In an obituary his close friend Michael Howard, a well-known occult writer and publisher of The Cauldron, described Chumbley as "a man of the land, rural in both birth and character.
Howard recalled Chumbley’s kindness, generosity and sense of humour: "To outsiders Andrew could sometimes appear to be aloof, intense and serious to the point of obsession...
According to Schulke, "Chumbley's magical work spanned many fields of sorcerous influence, including Sufism, left-hand Tantra and Petro Voodoo".
[12] In The Azoëtia Chumbley presents "Will, Desire, Belief" as a threefold unity operating in sorcery; this is ultimately derived from Spare's work, although the primary textual source is Grant.
Another influence was the neo-Sufi author Idries Shah, particularly his theories concerning possible connections between witchcraft and various near-eastern cults such as the Yezidi, Mandaeans, Sufis and Zoroastrians.
"[7] Schulke observed that "Chumbley's grimoire Azoëtia, though wholly a reification of traditional British witchcraft, makes use of Sumerian, Egyptian, Yezidi, Arabic, and Aztec iconography, among others.
"[3] Chumbley considered the practice of willed dreaming essential as a means of interacting directly and consciously with the spiritual dimensions he called 'the High Sabbat'; according to him "Every word, deed and thought can empower, magnetise, and establish points of receptivity for a magical dream, likewise any of these means can do the opposite—fixating perception in a manner that is not receptive—that seals the soul in the body instead of enabling it to go forth at will.
"[3] In conjunction with dreaming and trance experience Chumbley used automatic writing and drawing to manifest the knowledge drawn from ritual magic; these procedures, in which the magician offers her or himself as a vehicle for the forces summoned instead of using another as medium, is not uncommon in the Western occult tradition - one modern exemplar being Austin Osman Spare.
Chumbley believed that the natural manifestation of magical gnosis and power occurs through creative activity: "Dreaming and the mutual translation of dreamt ritual and ritual-as-dreamt form the basic rationale and context for our work.
The book consists of an arcane poetic text in 72 verses, a detailed commentary in critical prose, and a substantial glossary of esoteric terms and names.
"[19] Issued in several different hard bindings as standard, deluxe and private editions, copies of Qutub included unique additions such as hand-drawn talismans or sigillised inscriptions.
Michael Staley, a senior member of the Typhonian OTO and editor of Starfire Magazine, described the Qabalistic concept of the book as follows: "Qutub is the Point.
[20] Numerous articles by Chumbley followed, published in British and American occult journals, but no further books appeared until ONE: The Grimoire of the Golden Toad in 2000, described by Xoanon as: "...the first full grimoire-text to treat specifically and from personal account of the Traditional East Anglian ritual called 'The Waters of the Moon': the solitary initiation of the so-called 'Toad-witch'."
Being the fruit of a decade of concentrated praxis in the Cultus' inner circle, this work is intended as an entire resumé of the ancestral and ophidian components of Traditional Sorcery and Sabbatic Gnosis."
"[3]Another volume titled The Greene Gospel is referred to in a footnote to Michael Howard's The Book of Fallen Angels (Capell Bann, 2004) where it is identified as being privately distributed.