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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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