Hi Liam. Good call on Deepdene, it’s my favourite of Goudy’s typefaces. Walter Tracy talks briefly about it in his Letters of Credit, p. 121–122 (bibliographic entry), mantaining that Goudy was fascinated by Van Krimpen’s own Lutetia typeface while drawing Deepdene. You might want to look up the similarities and differences between the two. Also of note is the italic which is strangely upright as far as italics go, but it works remarkably well in my opinion. Another later serif typeface with very vertical italics is Eric Gill’s Joanna, another of my favourites.

You should also be aware of P22's version of Deepdene, which is probably more complete, as well as reasonably priced. I haven't compared them.

As far as similarity, Goudy repeated himself a lot with variations, so comparing Deepdene to his other faces would be interesting.

I've got P22/LTC Deepdene, which is more accurate and extremely beautiful. But it isn't much good for text, being terribly light, with long descenders, and if I remember rightly (I haven't used it for ages) terrible kerning. The BQ version is nicely dark, well and closely spaced, has shortened descenders and makes a good if adventurous book type. Goudy Kaatskill is close cousin to Deepdene, with the advantage of having been given the once-over by Colin Kahn after Jim Rimmer's initial revival with an excellent Deepdene-based italic. It is a less startling type (it even has a horizontal bar on e), with good weight and spacing, and is very usable. Neither have bold fonts, which is fine by me.