including offering to buy the Gregynog Press so that they could close it down and reduce the competition. The partners had to advance money from their private accounts to keep the press solvent. There had been tension between the three for some time and Anthony Sandford replaced Newbery as a partner. He had a much more commercial approach than his brother Christopher and Rutter, and expected a return on his investment. The press started to produce unlimited editions aimed at the Christmas market, but these too failed in terms of commercial success. Rutter wrote to Christopher Sandford: "We are publishing edition after edition of which more than half remains as stock". Anthony Sandford left as a partner in 1938. In spite of all the problems caused by the advent of the Second World War there was one huge benefit for the press. People wanted books to read and by 1943 most of the Golden Cockerel stock, a growing liability, had been sold. In 1944 Rutter died but Sandford decided to carry on on his own; he had no financial need to seek a new partner, since the Chiswick Press, in which he had been a major shareholder, had been sold. Sandford introduced colour illustrations, anathema to private press purists, and other means of reproducing illustrations instead of using original wood engravings – lithography and colour collotype. Some 120 works were published during the Sandford era. One favourite illustrator was John Buckland Wright, another Clifford Webb, from whom he commissioned wood engravings for eight books. Sandford also commissioned Lettice Sandford, his wife, and artist Dorothea Braby, to work on multiple books produced by the press. Book editions Golden Cockerel Press of 1926 - 1952 years Thomas Yoseloff period (1959–1961) In 1959 Sandford, for whom the financial pressures of keeping the press going had become too much, sold the publishing business to Thomas Yoseloff, an American publisher and at the time director of University of Pennsylvania Press. Yoseloff completed the publication of two titles in 1960 that had been previously commissioned by Sandford, a translation by David Gwyn Williams of the poem "In Defence of Woman" (O Blaid Y Gwragedd) by the 16th century Welsh poet William Cynwal, illustrated by John Petts, and Poems and Sonnets of Shakespeare, edited by Gwyn Jones and illustrated by Buckland Wright. The following year, two more titles were issued under Yoseloff's direction, Folk Tales and Fairy