Anastasia “Annie” Power whittled her way into bookbinding as a pupil of Douglas Cockerell at Museum Street, alongside prominent binders and fellow pupils Sylvia Stebbing and Audrey Ricketts. In delegation of tasks in binding, Douglas Cockerell often entrusted his female pupils with sewing and mending, and fellow binders Francis Sangorski and George Sutcliffe as forwarder and finisher in the binding process. Compensation was minimal, and in order to supplement income, Annie Power herself took a pupil during her tenure with Cockerell. Soon after, a lucrative opportunity presented itself; Annie speedily accepted a position with C.R. Ashbee’s Guild of Handicraft. Annie Power played an instrumental role in the founding of the the Essex House Press and the Guild Bindery, over which she also presided for some time. During her tenure running the Guild Bindery, the designs produced were very much in the vein of Cockerell’s stylistic work, reminiscent of her earlier training. Edgar Green, Nellie Binning, and Lottie Eatley assisted Annie Power in the maintenance of the Guild Bindery. Characteristic designs by Annie Power and the Bindery include gold-tooled designs, books bound in quarter leather with oak boards and plaited-thong clasps, enamel plaque mounted in silver on rosewood, holly, and ebony boards, and the placement of a monogram displaying Annie Power’s initials and the stamp of the Guild of Handicraft, a simple G and H hugging a dianthus in the center. Annie Power featured her work at the Arts and Crafts Exhibition Society in 1903. While the operations of the Guild Bindery ceased around 1905 after the departure of Annie Power in her marriage to Gerald Loosley, the Essex House Press subsisted until approximately 1910 (Tidcombe, 1996).