ )<br />
Boxwood engraving by Christopher Wormell of a ship in<br />
the distance of a stormy sea.<br />
100 copies; printed in black on white Hosho handmade<br />
paper.
7. ‘COTTAGE O RNÉ ’<br />
(from ‘EVEN T H E FLOW E R S ’ )<br />
Boxwood engraving by Claire Dalby of a cottage and<br />
flowers at night.<br />
100 copies; printed in black on white Hosho handmade<br />
paper.<br />
<br />
8. ‘OLD MAN , OR L A D’S L OV E … ’<br />
(from ‘OLD MAN ’ )<br />
Lemonwood engraving by Colin Paynton (known now<br />
as Colin See-Paynton) of a young girl at a door holding a<br />
sprig of the aromatic herb ‘old man’.<br />
100 copies; printed in black on cream Gampi handmade<br />
paper.<br />
9. ‘PINE MARTEN ’<br />
<br />
Boxwood engraving by Simon Brett of a pine marten on<br />
a tree trunk, with Anthony Baker’s name carved in the<br />
bark.<br />
30 copies; printed in black on white Hosho handmade<br />
paper.<br />
A limited, signed edition of Anthony Baker’s bookplate.<br />
<br />
59<br />
section d
SECTION E<br />
OTHER P RINT S<br />
This section describes all the unsigned and unnumbered prints of engravings that have been either issued freely or sold<br />
by Anthony Baker. In many cases quantities were not recorded, so approximations from the publisher’s memory are<br />
given.<br />
1. ‘AQUE DUC T POEM AND E N GRAV I N G ’<br />
(from ‘THE M I S S E D BEAT ’ )<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
Boxwood engraving by Simon Brett of a dilapidated old<br />
aqueduct.<br />
Unrecorded number of copies (although, as they were<br />
taken from a rejected run of 170 copies, then it is likely<br />
that t<strong>here</strong> were around 170); printed in black in Times on<br />
ivory Okawara handmade paper.<br />
T<strong>here</strong> were errors in an initial printing of the missed beat. Rather<br />
than totally waste the copies already printed, Anthony Baker guillotined<br />
out the French-folded page that had the engraving of an aqueduct printed<br />
in black on one side and the poem ‘Aqueduct’ on the other, and sent them<br />
out as a Christmas greeting.<br />
<br />
2. ‘AQUE DUC T ’<br />
(from ‘THE M I S S E D BEAT ’ )<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
Boxwood engraving by Simon Brett of a dilapidated old<br />
aqueduct.<br />
a . blac k version<br />
50 copies; printed in black on ivory Okawara handmade<br />
paper.<br />
b. olive version<br />
50 copies; printed in olive on ivory Okawara handmade<br />
paper.<br />
Along with the final copies of the missed beat, Claire van Vliet<br />
printed – unasked – some extra prints of just the engraving. Some of<br />
these were printed in black and some in olive. Anthony Baker was most<br />
pleased to receive these bonus items; selling some through the Basilisk<br />
<strong>Press</strong> & Bookshop in Hampstead and sending out others as a Christmas<br />
greeting.<br />
60<br />
3 . ‘ T H E C L O S ED D O OR ’<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
Boxwood engraving by Richard Shirley Smith of a<br />
mournful girl sitting on the floor.<br />
50 copies; printed in black on cream Twinrocker Sweetbutter<br />
handmade paper.<br />
As with the missed beat, Claire van Vliet printed – unasked –<br />
some extra prints of the engraving and sent them to Anthony with his<br />
copies of the closed door. Anthony Baker sold some of these<br />
through the Basilisk <strong>Press</strong> & Bookshop in Hampstead and sent out others<br />
as a Christmas greeting.<br />
<br />
4 . ‘ T H E C L O S ED D O OR ’ –<br />
POSTCAR D V E RSION<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
Boxwood engraving by Richard Shirley Smith of a<br />
mournful girl sitting on the floor.<br />
148 mm × 103 mm. Single page. Unknown number of<br />
copies (although according to the printer t<strong>here</strong> would<br />
have been at least 200); printed in black in Bembo on an<br />
unidentified cream paper (which the printer thinks may<br />
have been a heavy weight Basingwerk).<br />
Michael Mitchell printed a run of this engraving as a postcard while<br />
the block was in his possession for printing a second limited artist’s edition<br />
for Richard Shirley Smith (see item 1b in Section D).To make it a little<br />
different to the official version, text stating the title, artist, publisher and<br />
original publication year was printed underneath. Anthony Baker originally<br />
knew nothing of these prints (it was the engraver who authorised the<br />
printing), but obtained some for his own use (as postcards) when he<br />
learned of their existence.
5. ‘NAT URA ’<br />
Printed by Karl Kimber Merker at the Windhover <strong>Press</strong>,<br />
Iowa City, Iowa, United States of America.<br />
Boxwood engraving by Peter Reddick of a countryside<br />
landscape.<br />
Unrecorded number of copies (although, as they were<br />
taken from the rejected run of 200 copies, then it is likely<br />
that t<strong>here</strong> were around 200); printed in black on white<br />
Barcham Green Windhover handmade paper.<br />
These prints came from a first printing of natura that Anthony Baker<br />
rejected on grounds of poor presswork (see item 3 in Section G). Before<br />
the copies were destroyed, Anthony Baker asked if the engraving could<br />
be cut from the title pages and sent to him so that he would have some<br />
prints to distribute. Anthony sold some of them through the Basilisk <strong>Press</strong><br />
& Bookshop in Hampstead and sent out others as a Christmas greeting.<br />
<br />
6. ‘TH E ONLY C HILD ’<br />
(from ‘WINT E R W IND ’ )<br />
Printed by Claire van Vliet at the Janus <strong>Press</strong>, Newark,<br />
West Burke, Vermont, United States of America.<br />
Boxwood engraving by Monica Poole of a girl asleep in<br />
bed next to the billowing curtains of an open window.<br />
Unrecorded number of copies (but fewer than the usual<br />
50 that Janus <strong>Press</strong> had been printing previously, as during<br />
the printing of these extra prints the engraved block<br />
sustained some damage); printed in black on cream<br />
Gampi handmade paper.<br />
Once again, unsolicited prints of just the engraving were printed and sent<br />
along with the finished publication. Anthony Baker sold some through<br />
the Basilisk <strong>Press</strong> & Bookshop in Hampstead and sent out others as a<br />
Christmas greeting.<br />
<br />
7. ‘TH E ONLY C HILD ’<br />
(from ‘WINT E R W IND ’ )–<br />
ALTERE D V E RSION<br />
Printed by Graham Williams at the Florin <strong>Press</strong>, Biddenden,<br />
Kent, England.<br />
Boxwood engraving by Monica Poole of a girl asleep in<br />
bed next to the billowing curtains of an open window.<br />
Approximately 30 copies; printed in black on cream<br />
Zerkall mould-made paper.<br />
61<br />
The woodblock was required by the Florin <strong>Press</strong> for printing in a collection<br />
of Monica Poole’s engravings. Unfortunately, it had been slightly damaged<br />
after the printing of winter wind and Anthony Baker had to<br />
get Monica to repair it. Luckily, the damage was in an area w<strong>here</strong> the<br />
engraving could be altered without too much trouble. Now, if you look at<br />
the bottom of the moon in these later prints, t<strong>here</strong> is more of it showing<br />
through the clouds. As a way of thanks for the loan of the block, Graham<br />
Williams offered to print these copies for Anthony, who sent them out as<br />
a Christmas greeting.<br />
<br />
8 . ‘RHINOCEROS B E ET L E ’<br />
(from ‘ BUZ Z BUZ Z ’ )<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
Pearwood engraving by Richard Shirley Smith of a<br />
rhinoceros beetle and a beetle grub.<br />
Approximately 50 copies; printed in black on cream Vélin<br />
d’Arches mould-made paper.<br />
Having gotten rather used to having prints of just the engravings from<br />
his projects printed in addition to the publication they appeared in,<br />
Anthony Baker asked the printer if he would continue the trend for him<br />
and print a small number of copies of the engraving from buzz buzz<br />
for him whilst working on the publication.These were sent out by Anthony<br />
as a Christmas greeting.<br />
<br />
9 . ‘ CLASSICA L T EX T ’<br />
(from ‘ TELLIN G TAL E S ’ )<br />
Printed by Graham Williams at the Florin <strong>Press</strong>, Biddenden,<br />
Kent, England.<br />
Boxwood engraving by Simon Brett of a bird skull and a<br />
roman coin.<br />
Approximately 40 copies; printed in black on white<br />
Zerkall mould-made paper.<br />
As with buzz buzz, Anthony Baker asked the printer to print these<br />
copies of just the engraving for him whilst working on the publication.<br />
They were sent out by Anthony as a Christmas greeting.<br />
<br />
10. ‘ H OM E ’<br />
(from ‘LEARN I N G T H E ROPE S ’ )<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
section e
Lemonwood engraving by Colin Paynton (known now<br />
as Colin See-Paynton) of a ‘man winding a handle’ garden<br />
windmill ornament.<br />
Approximately 50 copies; printed in black on white<br />
Wookey Hole handmade paper.<br />
As was now customary, Anthony Baker asked the printer to print these<br />
copies of just the engraving for him whilst working on learning the<br />
ropes. They were sent out as a Christmas greeting.<br />
<br />
11. ‘RAIN AT S E A ’<br />
(from ‘AQUA M ARINE ’ )<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.<br />
Boxwood engraving by Christopher Wormell of a ship in<br />
the distance of a stormy sea.<br />
Approximately 50 copies; printed in black on white<br />
Canson et Montgolfier Johannot mould-made paper.<br />
Anthony Baker asked the printer to print these copies of just the engraving<br />
for him to send out as a Christmas greeting.<br />
<br />
