Pear Tree Press (27 results)

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

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Pear Tree Press (illustrator). 8vo. cord-tied paper wrappers, paper cover label. (12) pages. An Essay by Sir George Grey. First edition limited to 100 numbered copies of this scarce pamphlet. A fine copy. Preface by Barbara Birkbeck, City Librarian. Tipped-in portrait of Sir George Grey. Introduction by Donald Kerr, Printed Collections Librarian. Designed, letterpress printed & bound by The Pear Tree Press, Auckland. Typeset in Linotype Granjon by Puriri Press. The paper is 104gsm Evregreen Aspen laid with 217gsm Gainsborough Pewter covers. cord-tied paper wrappers, paper cover label.

stiff paper wrappers. Pear Tree Press (illustrator). 8vo. stiff paper wrappers. unpaginated. Limited to 200 numbered copies, Cover illustration a wood engraving by Tara McLeod. A collection of poetry.

Condition: Good. PROSPECTUS. Folio. Folded Sheet, Very Good, lines stuck out with ink, some creasing.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. First edition, hand-printed at the Pear Tree Press by James Guthrie. Slim 8vo. 17pp. Grey paper-covered boards with a decorated paper title label. John Guthrie provides a title page decoration, a frontispiece and eight header pieces and drawings in the text. Free endpapers lightly browned and spotted, and with a small area of damp staining to the base of the upper board. One gathering just a little tender. A very crisp copy of a handsome production, housed in the original decorated dust wrapper, a little marked, blemished, chafed and chipped with several small areas of edge loss. A series of delightful legends including 'The Legend of the Red Rose', 'An Anemone Legend', 'Legend of the Snowdrop', 'Legend of the Corn Poppies', 'How the Buttercups Came', 'Legends of the Forget-Me-Not', 'The Legend of the Saint-Foin', 'How the Robin Got its Red Breast', 'The Seamless Mantle', 'The Legend of St. Kennach', and 'The Old Black Horse' ("It was Christmas Eve in the quaint old village of Dullington, the shops were gay as gay could be, full of busy little people, and big people too, hurrying to and fro, choosing presents and big fat surprise packets, and all the other good things one has at Christmas").

Pear Tree Press (illustrator). 8vo. quarter cloth, paper-covered boards, label on front cover. (xii), 23+(1) pages. Limited to 80 numbered copies. Bookplate removed from the front pastedown. Minor toning of covers along edges. Endpapers foxed, else a near fine copy. Mentioned in "The Living Age" 315:4095 (December 30, 1922). Table of contents, introductory comments by the editor. Poetry by V. Locke-Ellis, Eleanor Farjeon, James Guthrie, Reginald Hall Ward, M.M. Johnstone, Lewis Townsend, and Stuart Guthrie. Frontispiece. Hand-printed on Antiwue Laid paper. Bookplate of Clinton K. Judy, Memorial Library, California Institute of Technology. quarter cloth, paper-covered boards, label on front cover.

Soft cover. Condition: Near Fine. 1st Edition. Set in Monotype Poliphilus and printed in black (with puce for decoration) on cream wove paper. Illustrations within the text. Stiff turquois wrappers, titled in black, with the words "SPECIMEN" and "2/6" in Guthrie's hand. A near fine copy. Principal Contents: The Plan of the Page;Diagram; Wood Engraving; A New Way for Authors; Specimen Settings; Ars Typographica; In Little.

stiff paper wrappers. Pear Tree Press (illustrator). 4to. stiff paper wrappers. 20; (21)-44; (45)-64; (65)-84 pages. The first issue (of 4 total) of this periodical with comments on hand-printing, wood-engraving and other aspects of the private press book (Ridler 32; Brown, Modern British and American Private Presses, pp.141). Illustrated. James J. Guthrie (1874-1952), was born in Scotland but moved to London as a child. He founded the Pear Tree Press in 1899 when living at Pear Tree Cottage in Ingrave, Essex, England. He moved several times before settling at Flansham, near Bognor Regis, Sussex in 1907. He was an artist, typographer, and printer with a particular interest in intaglio printing. Many of his titles stressed wood engraving and book plate design. The first issue consists of Guthrie's autobiographical essay,The Hand Printer and His Work. Covers spotted with tears along bottom. Corners curled.

stiff paper wrappers. Pear Tree Press (illustrator). 4to. stiff paper wrappers. pp.21-44. With comments on hand-printing, wood-engraving and other aspects of the private press book (Ridler 32; Brown, Modern British and American Private Presses, pp.141). Illustrated. James J. Guthrie (1874-1952), was born in Scotland but moved to London as a child. He founded the Pear Tree Press in 1899 when living at Pear Tree Cottage in Ingrave, Essex, England. He moved several times before settling at Flansham, near Bognor Regis, Sussex in 1907. He was an artist, typographer, and printer with a particular interest in intaglio printing. Many of his titles stressed wood engraving and book plate design. This second issue discusses The Plan of the Page, Wood Engraving from a Printer's Standpoint. First Article, and A New Way for Authors.

stiff paper wrappers. Pear Tree Press (illustrator). 4to. stiff paper wrappers. 20; (21)-44; (45)-64; (65)-84 pages. The first issue (of 4 total) of this periodical with comments on hand-printing, wood-engraving and other aspects of the private press book (Ridler 32; Brown, Modern British and American Private Presses, pp.141). Illustrated. James J. Guthrie (1874-1952), was born in Scotland but moved to London as a child. He founded the Pear Tree Press in 1899 when living at Pear Tree Cottage in Ingrave, Essex, England. He moved several times before settling at Flansham, near Bognor Regis, Sussex in 1907. He was an artist, typographer, and printer with a particular interest in intaglio printing. Many of his titles stressed wood engraving and book plate design. The first issue consists of Guthrie's autobiographical essay,The Hand Printer and His Work. Large 4 page prospectus to this series loosely inserted.

Soft cover. Condition: Fine. Limited Edition. Number 43 of 70 (100) copies signed by James Guthrie with both text and illustrations printed entirely from intaglio plates on antique laid paper. Half-title, title-page, portrait, bookplate, engraved advertisement, another full-page engraving and smaller decorations by James Guthrie, single engraving by Robin Guthrie. Overlapping paper wrappers tied with silk ribbon with an additional large copper engraving by James Guthrie on the front and another smaller on the rear. A fine copy with two additional pieces of Pear Tree printing loosely inserted. Volume 3 of Root and Branch was entirely printed from intaglio plates. Literary contributions include 'On Illustration' by Guthrie himself and Near a Quiet Stream, a poem by W.H. Davies. Signed by Author(s).

This is the fourth book of the Pear Tree Press, though only the second printed there. (The first two were printed at the Old Bourne Press.) The illustrator is Pickford Waller (1873-1921), a descendant of Edmund Waller (1606-87). Pickford Waller worked in Pimlico and was a friend of James McNeil Whistler, and patronized many artists including S.H. Sime. He practiced the decoration of manuscript and extra-illustrated books with his own initial letters (Houfe, p. 489). Small octavo. 33 pp. Numerous initials and decorations by Pickford Waller. Natural linen over gray paper boards, printed paper label on front cover. Small stain at foot of spine, neat calligraphic inscription on front free endpaper (ÒTo R.B.F. from W.B. 1924.Ó). A remarkably nice copy of a fragile book, in the original glassine dust jacket. Glassine chipped and torn. Laid in is an original sheet of stationery from the Pear Tree Press, signed Òcompliments J.G. [James Guthrie]Ó. One of 300 copies. Ransome, Private Presses, p. 376, no. 4.

Hardcover. Condition: Very Good. First Edition. Flansham, Bognor Regis, Pear Tree Press, 1934. Quarto, [9] leaves (all printed rectos only with an engraving, coloured à la poupée), comprising the half-title, title page, 6 pages of verse, and the colophon. Original quarter cloth and papered boards with an engraved coloured title-label on the front cover (printed from the same plate as the half-title, here coloured differently); covers lightly bumped at the extremities and slightly marked; an excellent copy. Number 25 of 100 copies. 'Script by Helen Hinkley. Design and plate printing by James Guthrie'. Guthrie, who was known for his experiments in coloured intaglio printing, has signed the final leaf. William Strode (1598-1645) was one of the five members of parliament whose attempted arrest by Charles I was a catalyst for the outbreak of the Civil War in 1642. The four poems are 'In Commendation of Musick', 'On Westwell Downes', 'A Watch sent Home to Mrs Eliz. King Wrapt in Theis Verses', and 'A Sonnet'.