12. ‘COTTAGE O RNÉ ’<br />
(from ‘EVEN T H E FLOW E R S ’ )<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.<br />
Boxwood engraving by Claire Dalby of a cottage and<br />
flowers at night.<br />
Approximately 50 copies; printed in black on ivory<br />
Amatruda handmade paper.<br />
For the final time, Anthony Baker asked the printer to print copies of just<br />
the engraving for him to send out as a Christmas greeting.<br />
<br />
62<br />
section e
SECTION F<br />
A L L OTHER EPHEMERA<br />
This section describes all the ephemera that Anthony Baker has had produced that don’t fall into any of the previous<br />
categories. Along with many other items, it details all the pieces collected together in copies of a gruffymaufry (see<br />
item 29 in Section A).<br />
1. LETTERHEAD – V E RSION I<br />
Printed by John Craig at the Piccolo <strong>Press</strong>, 48 Lansdown,<br />
Stroud, Gloucestershire, England.<br />
295 mm × 209 mm. Single page. 40 copies; printed in black<br />
and red in Bembo and Garamond on white Eden Grove<br />
machine-made paper.<br />
Used from 1975.<br />
A letterhead printed with the linocut ‘AB’ pressmark designed and cut<br />
by John Craig, as used in six somerset epitaphs (see item 1 in<br />
Section A).<br />
Anthony Baker ordered a run of 200 of these letterheads.The printer sent<br />
40 as a first installment, along with apologies about inking problems but,<br />
for reasons unknown, the remainder never materialised.<br />
<br />
2. ‘ANTH O N Y BAKER ’ BOOKPLAT E –<br />
FIRS T PRIN T I N G<br />
Printed by Will Carter at the Rampant Lions <strong>Press</strong>, 12<br />
Chesterton Road, Cambridge, England.<br />
a . mould-made pa p e r version<br />
114 mm × 73 mm. Single page. 450 (out of 600) copies; printed<br />
in black on white Barcham Green mould-made paper.<br />
b. han d made pa p e r version<br />
114 mm × 73 mm. Single page. 150 (out of 600) copies; printed<br />
in black on white Barcham Green handmade paper.<br />
Used from 1979.<br />
Anthony Baker wanted these prints of his bookplate to be split over two<br />
papers, with a lesser number printed on a superior, more textured handmade<br />
paper for placing in his more special and valuable books.<br />
The bookplate is a boxwood engraving by Simon Brett of a pine marten<br />
on a tree trunk with the words ‘Anthony Baker’ carved into the bark. It<br />
was later used as the illustration for the Gruffyground catalogue baker’s<br />
dozen (see item 21 in Section A).<br />
63<br />
3 . ‘ C ORONATIO N RO S E BAKER ’<br />
M E M OR IAL<br />
Printed by David Chambers at the Cuckoo Hill <strong>Press</strong>,<br />
Pinner, Middlesex, England.<br />
89 mm × 109 mm. Single French-folded sheet. 100 copies;<br />
printed in black in Romanée on white Hosho handmade<br />
paper.<br />
Issued June 1982.<br />
A memorial card for Anthony Baker’s mother, which re-uses the engraving<br />
from six hampshire epitaphs (see item 6 in Section A).<br />
<br />
4 . ‘ W I TH T H ANKS ’ S LIP<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
99 mm × 210 mm. Single page. 150 copies; printed in black<br />
and olive in Bembo on white Zerkall mould-made paper.<br />
Used from 1984.<br />
<br />
5 . ‘ W I TH C OMPLIMENTS ’ S LIP<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
99 mm × 210 mm. Single page. 30 copies; printed in black<br />
and olive in Bembo on white Zerkall mould-made paper.<br />
Used from 1984.<br />
<br />
6 . LETTERHEAD – V E RSION I I<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.
a . stan dar d v ersion<br />
297 mm × 210 mm. Single page. Unrecorded number of<br />
copies (out of 150); printed in black and olive in Bembo<br />
on white Zerkall mould-made paper.<br />
b. small version<br />
197 mm × 210 mm. Single page. Unrecorded number of<br />
copies (out of 150); printed in black and olive in Bembo<br />
on white Zerkall mould-made paper.<br />
Used from 1984.<br />
Anthony Baker decided to have two different sized letterheads produced.<br />
As well as having some standard size copies printed, he also wanted some<br />
shorter, slightly landscape-format ones produced for briefer notes.<br />
<br />
7. LETTERHEAD – V E RSION III<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
297 mm × 210 mm. Single page. 150 copies; printed in black<br />
in Bembo on white Zerkall mould-made paper.<br />
Used from 1984.<br />
These letterheads use the same design as the standard Version II ones<br />
described above, except that the <strong>Press</strong> name in olive has been omitted.<br />
Anthony Baker wanted these to use for more general correspondence.<br />
<br />
8. ‘BOOKS F ROM THE GRU FFYGROU N D<br />
P R E S S ’ – V E RSION I<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
212 mm × 99 mm. Single folded sheet. 200 copies; printed<br />
in black and olive in Perpetua on white Zerkall mouldmade<br />
paper.<br />
Published 1984.<br />
A stocklist of the illustrated poems from natura to (in anticipation)<br />
private view, which was then expected to carry the Gruffyground <strong>Press</strong><br />
imprint.<br />
<br />
9. LETTERHEAD – V E RSION IV<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
64<br />
297 mm × 210 mm. Single page. 400 copies; printed in black<br />
and red in Bembo on white Zerkall mould-made paper.<br />
Used from 1987.<br />
<br />
10. ‘BOOKS F ROM THE GRU FFYGROU N D<br />
P R E S S ’ – V E RSION I I<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Katherine<br />
House, The Parade, Marlborough, Wiltshire, England.<br />
213 mm × 100 mm. Single folded sheet. 400 copies; printed<br />
in black and red in Bembo on white Rives mould-made<br />
paper.<br />
Published 1987.<br />
A redesigned and updated version of the stocklist from three years previous<br />
(see item 8 in this section). This lists the illustrated poetry publications<br />
from natura to learning the ropes (except winter wind),<br />
three available limited edition engravings, and the ‘specials’ of the<br />
ship of sounds.<br />
<br />
11. ‘GRI F FYGROU N D VAR I ATION S ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
208 mm × 98 mm. Single page. 150 copies; printed in<br />
orange and black in Goudy Text, Hunt Roman, Albertus<br />
Light, Optima, Walbaum, Bembo, Gresham, Klang and<br />
(on the back) Palatino, on cream Barcham Green handmade<br />
paper.<br />
Issued 1991.<br />
A greetings keepsake featuring some of the spelling variations that have<br />
turned up on letters addressed to the Gruffyground <strong>Press</strong>. The title given<br />
<strong>here</strong> is not mis-spelt; Anthony Baker calls this ephemeron ‘Griffyground<br />
Variations’ as it is the first example of erroneous spelling to appear on<br />
the item.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
12. ‘BAK ER’S DOZEN’ HANDBILL<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
section f
202 mm × 126 mm. Single page. 100 copies; printed in black<br />
and orange in Walbaum and Gresham on cream Zerkall<br />
mould-made paper.<br />
Issued October 12th 1991.<br />
A small advertising flyer produced for the Gruffyground <strong>Press</strong> exhibition<br />
that Anthony Baker held at the Cheltenham Festival of Literature in<br />
October 1991.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
13. ‘ANTH O N Y BAKER ’ BOOKPLAT E –<br />
SECOND PRINTIN G<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
114 mm × 73 mm. Single page. 1000 copies; printed in black<br />
on cream Barcham Green mould-made paper.<br />
Used from 1992.<br />
A second print run to replenish dwindling stocks of the previous printing<br />
(see items 2a and 2b earlier in this section).<br />
<br />
14. ‘PO E TRY AND PRIN T S F ROM THE<br />
GRU FFYGROU N D P R E S S ’ – V E RSION I<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
210 mm × 105 mm. Single folded sheet. 550 copies; printed<br />
in black in Walbaum with Hunt Roman on cream Zerkall<br />
mould-made paper.<br />
Published 1992.<br />
A newly designed and updated stocklist from those printed previously at<br />
the Libanus <strong>Press</strong> (see items 8 and 10 earlier in this section).This version<br />
lists the illustrated poetry publications from the ship of sounds<br />
to old man, six available limited edition engravings, private view,<br />
baker’s dozen, and the ‘specials’ of the ship of sounds and<br />
aquamarine.<br />
<br />
15. ‘BADE N IAN DUND O NALD BAKER ’<br />
M E M OR I AL<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
65<br />
Swan House, Over, Cambridge, England.<br />
151 mm × 99 mm. Single folded sheet. 150 copies; printed<br />
in black and grey-blue in Bembo and Lutetia on white<br />
Zerkall mould-made paper.<br />
Issued 1992.<br />
A memorial card for Anthony Baker’s father. This ephemeron re-uses<br />
the engraving from the closed door (see item 5 in Section A),<br />
but it is <strong>here</strong> handsomely printed in grey-blue.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
16. ‘VAL E ’ – L ARGE V E RSION<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
94 mm × 204 mm. Single page. 100 copies; printed in black<br />
and brown in Palatino with Thorne Shaded on white<br />
Barcham Green handmade paper.<br />
Issued 1992.<br />
This ephemeron was printed to announce the closure of the Gruffyground<br />
<strong>Press</strong> after the publication of to robert graves in deyá. We now<br />
know this to have been far from the case, with the <strong>Press</strong> continuing to<br />
publishing for a great many years. This first version of the vale notice<br />
also contains all the information on, and so acts as a prospectus for, the<br />
five specially bound copies of even the flowers. The latin ‘Vale’<br />
translates as ‘Farewell’.<br />
<br />
17. ‘VAL E ’ – SMALL V E RSION<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
94 mm × 152 mm. Single page. 100 copies; printed in black<br />
and brown in Palatino and Thorne Shaded on white<br />
Barcham Green handmade paper.<br />
Issued 1992.<br />
Unhappy with the specially bound copies of even the flowers, and<br />
unsure whether he would distribute them, Anthony Baker had this second<br />
version of the vale notice produced, excluding the information for the<br />
even the flowers specials.<br />
<br />
section f
18. ‘ATQU E AV E ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
150 mm × 95 mm. Single page. 100 copies; printed in black<br />
and green in Palatino with Thorne Shaded on white<br />
Barcham Green handmade paper.<br />
Issued 1994.<br />
Having decided to resume his publishing activities, Anthony Baker had<br />
this small card produced to announce Gruffyground’s return. The latin<br />
is a reversal of ‘Ave Atque Vale’ (‘Hail and Farewell’), t<strong>here</strong>fore translating<br />
instead as ‘Farewell and Hail’. The printing of ‘The Gruffyground<br />
<strong>Press</strong> returns, slightly’ is a reference to the return publication (newark<br />
abbey) being a small piece not, as some might have thought, a return<br />
to publish just one more item.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
19. ‘I SYNG OF A M Y D E N ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
127 mm × 178 mm. Single folded sheet. 100 copies; printed<br />
in scarlet in Samson on cream Vélin d’Arches mouldmade<br />
paper.<br />
Issued December 1994.<br />
This printing of a medieval carol dating from around the year 1400 was<br />
used as a Gruffyground Christmas greeting and precedes the full publication<br />
in sewn covers (see item 32 in Section A) by nine years.<br />
<br />
20. ‘CORR E C T I O N TO W ILLIAM MORRIS ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
152 mm × 99 mm. Single folded sheet. 100 copies; printed<br />
in purple and black in Kelmscott Troy on beige Fabriano<br />
Ingres mould-made paper.<br />
Issued 1995.<br />
Here, Anthony Baker takes issue with William Morris’s famous ‘Have<br />
nothing in your houses that you do not know to be useful or believe to be<br />
beautiful’, substituting ‘and’ for ‘or’.<br />
66<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
21. ‘ T H I S STONE BARN WA S<br />
C O NVERTED … ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
120 mm × 230 mm. Single page. 70 copies; printed in black<br />
and red in Hunt Roman on white Fabriano Rosaspina<br />
mould-made paper.<br />
Issued 1995.<br />
A commemoration piece to mark the full restoration of Anthony Baker’s<br />
house, once a barn.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
22. ‘SI C VOS N O N VO BIS … ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
137 mm × 204 mm. Single page. 100 copies; printed in<br />
orange, blue, green and grey in Golden Cockerel and<br />
Perpetua on white Vélin d’Arches mould-made paper.<br />
Issued Easter Sunday, April 1995.<br />
Anthony Baker had this ephemeron – a quote from Virgil, of doubtful<br />
authenticity – printed as a keepsake for the Forty-Five Years On Reunion<br />
of the Sidcot School Upper VI of 1950 which he attended (‘Sic Vos Non<br />
Vobis’ being the Sidcot School motto). The full quote; ‘Sic vos non vobis<br />
mellificatis apes. Sic vos non vobis nidificatis aves. Sic vos non vobis<br />
vellera fertis oves.’ translates from the latin as ‘Thus you bees make honey,<br />
but not for yourselves. Thus you birds make nests, but not for yourselves.<br />
Thus you sheep bear fleeces, but not for yourselves’.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
23. ‘PO E TRY AND PRIN T S F ROM THE<br />
GRU FFYGROU N D P R E S S ’ – V E RSION I I<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
section f
210 mm × 105 mm. Single folded sheet. 500 copies; printed<br />
in black in Walbaum with Hunt Roman on cream Zerkall<br />
mould-made paper.<br />
Published 1997.<br />
An updated stocklist in the same design that Sebastian Carter used<br />
previously (see item 14 earlier in this section). This lists the illustrated<br />
poetry publications from telling tales to chez monsieur<br />
prieur, the unillustrated to robert graves in deyá, six available<br />
limited edition engravings, private view and baker’s dozen.<br />
<br />
24. ‘A L L , ALL OF A PIEC E<br />
THRO U GHOU T … ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
a . han d made pa p e r v ersion<br />
106 mm × 150 mm. Single page. Unrecorded quantity (out<br />
of 100 copies); printed in red in Caslon and Ehrhardt on<br />
cream Millbourn handmade paper.<br />
b. mould-made pa p e r version<br />
106 mm × 150 mm. Single page. Unrecorded quantity (out<br />
of 100 copies); printed in red in Caslon and Ehrhardt on<br />
pale grey Zerkall mould-made paper.<br />
Issued December 1999.<br />
John Dryden’s ‘Secular Ode’ was written for the year 1700; <strong>here</strong> Gruffyground<br />
quotes its last six lines, which Anthony Baker felt most fitting for<br />
the year 2000.<br />
T<strong>here</strong> wasn’t quite enough of the Millbourn handmade paper to print<br />
the whole edition, so the balance was made up with copies printed on the<br />
Zerkall mould-made paper that had been used for four sonnets<br />
to a coquette (see item 26 in Section A). Although numbers are<br />
not recorded, t<strong>here</strong> are considerably fewer copies of this mould-made<br />
paper version.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
25. ‘DOM U S CA E D E T ARBOREM ’<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.<br />
108 mm × 158 mm. Single page. 60 copies; printed in black<br />
in Romulus on white Vélin d’Arches mould-made paper.<br />
67<br />
Issued September 2000.<br />
Keen to represent all of the typefaces designed by Jan van Krimpen,<br />
Anthony Baker had this short poem by Charlotte Mew printed as a<br />
specimen of Romulus.After a while he felt it unsubstantial and decided<br />
that a larger showing was in order. This eventually led to the publication<br />
of the trees are down (see item 31 in Section A).<br />
<br />
26. ‘CAELVM N O N AN I MVM M VTANT…’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
105 mm × 209 mm. Single page. 60 copies; printed in red<br />
and lime in Dartmouth with Octavian on cream Barcham<br />
Green RWS (Royal Watercolour Society) handmade<br />
paper.<br />
Issued November 2001.<br />
This piece is a quote from Quintus Horatius Flaccus (more commonly<br />
known as Horace). The full quote; ‘Caelvm non animvm mvtant qvi trans<br />
mare cvrrant’ translates from the latin as ‘Those who cross the sea (only)<br />
change the sky, not their soul’. It features a rare metal cutting of Dartmouth;<br />
a typeface designed by Will Carter and issued by Letraset. It’s<br />
really a titling version of Octavian (which Will was co-designer of) and<br />
was based on an alphabet he drew for wooden panels in the Hopkins<br />
Center, Dartmouth College, New Hampshire. The printer and typefounder<br />
Paul Hayden Duensing then offered to cut it, but it was never<br />
properly issued.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
27. ‘ T H E POWER O F INTERVA L ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
184 mm × 140 mm. Single page. 80 copies; printed in black<br />
in Modern No. 20 on dark terracotta Fabriano Roma<br />
Moretto handmade paper.<br />
Issued April 2002.<br />
A short poem by John Leicester Warren, Baron de Tabley.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
<br />
section f
28. ‘IL L U S TRAT E D P O E TRY ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
183 mm × 127 mm. Single folded sheet. 200 copies; printed<br />
in black in Bembo on a green-blue Hahnemühle Bugra<br />
Bütten mould-made paper.<br />
Published July 2003.<br />
A list of the 17 illustrated poetry publications from the missed beat<br />
to the trees are down.<br />
<br />
29. ‘CAS TLES I N T H E A I R ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Libbys<br />
Drive, Stroud, Gloucestershire, England.<br />
153 mm × 102 mm. Single page. 60 copies; printed in black<br />
in Bell on pale cream Canaletto machine-made paper.<br />
Issued 2003.<br />
A short poem by Thomas Love Peacock.<br />
<br />
30. ‘AMIC I D IEM PERDIDI ’<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
136 mm × 169 mm. Single page. 60 copies; printed in golden<br />
yellow and grey in Castellar and Perpetua on white<br />
Inveresk Somerset mould-made paper.<br />
Issued 2004.<br />
A quote by the emperor Titus Flavius Vespasianus (the clement emperor),<br />
as recorded by Suetonius, on a day when he’d achieved no good at all.<br />
The quote; ‘Amici diem perdidi’ translates from the latin as ‘Friends I<br />
have lost a day’.<br />
This appears in at least some of the copies of a gruffymaufry<br />
(see item 29 in Section A).<br />
31. ‘GROWIN G O L D ’<br />
<br />
Printed by Sebastian Carter at the Rampant Lions <strong>Press</strong>,<br />
Swan House, Over, Cambridge, England.<br />
68<br />
a . ‘ w i t h f l e uro n ’ version<br />
127 mm × 163 mm. Single page. Approximately 30 (out of<br />
60) copies; printed in black in Optima on green Hahnemühle<br />
Bugra Bütten mould-made paper.<br />
b. ‘ w i t h o ut f l e uro n ’ version<br />
127 mm × 163 mm. Single page. Approximately 30 (out of<br />
60) copies; printed in black in Optima on green Hahnemühle<br />
Bugra Bütten mould-made paper.<br />
Issued 2004.<br />
For this quote on old age by Anthony Powell, the printer was keen to add<br />
a fleuron to the design, whilst the publisher was not. As a compromise<br />
the edition was split, with about half of the copies printed with a fleuron<br />
between the quote and the author’s name, and the remainder printed<br />
without.<br />