First edition. Quarto. 82 pages. Frontispiece, pictorial title-page, 24 plates, 5 which are tipped in and include an original photo of the actual press, plus 14 illustrations in the text, some of which are full page. All of these are by James Guthrie, as are most of the texts, in prose and verse, and as is the printing. Linen-backed decorated boards with gilt lettering to spine. Printed on handmade paper. One of 80 copies. The original intention was to issue the contents in four parts, starting in 1905, only two of which appeared. The present book, which is the equivalent of nearly six parts and contains much new material, was published in 1912. A typical Guthrie production, replete with his musings on art and literature, much in the spirit of the Williams, Blake and Morris. Includes an essay on Walt Whitman.Signed and dated by the author/artist on the half-title page in December 1912. On the front free endpaper he has drawn a caricature head of the portrait photographer Edward Cahen as a cat wearing a fez and incorporating his name. Tipped onto the front pastedown are two Autograph Letters Signed by Guthrie and dated 13.12.12 and Dec.17.12: about 120 and 150 words respectively. The first letter presents the book and mentions that no more copies are available. The second one indicates that Cahen has made a photograph of Guthrie who suggests other candidates for the ''gallery'', these being Gordon Bottomley, W.H. Davies, Edward Thomas, Walter de la Mare, Vivian Locke Ellis and Reginald Hallward. The latter contributes the poem ''On a Picture'' to this book.Free endpapers faintly tanned. Small ink spot to top edge of the front cover which also has a few small patches of rubbing. Corners of covers slightly bumped.

The Pear Tree Press was founded in 1899. Its proprietor, James Guthrie, named it after his residence at the time, Par Tree Cottage in Brentwood, Essex. He moved from Essec to Kent and Sussex before finally settling in Flansham. A small scale handpress, Guthrie printed in small batches, which he varied "from copy to copy as the order of [his] palette (or slab) subbests." Interestingly, the proof of the colophon is dated September 1934 and that of the finished book exactly three years later, suggesting that it had a long gestation period, during which he experimented with the use of colors. 8 bifoliate leaves, printed on recotos only, comprising the half-title, frontispiece, title, three pages of the poem, the colophon (which is signed by James Guthrie), and the tailpiece. The text and illustrations are printed in purple and gold. Publisher's quarter oatmeal cloth over cream boards, illustrated paper label on front cover. Light blue paper ust jacket, featuring a variant version of the frontispiece illustration. A hint of foxing, but a lovely copy of a scarce work. With three proof sheets: the title, page 2 of the poem, and the colophon, printed in green and gold, the first two signed by Guthrie at the foot. Number 17 of a purported 100 copies. OCLC notes seven copies only worldwide: Columbia, Stanford, Boston Atheneum, Trinithy College Dublin, Cambridge, the National Library of Scotland, and the British Library. William Collins (1824-1889) was second in influence to Thomas Gray amongst English poets of the middle decades of the twentieth century. Like Gray, he represents a progression away from the Augustan poetry of Alexander Pope's generation towards the poetry of the Romantic era.

LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1923 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 56 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 56 Guthrie, John,Farjeon, Eleanor, 1881-1965, author of introduction, etc,Pear Tree Press.

LeatherBound. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set and contains approximately 48 pages. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English.