The version without the fleuron appears in at least some of the copies of<br />
a gruffymaufry (see item 29 in Section A).<br />
<br />
32. ‘ S H ERPA M E M OR I A L ’<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
109 mm × 152 mm. Single page. 55 copies; printed in black<br />
and red in Poliphilus and Blado on grey Rives mouldmade<br />
paper.<br />
Issued April 2005.<br />
A memorial card for Anthony Baker’s beloved cat Sherpa, quoting the<br />
last six lines of Thomas Hardy’s poem ‘Last Words to a Dumb Friend’.<br />
<br />
33. ‘GRU FFYGROU N D RARITIES ’<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
185 mm × 117 mm. Single page. 50 copies; printed in black<br />
and dark grey in Granjon on white Ragston machinemade<br />
paper.<br />
Issued December 2005.<br />
A short list which prints the title in the same dark grey (that can barely<br />
be told apart from the black) as used in the first state copies of<br />
weathercock (see item 36a in Section A).<br />
<br />
section f
34. ‘WEAT HER COCK ’ M I S PRI N T LEA F<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
185 mm × 116 mm. Single folded sheet. Approximately 35<br />
copies; printed in black and dark grey in Granjon on<br />
white Ragston machine-made paper.<br />
Issued March 2006.<br />
After sewing the reprinted page of the poem into the remaining and<br />
recalled copies of weathercock(see item 36b in Section A), Anthony<br />
Baker was left with several copies of the page from the original printing<br />
featuring the misprint. Some of these were sent to customers along with<br />
their revised editions, and other copies were sent out to friends and<br />
acquaintances who would no doubt be amused by the glaring error allowed<br />
to sneak in by the most perfectionist and diligent of men.<br />
<br />
35. ‘WEAT HER COCK ’ REPRI N T LEA F<br />
Printed by Gerald Lange at the Bieler <strong>Press</strong>, Marina del<br />
Rey, California, United States of America.<br />
185 mm × 116 mm. Single folded sheet. Approximately 10<br />
copies; printed in black and brown-grey in Granjon on<br />
white Ragston machine-made paper.<br />
Issued March 2006.<br />
After sewing the reprinted leaves into the erroneously printed copies of<br />
weathercock (as mentioned in the previous item), Anthony Baker<br />
was left with a handful of leftover copies of the reprinted sheet. Rather<br />
than discard them, Anthony kept them for sending out as greetings for<br />
Christmas and such.<br />
<br />
36. ‘TH E FURN I TUR E AT LADRAM ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
230 mm × 147 mm. Single folded sheet. 80 copies; printed<br />
in black in Romulus with Gill Sans and Gill Sans Extra<br />
Bold on khaki Tumba Ingres machine-made paper.<br />
Issued January 2008.<br />
A descriptive list of mostly unique pieces, commissioned for the home of<br />
Gruffyground.<br />
The paper used for this list had been in Anthony Baker’s possession since<br />
he’d bought it as cover stock for an unrealised project nearly thirty years<br />
69<br />
previous. Anthony had intended to issue two further pairs of uncollected<br />
poems by Robert Graves matching in design, type and papers with his<br />
two earliest Graves publications (see items 4 and 9 in Section A).<br />
Learning that the robust colours of the Tumba Ingres paper needed for<br />
the covers were being replaced by what he described as ‘mimsy pastels’,<br />
Anthony hastily bought supplies of two colours, khaki and orange. When<br />
it unexpectedly proved impossible to obtain the identical Hosho text paper<br />
to match the earlier Graves publications, the plan was abandoned. The<br />
Tumba Ingres paper was then stashed away for the best part of three<br />
decades until Anthony decided to use it for both this list and the one<br />
described next.<br />
<br />
37. ‘ T H E V E SSELS AT LADRAM ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
230 mm × 147 mm. Single folded sheet. 80 copies; printed<br />
in black in Romulus with Gill Sans and Gill Sans Extra<br />
Bold on orange Tumba Ingres machine-made paper.<br />
Issued January 2008.<br />
A descriptive list of unique ceramic and glass pots and bowls in Anthony<br />
Baker’s collection.<br />
<br />
38. ‘ T HER E I S N OTHIN G GOOD TO B E<br />
HAD I N T H E COUN T RY … ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
107 mm × 176 mm. Single page. 75 copies; printed in dark<br />
orange and golden brown in Koch Kursiv and Koch<br />
Antiqua on pale cream Somerset Textured mould-made<br />
paper.<br />
Issued January 2010.<br />
An anti-rural quote from William Hazlitt.<br />
39. ‘ D I RCE’<br />
<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
100-112 mm × 140-154 mm (Both width and height vary<br />
throughout the edition). Single page. 80 copies; printed<br />
in black in Romulus on green-grey Barcham Green<br />
Turner Grey handmade paper.<br />
section f
Issued January 2010.<br />
A short poem by Walter Savage Landor.<br />
<br />
40. ‘MOONLIT AP P LES ’ LEA F<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
120 mm × 167 mm. Single folded sheet. 4 copies; printed<br />
in black and lime green in Centaur and Arrighi on white<br />
Saint-Armand Frobisher handmade paper.<br />
Issued February 2010.<br />
After sewing up the edition of moonlit apples, Anthony Baker was<br />
left with a handful of folded leaves of the text pages.As the edition was<br />
so small, Anthony decided to keep the extra leaves for sending out as<br />
greetings rather than discard them.<br />
<br />
41. ‘UNA LITERA S D IDICIM U S ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
194 mm × 140-160 mm (Width varies throughout the<br />
edition). Single page. 40 copies; printed in dark green-blue<br />
and grey in Molé Foliate and Garamond on an unidentified<br />
blue-white handmade paper (possibly Van Gelder,<br />
judging from the partially visible watermark) .<br />
Issued Easter Sunday, April 2010.<br />
This ephemeron, printed for the Sixty Years On Reunion of the Sidcot<br />
School Upper VI of 1950, features the motto of the Old Sidcotians (not,<br />
as Anthony Baker believed – and so had printed on the reverse – a<br />
secondary motto of Sidcot School). ‘Una literas didicimus’ translates<br />
from the latin as ‘As one we learned our lessons’.<br />
<br />
42. ‘BASK ERVI LL E’S B IRTHDAY ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
a . standar d version<br />
150 mm × 107 mm. Single page. 50 copies; printed in grey<br />
and red in Baskerville on white Saunders Waterford<br />
Rough mould-made paper.<br />
70<br />
b. ‘ var i an t pa p e r ’ version<br />
150 mm × 107 mm. Single page. 5 copies; printed in grey<br />
and red in Baskerville on an unidentified heavyweight<br />
brown paper.<br />
Issued September 2010.<br />
This ephemeron is a notice for the imminent first birthday of Baskerville,<br />
the Gruffyground cat, who just so happens to share the same birthday as<br />
the proprietor.<br />
The variant paper version was printed on the separating packing card<br />
that came with the batch of paper used for printing the standard copies<br />
of this ephemeron. As it was about the same weight as the paper used,<br />
the printer left it in and printed it along with the rest. Rather happy with<br />
the results, he sent them to Anthony Baker along with the main copies.<br />
43. ‘BIRTHRIGHT ’<br />
<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
151 mm × 107 mm. Single page. 60 copies; printed in purple<br />
in Centaur and Arrighi on cream Somerset Textured<br />
mould-made paper.<br />
Issued from February 2011.<br />
A short poem by John Drinkwater.<br />
Anthony Baker decided to stock up on ephemera for future use as greetings<br />
and such. This, and the following items, will be mainly issued over the<br />
coming years.<br />
44. ‘TWO POEM S ’<br />
<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
195 mm × 139 mm. Single folded sheet. 60 copies; printed<br />
in scarlet in Cancelleresca Bastarda on cream Somerset<br />
Book mould-made paper.<br />
Issued from May 2011.<br />
Two poems by Thomas Carew taking an opposite stance to the subject<br />
matter of Gruffyground’s previous Carew publication perswasions<br />
to love (see item 39 in Section A).<br />
<br />
section f
45. ‘A WO MAN W I T H AN E DUCAT I ON … ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
124 mm × 180 mm. Single page. 65 copies; printed in black<br />
and mid-blue in Dante and Optima on white Vélin Arches<br />
Blanc mould-made paper.<br />
Issued from January 2012.<br />
One of a series of five quotes; this one by James Boswell. Of the 65 copies,<br />
10 have been used in collected sets of all five quote cards, published in a<br />
folder (see item 43 in Section A).<br />
<br />
46. ‘I P ITY T H E U NLEARN E D … ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
124 mm × 180 mm. Single page. 65 copies; printed in black<br />
and brown-grey in Dante and Optima on white Vélin<br />
Arches Blanc mould-made paper.<br />
Issued from January 2012.<br />
One of a series of five quotes; this one by Lucius Cary,Viscount Falkland.<br />
Of the 65 copies, 10 have been used in collected sets of all five quote<br />
cards, published in a folder (see item 43 in Section A).<br />
<br />
47. ‘SOM E C I RC UMSTANTIA L<br />
EVID E NC E … ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
124 mm × 180 mm. Single page. 65 copies; printed in black<br />
and golden yellow in Dante and Optima on white Vélin<br />
Arches Blanc mould-made paper.<br />
Issued from January 2012.<br />
One of a series of five quotes; this one by Henry David Thoreau. Of the<br />
65 copies, 10 have been used in collected sets of all five quote cards,<br />
published in a folder (see item 43 in Section A).<br />
<br />
48. ‘TRY E VERYTHIN G ONCE … ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
71<br />
124 mm × 180 mm. Single page. 65 copies; printed in black<br />
and dark green in Dante and Optima on white Vélin<br />
Arches Blanc mould-made paper.<br />
Issued from January 2012.<br />
One of a series of five quotes; this one by ‘that prolific author, Anon’.<br />
Of the 65 copies, 10 have been used in collected sets of all five quote<br />
cards, published in a folder (see item 43 in Section A).<br />
<br />
49. ‘EV E RY GR E AT M AN N OWADAYS … ’<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
124 mm × 180 mm. Single page. 65 copies; printed in black<br />
and salmon pink in Dante and Optima on white Vélin<br />
Arches Blanc mould-made paper.<br />
Issued from January 2012.<br />
One of a series of five quotes; this one by Oscar Wilde. Of the 65 copies,<br />
10 have been used in collected sets of all five quote cards, published in a<br />
folder (see item 43 in Section A).<br />
50. ‘ T WO REWRITES ’<br />
<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
208 mm × 148 mm. Single sheet. 80 copies; printed in light<br />
green and sky blue in Helvetica on white Saunders Waterford<br />
mould-made paper.<br />
Issued from July 2012.<br />
An amusing pair of anonymous rewrites: one a parody of an Isaac<br />
Newton quote, the other a parody of a quote from Oscar Wilde.<br />
<br />
51. ‘ I T I S NEVER D IFFICULT … ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
208 mm × 148 mm. Single sheet. 80 copies; printed in dark<br />
violet and turquoise in Bembo Titling and Lutetia on<br />
white Saunders Waterford mould-made paper.<br />
Issued from July 2012.<br />
section f
A quote by Pelham Grenville Wodehouse.<br />
<br />
52. ‘QU E M D E U S VU LT … ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
100 mm × 151 mm. Single sheet. 80 copies; printed in<br />
purple in Romanée Titling on cream Somerset mouldmade<br />
paper.<br />
Issued from July 2012.<br />
A quote of unknown origin. The full quote ‘Quem deus vult perdere<br />
dementat prius’ translates from the latin as ‘Those whom the Gods would<br />
destroy, they first make mad’.<br />
<br />
53. ‘IVPPITER E X ALTO … ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Bonds Mill,<br />
Stonehouse, Gloucestershire, England.<br />
104 mm × 150 mm. Single sheet. 80 copies; printed in scarlet<br />
and orange in Cristal and Lutetia on cream Somerset<br />
mould-made paper.<br />
Issued from July 2012.<br />
A quote by Publius Ovidus Naso. The full quote ‘Ivppiter ex alto perivria<br />
ridet amantum’ translates from the latin as ‘Jupiter from on high laughs<br />
at the perjury of lovers’.<br />
54. ‘TWO AND T WO ’<br />
<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
170 mm × 130 mm. Single sheet. 60 copies; printed in red<br />
and warm grey in Centaur and Goudy Village on white<br />
Vélin Arches Blanc mould-made paper.<br />
Issued from November 2012.<br />
An anonymous quote.<br />
<br />
72<br />
section f
SECTION G<br />
UNPUBL I S H E D I TEMS<br />
Over the years a handful of items were fully printed for the Gruffyground <strong>Press</strong> but for one reason or another didn’t get<br />
published. The main descriptions in this section describe the item as it would have been if fully published, with further<br />
information regarding the actual state and number of existing copies in the notes that follow.<br />
1. WIL L IAM S HAK E SPEAR E<br />
‘TH E PHOEN I X AN D TURTL E ’<br />
D E TUINWIJK P ERS E D ITION<br />
Printed by Sem Hartz at De Tuinwijkpers, Haarlem,<br />
Holland.<br />
a . standar d e d i t i on<br />
68 mm × 112 mm. 17 pages. 90 copies; printed in black and<br />
either dark orange or dark blue in Lettre Françoise Civilité<br />
with English-bodied Blackletter and Four-line Pica Ornamental<br />
Initials on pale cream Barcham Green handmade<br />
paper, in a grey Barcham Green handmade paper wrapper<br />
printed in black.<br />
b. special edition<br />
68 mm × 112 mm. 17 pages. 30 copies; printed in black and<br />
either dark orange or dark blue in Lettre Françoise Civilité<br />
with English-bodied Blackletter and Four-line Pica Ornamental<br />
Initials on pale cream Hodomura handmade<br />
paper, in a grey Barcham Green handmade paper wrapper<br />
printed in black.<br />
Printed, but unpublished, 1975.<br />
edition notes:<br />
This edition, rejected on grounds of poor presswork, was printed in an<br />
original and unobtainable Granjon Civilité from the Enschedé foundry<br />
(unlike the Bieler <strong>Press</strong> edition which used a digitally reconstructed<br />
version of the font). It preceded the published version printed by the Bieler<br />
<strong>Press</strong> (see item 33 in Section A) by nearly thirty years, and would have<br />
been the first poetry item published by the Gruffyground <strong>Press</strong>.<br />
The quantities printed for this job are rather uncertain to say the least,<br />
but were certainly not the 90 standard copies and 30 (or 25, according to<br />
the prospectus) special copies as stated in the colophon. In a letter to<br />
Anthony Baker, Sem Hartz claimed to be sending (without distinguishing<br />
numbers of ordinaries and specials) 137 copies, and keeping another<br />
10 for himself. When they arrived t<strong>here</strong> were fewer copies, although t<strong>here</strong><br />
is no record of the exact amounts. It is known that Sem Hartz distributed<br />
several (if not all) copies of this publication himself.<br />
T<strong>here</strong> are two variations regarding the second colour used in this edition.<br />
Some of the copies feature a dark orange as the second colour and some<br />
feature a dark blue. It is not known whether the second colour for the<br />
73<br />
edition was split between the standards and specials, or whether t<strong>here</strong><br />
was a mix across both. I have only ever seen a handful of the specials<br />
and a single copy of the standard, but the specials I’ve seen were all<br />
printed in black and dark orange, whilst the standard was printed in black<br />
and dark blue. Although not conclusive, this would seem to point towards<br />
the possibility of a colour split between the standards and specials.<br />
Although the colophon states the special edition copies are printed on<br />
Gifu Shoji, they are actually printed on Hodomura as t<strong>here</strong> was severe<br />
show-through with the rather thin Gifu Shoji.<br />
<br />
2 . WIL L I AM S HAK E SPEAR E<br />
‘ T H E P H O E N I X AN D TURTL E ’<br />
D E T U INWIJK P ER S E D ITION<br />
PROSPECTUS<br />
Printed by Sem Hartz at De Tuinwijkpers, Haarlem,<br />
Holland.<br />
189 mm × 134 mm. Single page. 100 copies; printed in black<br />
and grey-blue in Emergo with English-bodied Blackletter,<br />
Lettre Françoise Civilité and Cancelleresca Bastarda on<br />
cream Barcham Green handmade paper.<br />
Printed, but unpublished, 1975.<br />
Several copies of this prospectus still exist as Anthony Baker kept them<br />
when he was not asked for their return. Only a handful has ever left his<br />
ownership to be sent to collectors.<br />
<br />
3 . P E T ER S CUPHAM<br />
‘NAT URA ’<br />
GRU FFYGROU N D P R E S S E D I T I O N –<br />
ORIGINAL PRINTIN G<br />
Printed by Karl Kimber Merker at the Windhover <strong>Press</strong>,<br />
Iowa City, Iowa, United States of America.<br />
With a boxwood engraving by Peter Reddick of a countryside<br />
landscape.
222 mm × 139 mm. 16 pages. 200 copies; printed in black in<br />
Romanée on white Barcham Green Windhover handmade<br />
paper, in a beige Barcham Green Katuscha handmade<br />
paper cover printed in black. Signed by the author<br />
and the artist.<br />
Printed, but unpublished, 1978.<br />
edition notes:<br />
According to correspondence between Kim Merker and Anthony Baker,<br />
t<strong>here</strong> was a sub-standard initial printing of natura caused by problems<br />
with the press used. This original printing differed from the published<br />
version (see item 7 in Section A) in a couple of ways; unlike the published<br />
version, the first poem ‘Water’ contained no errors. Also, the colophon<br />
was quite different; stating that this version was printed on a Washington<br />
hand-press (changed to a Vandercook Test press in the published version<br />
to improve the print quality), and that t<strong>here</strong> were only 200 copies for the<br />
Gruffyground <strong>Press</strong> and 200 copies for the Windhover <strong>Press</strong>, compared to<br />
the 225 copies for each in the published edition . One curious detail in the<br />
colophon is that it states that ‘the papers are handmade Windhover and<br />
L’Amatruda’. Whether this meant that the edition would originally have<br />
had covers, or endpapers, of L’ Amatruda (surely a mis-naming of<br />
Amatruda), or whether the edition would have been split, with some<br />
copies printed on Windhover and some on L’Amatruda, is unknown.<br />
The single proof copy that Anthony was sent for approval – the only<br />
example of the original printing known to still exist – was printed on<br />
Barcham Green Windhover paper, with endpapers of the same, and came<br />
in an unprinted beige Barcham Green Katuscha paper cover with deckle<br />
edges (rather than the trimmed and printed version the publication<br />
eventually ended up with).T<strong>here</strong> was no L’ Amatruda paper present at<br />
all.Anthony rejected the presswork of this sample copy, so the Windhover<br />
<strong>Press</strong> pulped the remainder of the edition, but only after the engraving<br />
had been cut from the title pages for Anthony to send out as Christmas<br />
greetings (see item 5 in Section E). The sample copy is unsigned.<br />
<br />
4. CHARLOT T E MEW<br />
‘THE TRE E S AR E D OWN ’<br />
L I BAN U S P R E S S E D ITION<br />
Printed by Michael Mitchell at the Libanus <strong>Press</strong>, Rose<br />
Tree House, Silverless Street, Marlborough, Wiltshire,<br />
England.<br />
With a boxwood engraving by Linda Holmes of a man up<br />
a tree lopping off branches.<br />
225 mm × 165 mm. 8 pages. 120 copies; printed in black in<br />
Romulus with Open Roman on white Inveresk Somerset<br />
mould-made paper, in a golden yellow Mingei handmade<br />
paper wrapper printed in black. Signed and numbered by<br />
the artist.<br />
Printed, but unpublished, 2002.<br />
74<br />
e d i t ion notes:<br />
Unhappy with the printing of this edition of the trees are down<br />
Anthony Baker rejected it and returned the copies to the Libanus <strong>Press</strong><br />
w<strong>here</strong> they were destroyed.<br />
One single copy did actually get issued. Before he took time to properly<br />
look at the printing, Anthony Baker hastily sewed up and posted the<br />
one ad personam copy that was printed for the actress Jean Simmons<br />
in Hollywood, in hopes of reminding her of her days as an evacuee in<br />
Gruffyground’s neighbouring village of Winscombe during the Second<br />
World War. She did not acknowledge it. In addition to Jean’s ad personam<br />
copy, two other copies survived, one of which is signed by the artist.<br />
<br />
5 . VERN O N SCANN E L L<br />
‘ E XTRA TIM E ’<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Libbys<br />
Drive, Stroud, Gloucestershire, England.<br />
With a boxwood engraving by Christopher Wormell of a<br />
man walking his dog in a snowy scene.<br />
256 mm × 174 mm. 16 pages. 130 copies; printed in black and<br />
orange in Garamond with Molé Foliate on pale cream<br />
Canaletto machine-made paper, in an orange Zerkall<br />
Ingres mould-made paper wrapper printed in dark<br />
orange. Signed by the author and the artist.<br />
Printed, but unpublished, 2003.<br />
e d i t ion notes:<br />
After printing was completed and the type dissed, a significant error was<br />
spotted in one of the poems.Anthony Baker couldn’t accept this and the<br />
copies were returned to the printer for pulping. T<strong>here</strong> are two copies of<br />
this first state version known to exist; one normal copy, and one early trial<br />
copy which differs by having the title page printed all in black instead of<br />
black and orange. Both copies are unsigned.<br />
Horrifyingly, after resetting and reprinting the whole job from scratch,<br />
another error was noticed.After rejecting this second printing,Anthony<br />
Baker decided to hand over the entire project to the printer, who eventually<br />
reprinted and published the collection under his own Evergreen <strong>Press</strong><br />
imprint. All the second state Gruffyground copies were sent back to the<br />
printer for pulping, although five copies are known to have survived, all<br />
of which are unsigned.<br />
The engraving for this collection was also printed as a Gruffyground<br />
Christmas card. Unlike the collection, Anthony Baker did eventually<br />
issue the card (see item 9 in Section C).<br />
<br />
section g
6. VERN O N SCANN E L L<br />
‘EXTRA T IM E ’<br />
PROSPECTUS<br />
Printed by John Grice at the Evergreen <strong>Press</strong>, Libbys<br />
Drive, Stroud, Gloucestershire, England.<br />
246 mm × 160 mm. Single page. 100 copies; printed in black<br />
and orange in Garamond with Molé Foliate on pale<br />
cream Canaletto machine-made paper.<br />
Printed, but unpublished, 2003.<br />
This item is a unique instance of an abandoned project for which a small<br />
number of prospectuses was, in anticipation of the final unrealised publication,<br />
sent out. The vast majority of copies went back to the printer for<br />
pulping.<br />
<br />
7. ‘BASK ERVI LL E AT LADRAM ’<br />
GREETINGS CAR D<br />
Printed by Martyn Ould at the Old School <strong>Press</strong>, The<br />
Green, Hinton Charterhouse, Bath, Somerset, England.<br />
Featuring a boxwood engraving by Anne Cathcart of the<br />
Gruffyground cat, Baskerville, in the garden of his home,<br />
Ladram.<br />
129 mm × 170 mm. 90 copies; printed in black in Dante<br />
on white Vélin Arches Blanc mould-made paper, with the<br />
engraving – printed on a 82 mm × 120 mm piece of cream<br />
Basingwerk Parchment machine-made paper – pasted in.<br />
Printed, but unpublished, November 2012.<br />
Anthony Baker decided not to issue these greetings cards after becoming<br />
dissatisfied with the engraving (which he had commissioned especially<br />
for the card). In a letter to Anthony from the engraver, it seems the feeling<br />
must have been shared, as she raised concerns that the work wasn’t particularly<br />
satisfactory, and that maybe a second version might be required.<br />
This was not to happen, though, as the engraver sadly passed away a few<br />
months after sending the block.<br />
Some of the cards have actually been issued, but not by Gruffyground.<br />
Anthony asked for the printer to send twenty-five copies direct to Anne<br />
Cathcart’s widower for his personal use.<br />
The unusual design of the card follows that which the printer produced<br />
the previous year (see item 11 in Section C), with the greetings text on<br />
the front, the title of the engraving and the engraver’s name printed inside<br />
left, the engraving (printed on a separate piece of paper) pasted on to<br />
the inside right, and the printer and publisher details printed on the back.<br />
75<br />
section g
T H E ‘ TERRIB L E RULE S ’ O F<br />
T H E G R U FFYGROUN D PRESS<br />
Being very particular with regards to how he has wanted his publications produced over the years, Anthony Baker has<br />
had in place a set of rules that must be kept to. These rules were properly set in place after the three ‘Epitaphs’ booklets<br />
and have been strictly ad<strong>here</strong>d to ever since. Below, in no particular order, are the rules that have exasperated many<br />
printers (and Anthony) over the years.<br />
In the case of booklets, each typeface, whether text or<br />
display, must be exclusively associated with a specific<br />
author: so that once an author, say James Reeves, has<br />
made an appearance (with the closed door) printed in<br />
Walbaum, any subsequent James Reeves appearance (to<br />
robert graves in deyá) must be printed in Walbaum<br />
too; and no other author’s may be. This does not apply<br />
to subsidiary works not themselves literature; thus the<br />
descriptive catalogue baker’s dozen is also printed in<br />
Walbaum. If a typeface is first used for an ephemeron<br />
relating to a specific poet, any later booklet to feature the<br />
work of that same poet has to be printed in the same face<br />
(for example, the poem card domus caedet arborem,<br />
and the later produced booklet the trees are down,<br />
both by Charlotte Mew, are both set in Romulus).<br />
Garamond has been used on three different booklets; six<br />
somerset epitaphs, private view and tops. As Anthony<br />
doesn’t count either six somerset epitaphs or private<br />
view as belonging to the main series, their use of Garamond<br />
did not prevent it being used for tops.<br />
Each cover paper for a booklet must be exclusively associated<br />
with a specific printer. For example, anything printed<br />
at the Janus <strong>Press</strong> had to have a cover of Fabriano Miliani<br />
Ingres mould-made paper, with no other Gruffyground<br />
booklets printed elsew<strong>here</strong> being allowed to use that<br />
paper for their covers. This does not stop additional printers<br />
from using cover stock from a specific paper maker<br />
previously used, as long as each new printer uses a different<br />
product. This is exemplified by the Celtic Cross <strong>Press</strong><br />
who, like the Janus <strong>Press</strong>, chose Fabriano as a cover stock,<br />
but in their case used Fabriano Tiziano machine-made<br />
paper. Additionally, for each different booklet a printer<br />
prints, a different colour must be used for the cover.<br />
76<br />
Text papers for booklets must be different for every title,<br />
unless two or more are totally in series. (In practice, this<br />
has happened only with twin to twin and advice to<br />
colonel valentine, though private view would have<br />
been in series with telling tales had it been printed, as<br />
originally intended, by the Florin <strong>Press</strong>.) This rule does<br />
not apply to anonymous works, hence i syng of a myden<br />
is printed on the same paper as previously used for buzz<br />
buzz. As with cover stock papers, it is perfectly acceptable<br />
to use text papers from a specific maker (such as<br />
Zerkall or Magnani) in multiple publications, as long as<br />
the product itself is different in each case.<br />
Prospectuses must be printed in the same typefaces, in<br />
the same colours, and on the same papers as the item<br />
they are advertising.<br />
The rules fall more lightly on ephemera. These may be<br />
in any typeface unless they are by (or are quoted from)<br />
an author represented among the booklets. Thus, the<br />
poem card castles in the air, and the booklet newark<br />
abbey, both by Thomas Love Peacock, are set in Bell.<br />
However, a typeface associated with a specific author in<br />
the booklets may be used for any other author if the use<br />
is ephemeral (for example, the Henry David Thoreau<br />
quote card some circumstantial evidence... uses Dante,<br />
the typeface associated with John Whitworth).<br />
The thread for sewing the booklets (almost always a<br />
Coton à Broder thread) has to match, as nearly as possible,<br />
the colour of the cover paper if it is visible at the<br />
spine, or the text paper if it is not.
A T RIBUTE T O<br />
T H E G R U FFYGROUN D PRESS<br />
Whilst working on some Gruffyground <strong>Press</strong> projects, Sebastian Carter wrote (based on Paul Dehn’s most amusing ‘Mrs<br />
Ravoon’ saga) the following stanzas. Sebastian printed and published the poem in an edition of 70 copies under his<br />
Rampant Lions <strong>Press</strong> imprint and tentatively sent ten copies to Anthony Baker, hoping that he’d like it. As it happens,<br />
Anthony liked the poem a great deal, so it seems rather a good way to end this bibliography by reproducing it <strong>here</strong> (with<br />
kind permission from Sebastian).<br />
THE SONG OF THE<br />
GRUFFYGROUND PRESS<br />
We came to the gibbet by the cold light of dawn,<br />
W<strong>here</strong> dangled the body, hung, quartered and drawn:<br />
A hideous warning to those who transgress<br />
The terrible Rules of the Gruuyground <strong>Press</strong>.<br />
I sprang to the stirrup, and Joris, and he;<br />
I galloped, Dirck galloped, we galloped all three.<br />
And what was our mission – a maid in distress?<br />
No! we carried the proofs for the Gruuyground <strong>Press</strong>.<br />
The aged engraver sat huddled and spent;<br />
His fingers were shaking, his burin was bent,<br />
His clothes were in tatters. The cause of it? Yes!<br />
He’d argued the toss with the Gruuyground <strong>Press</strong>.<br />
The Grand Inquisitor muttered and cursed,<br />
‘Lay on, Master Torturer, and do your worst!<br />
To the rack with this miscreant till he confess<br />
He used the wrong paper for Gruuyground <strong>Press</strong>!’<br />
We came to the prison and asked of our guide,<br />
‘W<strong>here</strong>’s Hobson the carrier?’ The gaoler replied,<br />
‘In the gloomiest dungeon’s darkest recess:<br />
He’s failed to deliver to Gruuyground <strong>Press</strong>!’<br />
The Assyrian came down like a wolf on the fold,<br />
And his cohorts were gleaming in purple and gold.<br />
And what was the booty he longed to possess?<br />
Why, every book published by Gruuyground <strong>Press</strong>.<br />
© Sebastian Carter, Rampant Lions <strong>Press</strong>, 1998.<br />
77
CHECKLIST<br />
S E C T I O N A<br />
G RU F F Y G RO U N D PRESS P U B L ICATIONS<br />
1a. ‘ S I X SOMERSET EPITA P H S ’ standard edition<br />
1b. ‘ S I X SOMERSET EPITA P H S ’ special edition i<br />
1c. ‘ S I X SOMERSET EPITA P H S ’ special edition ii<br />
2a. ‘ S I X DORSET EPITA P H S ’ first state – standard edition i<br />
2b. ‘ S I X DORSET EPITA P H S ’ first state – standard edition ii<br />
2c. ‘ S I X DORSET EPITA P H S ’ first state – special edition i<br />
2d. ‘ S I X DORSET EPITA P H S ’ first state – special edition ii<br />
2e. ‘ S I X DORSET EPITA P H S ’ second state – standard edition<br />
2f. ‘ S I X DORSET EPITA P H S ’ second state – special edition<br />
3a. T H O M GUNN ‘THE MISSED BEAT ’ gruffyground press edition – first state<br />
3b. T H O M GUNN ‘THE MISSED BEAT ’ gruffyground press edition – second state<br />
3c. T H O M GUNN ‘THE MISSED BEAT ’ janus press edition<br />
3d. T H O M GUNN ‘THE MISSED BEAT ’ janus press edition – softcover version<br />
3e. T H O M GUNN ‘THE MISSED BEAT ’ gruffyground press edition – hardbound version<br />
3f. T H O M GUNN ‘THE MISSED BEAT ’ thom gunn edition<br />
4. RO B E RT GRAV E S ‘TWIN TO T W IN’<br />
5a. J A M E S REEVES ‘THE CLOSED DOOR’ gruffyground press edition<br />
5b. J A M E S REEVES ‘THE CLOSED DOOR’ janus press / twinrocker edition<br />
6a. ‘ S I X HAMPSHIRE EPITA P H S ’ standard edition<br />
6b. ‘ S I X HAMPSHIRE EPITA P H S ’ special edition<br />
7a. P E TER SCUPHAM ‘NATURA’ gruffyground press edition<br />
7b. P E TER SCUPHAM ‘NATURA’ windhover press edition<br />
8a. J O H N WILMOT, EARL O F RO C H E S T E R ‘ T H R E E S O N G S ’ gruffyground press edition<br />
8b. J O H N WILMOT, EARL O F RO C H E S T E R ‘ T H R E E S O N G S ’ cummington press edition<br />
9. RO B E RT GRAV E S ‘ADV ICE TO COLONEL VA L E N T I N E ’<br />
10a. E L I ZABETH JENNINGS ‘WINTER WIND’ gruffyground press edition<br />
10b. E L I ZABETH JENNINGS ‘WINTER WIND’ janus press edition<br />
11a. J O H N FULLER ‘THE SHIP OF SOUNDS’ standard edition<br />
11b. J O H N FULLER ‘THE SHIP OF SOUNDS’ special binding edition<br />
12a. J O H N HEATH-STUBBS ‘BUZZ BUZZ’ ‘mesozoic’ version<br />
12b. J O H N HEATH-STUBBS ‘BUZZ BUZZ’ ‘secondary epoch’ version<br />
12c. J O H N HEATH-STUBBS ‘BUZZ BUZZ’ ‘printed label’ version<br />
13. A N THONY THWA ITE ‘TELLING TA L E S ’<br />
14. T H O M A S HARDY ‘FRIENDS BEYO N D ’<br />
15. J O N ATHAN PRICE ‘PRIVATE V IEW’<br />
16. J O H N MOLE ‘LEARNING T H E RO P E S ’<br />
17a. L AW R E N C E SAIL ‘AQUA M A R INE’ standard edition<br />
17b. L AW R E N C E SAIL ‘AQUA M A R INE’ special binding edition<br />
18a. RO B E RT GRAV E S ‘CYNICS AND RO M A N T I C S ’ standard edition<br />
18b. RO B E RT GRAV E S ‘CYNICS AND RO M A N T I C S ’ ‘variant engraving’ version<br />
19a. F R E DA DOW N IE ‘EVEN T H E FLOW E R S ’ standard edition<br />
19b. F R E DA DOW N IE ‘EVEN T H E FLOW E R S ’ special binding edition<br />
20. E DWA R D THOMAS ‘OLD MAN’<br />
21. ‘ B A KER’S DOZEN’<br />
22. J A M E S REEVES ‘TO RO B E RT GRAV E S I N D E Y Á ’<br />
23a. T H O M A S LOV E PEAC O C K ‘NEWA R K A B B E Y ’ standard edition<br />
23b. T H O M A S LOV E PEAC O C K ‘NEWA R K A B B E Y ’ ‘alternative wrapper’ version<br />
24. J O H N WEBSTER ‘A FAYRE AND HAPPY MILKE-MAY D ’<br />
25a. DAV ID SUTTO N ‘THE PLANET HAPPINESS’ standard edition<br />
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25b. DAV ID SUTTO N ‘THE PLANET HAPPINESS’ special binding edition i<br />
25c. DAV ID SUTTO N ‘THE PLANET HAPPINESS’ special binding edition ii<br />
26. A L F R E D TENNYSON ‘FOUR SONNETS TO A C O QU E T T E ’<br />
27a. PAU L DEHN ‘CHEZ MONSIEUR PRIEUR’ ‘with half-title’ version<br />
27b. PAU L DEHN ‘CHEZ MONSIEUR PRIEUR’ ‘without half-title’ version<br />
28. DAV ID SUTTO N ‘SUCCESS’<br />
29. ‘ A G RU F F YMAU F RY’<br />
30. A L ISON BRAC KENBURY ‘THE STO RY O F S I G U R D ’<br />
31. C H A R L OTTE MEW ‘THE TREES ARE DOW N ’<br />
32. A N O N YMOUS ‘I SYNG OF A MYDEN’<br />
33. W I L L IAM SHAKESPEARE ‘THE PHOENIX AND T U RT L E ’<br />
34. J O H N LEVETT ‘A CLEARER LIGHT’<br />
35. P H ILIP LARKIN ‘TO P S ’<br />
36a. J O H N HOLLOWAY ‘WEAT H E RC O C K ’ first state<br />
36b. J O H N HOLLOWAY ‘WEAT H E RC O C K ’ second state<br />
37. RU P E RT BRO O KE ‘MENELAU S AND HELEN’<br />
38. A L F R E D E DWA R D HOUSMAN ‘TELL M E N OT H E R E ’<br />
39a. T H O M A S CAREW ‘PERSWA S IONS TO L OV E ’ standard edition<br />
39b. T H O M A S CAREW ‘PERSWA S IONS TO L OV E ’ ‘revised cover’ version<br />
40. J O H N WHITWO RTH ‘A POET’S PRAY E R ’<br />
41a. J O H N DRINKWATER ‘MOONLIT APPLES’ standard edition<br />
41b. J O H N DRINKWATER ‘MOONLIT APPLES’ vellum edition i<br />
41c. J O H N DRINKWATER ‘MOONLIT APPLES’ vellum edition ii<br />
41d. J O H N DRINKWATER ‘MOONLIT APPLES’ ‘variant paper’ version<br />
42a. ALEXANDER POPE ‘ELEGY TO THE MEMORY OF AN UNFORTUNATE LADY’ standard edition<br />
42b. ALEXANDER POPE ‘ELEGY TO THE MEMORY OF AN UNFORTUNATE LADY’ ‘variant cover’ version<br />
43. ‘ F I V E QU OTATIONS’<br />
44. ‘ T H E ART AT LADRAM’<br />
45. J E F F R E Y TURNER ‘GHOSTS’<br />
46a. RU DYA R D KIPLING ‘THE WAY T H RO U G H T H E WO O D S ’ standard edition<br />
46b. RU DYA R D KIPLING ‘THE WAY T H RO U G H T H E WO O D S ’ ‘variant name’ version<br />
S E C T I O N B<br />
P RO S P E C T U S E S<br />
1. J O H N HEATH-STUBBS ‘BUZZ BUZZ’<br />
2. T H O M A S HARDY ‘FRIENDS BEYO N D ’<br />
3a. L AW R E N C E SAIL ‘AQUA M A R INE’ english version<br />
3b. L AW R E N C E SAIL ‘AQUA M A R INE’ american version<br />
4. RO B E RT GRAV E S ‘CYNICS AND RO M A N T I C S ’<br />
5. J A M E S REEVES ‘TO RO B E RT GRAV E S I N D E Y Á ’<br />
6. T H O M A S LOV E PEAC O C K ‘NEWA R K A B B E Y ’<br />
7. J O H N WEBSTER ‘A FAYRE AND HAPPY MILKE-MAY D ’<br />
8. DAV ID SUTTO N ‘THE PLANET HAPPINESS’<br />
9. A L F R E D TENNYSON ‘FOUR SONNETS TO A C O QU E T T E ’<br />
10. ‘ A G RU F F YMAU F RY’<br />
11. A L ISON BRAC KENBURY ‘THE STO RY O F S I G U R D ’<br />
12. C H A R L OTTE MEW ‘THE TREES ARE DOW N ’<br />
13. A N O N YMOUS ‘I SYNG OF A MYDEN’<br />
14. W I L L IAM SHAKESPEARE ‘THE PHOENIX AND T U RT L E ’<br />
15. J O H N LEVETT ‘A CLEARER LIGHT’<br />
16. P H ILIP LARKIN ‘TO P S ’<br />
17. J O H N HOLLOWAY ‘WEAT H E RC O C K ’<br />
18. RU P E RT BRO O KE ‘MENELAU S AND HELEN’<br />
19. T H O M A S CAREW ‘PERSWA S IONS TO L OV E ’<br />
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20. J O H N WHITWO RTH ‘A POET’S PRAY E R ’<br />
21a. J O H N DRINKWATER ‘MOONLIT APPLES’ standard version<br />
21b. J O H N DRINKWATER ‘MOONLIT APPLES’ ‘variant paper’ version<br />
22. A L E X A N D E R POPE ‘ELEGY TO THE M E M O RY O F A N U N F O RT U N AT E L A DY ’<br />
23a. RU DYA R D KIPLING ‘THE WAY T H RO U G H T H E WO O D S ’ standard version<br />
23b. RU DYA R D KIPLING ‘THE WAY T H RO U G H T H E WO O D S ’ ‘variant name’ version<br />
S E C T I O N C<br />
G R E E T I N G S CARDS<br />
1. ‘ A M O N G M Y S O U V E N IRS’ (from private view)<br />
2. ‘ C O RO N ATION RO S E ’ (from cynics and romantics)<br />
3. ‘ O L D MAN, OR LAD’S LOV E … ’ (from old man)<br />
4. ‘ TO P ’ (from tops)<br />
5. ‘ T H E PLANET HAPPINESS’<br />
6. ‘ C H E Z MONSIEUR PRIEUR’<br />
7. ‘ T H E STO RY OF SIGURD’<br />
8. ‘ T H E TREES ARE DOW N ’<br />
9. ‘ S N OW JOKE’<br />
10. ‘ A P O E T’S PRAYER’<br />
11. ‘ WO O D P IGEONS AT RAHENY’<br />
12a. ‘ T H E WAY THRO U G H THE WO O D S ’ first state – standard version<br />
12b. ‘ T H E WAY THRO U G H THE WO O D S ’ first state – ‘variant name’ version<br />
12c. ‘ T H E WAY THRO U G H THE WO O D S ’ second state – standard version<br />
12d. ‘ T H E WAY THRO U G H THE WO O D S ’ second state – ‘variant name’ version<br />
S E C T I O N D<br />
L I M I T E D E D ITION PRINTS<br />
1a. ‘ T H E CLOSED DOOR’ first edition<br />
1b. ‘ T H E CLOSED DOOR’ second edition<br />
2a. ‘ C H U RC H YA R D ’ (from six hampshire epitaphs) first edition<br />
2b. ‘ C H U RC H YA R D ’ (from six hampshire epitaphs) second edition<br />
3. ‘ R H INOCERO S BEETLE’ (from buzz buzz)<br />
4. ‘ F R IENDS BEYO N D ’<br />
5. ‘ H O M E ’ (from learning the ropes)<br />
6. ‘ R A IN AT SEA’ (from aquamarine)<br />
7. ‘ C OTTAG E ORNÉ’ (from even the flowers)<br />
8. ‘ O L D MAN, OR LAD’S LOV E … ’ (from old man)<br />
9. ‘ P I N E MARTEN’<br />
S E C T I O N E<br />
OT H E R P R INTS<br />
1. ‘ AQU E D U C T POEM AND ENGRAV I N G ’ ( from the missed beat)<br />
2a. ‘ AQU E D U C T’ (from the missed beat) black version<br />
2b. ‘ AQU E D U C T’ (from the missed beat) olive version<br />
3. ‘ T H E CLOSED DOOR’<br />
4. ‘ T H E CLOSED DOOR’ – postcard version<br />
5. ‘ N ATURA’<br />
6. ‘ T H E O N LY C H ILD’ (from winter wind)<br />
7. ‘ T H E O N LY C H ILD’ (from winter wind) – altered version<br />
8. ‘ R H INOCERO S BEETLE’ (from buzz buzz)<br />
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9. ‘ C L A S S ICAL TEXT’ (from telling tales)<br />
10. ‘ H O M E ’ (from learning the ropes)<br />
11. ‘ R A IN AT SEA’ (from aquamarine)<br />
12. ‘ C OTTAG E ORNÉ’ (from even the flowers)<br />
S E C T I O N F<br />
A L L OT H E R EPHEMERA<br />
1. L E TTERHEAD version i<br />
2a. ‘ A N THONY BAKER’ BOOKPLATE first printing – mould-made paper version<br />
2b. ‘ A N THONY BAKER’ BOOKPLATE first printing – handmade paper version<br />
3. ‘ C O RO N ATION RO S E BAKER MEMORIAL’<br />
4. ‘ W ITH THANKS’ SLIP<br />
5. ‘ W ITH COMPLIMENTS’ SLIP<br />
6a. L E TTERHEAD version ii – standard version<br />
6b. L E TTERHEAD version ii – small version<br />
7. L E TTERHEAD version iii<br />
8. ‘ B O O KS FRO M THE GRU F F Y G RO U N D P R E S S ’ version i<br />
9. L E TTERHEAD version iv<br />
10. ‘ B O O KS FRO M THE GRU F F Y G RO U N D P R E S S ’ version ii<br />
11. ‘ G R IFFYGRO U N D VA R IATIONS’<br />
12. ‘ B A KER’S DOZEN’ HANDBILL<br />
13. ‘ A N THONY BAKER’ BOOKPLATE second printing<br />
14. ‘ P O E TRY AND PRINTS FRO M THE GRU F F Y G RO U N D P R E S S ’ version i<br />
15. ‘ B A D E N IAN DUNDONALD BAKER MEMORIAL’<br />
16. ‘ VA L E ’ large version<br />
17. ‘ VA L E ’ small version<br />
18. ‘ ATQU E AV E ’<br />
19. ‘ I S YNG OF A MYDEN’<br />
20. ‘ C O R R E C TION TO WILLIAM MORRIS’<br />
21. ‘ T H IS STO N E BARN WA S C O N V E RT E D … ’<br />
22. ‘ S I C VO S NON VO B IS…’<br />
23. ‘ P O E TRY AND PRINTS FRO M THE GRU F F Y G RO U N D P R E S S ’ version ii<br />
24a. ‘ A L L , ALL, OF A PIECE THRO U G H O U T. . . ’ handmade paper version<br />
24b. ‘ A L L , ALL, OF A PIECE THRO U G H O U T. . . ’ mould-made paper version<br />
25. ‘ D O M U S CAEDET ARBOREM’<br />
26. ‘ C A E LV M NON ANIMVM MVTA N T. . . ’<br />
27. ‘ T H E POW E R OF INTERVA L ’<br />
28. ‘ I L L U S TRATED POETRY’<br />
29. ‘ C A S TLES IN THE A IR’<br />
30. ‘ A M ICI DIEM PERDIDI’<br />
31a. ‘ G ROW ING OLD’ ‘with fleuron’ version<br />
31b. ‘ G ROW ING OLD’ ‘without fleuron’ version<br />
32. ‘ S H E R PA MEMORIAL’<br />
33. ‘ G RU F F YGRO U N D RARITIES’<br />
34. ‘ W E ATHERC O C K MISPRINT LEAF’<br />
35. ‘ W E ATHERC O C K REPRINT LEAF’<br />
36. ‘ T H E FURNITURE AT LADRAM’<br />
37. ‘ T H E V E S S E L S AT L A D R A M ’<br />
38. ‘ T H E R E IS N OTHING G O O D TO B E H A D I N T H E C O U N T RY … ’<br />
39. ‘ D I RC E ’<br />
40. ‘ M O O N L IT APPLES’ LEAF<br />
41. ‘ U N A LITERAS DIDICIMUS’<br />
42a. ‘ B A S KERV ILLE’S BIRTHDAY ’ standard version<br />
42b. ‘ B A S KERV ILLE’S BIRTHDAY ’ ‘variant paper’ version<br />
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43. ‘ B I RTHRIGHT’<br />
44. ‘ T WO POEMS’<br />
45. ‘ A WO M A N W ITH A N E D U C ATION…’<br />
46. ‘ I P ITY THE U N L E A R N E D … ’<br />
47. ‘ S O M E CIRC U M S TA N TIAL E V IDENCE…’<br />
48. ‘ T RY E V E RYTHING O N C E … ’<br />
49. ‘ E V E RY G R E AT M A N NOWA DAYS…’<br />
50. ‘ T WO REWRITES’<br />
51. ‘ I T IS N E V E R D IFFICULT…’<br />
52. ‘ QU E M DEUS V U LT…’<br />
53. ‘ I V P P ITER EX A LTO … ’<br />
54. ‘ T WO A N D TWO ’<br />
S E C T I O N G<br />
U N P U B L I S H E D ITEMS<br />
1a. W I L L IAM SHAKESPEARE ‘THE PHOENIX AND T U RT L E ’ de tuinwijkpers standard edition<br />
1b. W I L L IAM SHAKESPEARE ‘THE PHOENIX AND T U RT L E ’ de tuinwijkpers special edition<br />
2. W I L L IAM SHAKESPEARE ‘THE PHOENIX AND T U RT L E ’ de tuinwijkpers edition prospectus<br />
3. P E TER SCUPHAM ‘NATURA’ gruffyground press edition – original printing<br />
4. C H A R L OTTE M E W ‘THE TREES A R E D OW N ’ libanus press edition<br />
5. V E R N O N S C A N N E L L ‘EXTRA TIME’<br />
6. V E R N O N S C A N N E L L ‘EXTRA TIME’ prospectus<br />
7. ‘ B A S KERV ILLE AT LADRAM’ greetings card<br />
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