FIRST EDITION, an incredibly faint spot to fore-margin of first couple of leaves, pp. [8], foolscap 8vo, original sewn self wrappers, small device to front, a couple of very faint spots touching spine, very good. Poetry by the proprietor of the Pear Tree Press; not printed by him, but an elegant production.

half-title and ad at rear printed in green, the woodcut border to title-page and colophon printed in pink, 19 designs in all in various colours (several lightly tipped-in), including the work of James Guthrie, some light spotting, pp. [x], 25, [5], 4to, original sewn buff wrappers with a woodcut design by Guthrie wrapping round, a sliver of faint darkening around head, a little corner-creasig, very good. The last part of this magazine printed by Guthrie at the Pear Tree Press. [With:] The supplement of 'Spoof Designs', 8 tipped-in examples of bookplate-humour, sewn self wrappers with title-design to front printed in green, some light spotting, very good (Fuller p.30).

The Illustrators of the Arts and Crafts Movement PEAR TREE PRESS. The Venture. An Annual of Art and Literature. Edited by Laurence Housman and W. Somerset Maugham. London: [The Pear Tree Press] At John Baillie's, 1903. First edition. Large octavo (10 x 7 5/8 inches; 254 x 193 mm.). [viii], 249, [1, blank], [1, imprint], 5, blank] pp. Colored frontispiece and fourteen full-page black & white woodcuts included the text. Publisher's pictorial gray boards, front cover and spine lettered in black, green pictorial endpapers, engraved bookplate of W. MacDonald MacKay on front paste-down. Inner hinges neatly repaired, otherwise a near fine copy. The illustrators of the Arts and Crafts Movement include: Charles Hazelwood Shannon, Charles S. Ricketts, T. Sturge Moore, Lucien Pisarro, E. Gordon Craig, Paul Woodroffe, Laurence Housman and others. Charles Haslewood Shannon (18631937). Painter and lithographer, born near Sleaford, Lincolnshire. Shannon studied at Lincoln School of Art and at Lambeth School of Art, 1882, where he met his lifelong friend Charles Ricketts with whom he ran the Vale Press, 18961904 and founded 'The Dial' magazine, which ran from 18891897. During the early 20th century, his work was also featured in 'The Venture', an obscure short-lived art periodical of the period.

11 linocuts by Sheila M. Thompson, five printed in two colours, the remainder in either green or brown. One of 220 numbered copies. 4to., 22.5 x 29.5cm, [28]pp. Original publisher's decorative green paper boards, with design after Sheila M. Thompson in white, lettered in black. Printed by John Freeman on Arnold & Foster's handmade paper. Flansham, Pear Tree Press. Very good, corners bumped with some chipping to paper covers, spine and top edge faded, but internally bright and clean with only minimal offsetting, three sets of dropped type on page beginning 'Quarry' underlined in red, quite possibly at the press. Inscribed 'For Joanna's Son & Daughter, fr. John, Christmas 1948' on ffep.  One of the final works printed by the Pear Tree Press, Eleanor Farjeon's brief and charming poems on the Sussex landscape furnish this scarce alphabet book, such that we learn:  "Mister Belloc lives in Sussex, And don't you dare to doubt it! He makes good cheer and drinks good beer, And tells us all about it." A close friend of Edward Thomas, Farjeon was a successful children's author, now remembered primarily as the author of the hymn 'Morning has Broken', and recalled being profoundly influenced by the Sussex landscape where she moved with her family during the First World War. Writing in a letter to George Earle, she described the impact that the Downs had on her: ?They are so much beyond human beings to me that I almost cannot talk of it? I am theirs and if ever I vanish from the face of the earth, it will be because they have drawn me in? They?ve healed me more and given me more strength and certainty and peace than any other living thing.? Thompson's linocut illustrations are the ideal accompaniment to Farjeon's poems, and the bold use of colour epitomises the playful style of James Guthrie's press, whose guiding principle was that 'the artist at the press is, before everything, an explorer'. .

[ONE OF 80 COPIES], printed on handmade paper in various colours (predominantly black and green), illustrations by James Guthrie throughout, some tipped in or laid down, further decorations by the same, including initial letters, tipped-in photograph of the press-room, pp. 82, 4to, original quarter natural linen and grey boards, the backstrip lettered in gilt, press device and lettering to upper board printed in black, this board bowing a little and with some very faint spotting, edges untrimmed and lightly spotted, faint browning to endpapers, very good. Laid in is the prospectus announcing this book and Guthrie's 'Third Book of Drawings' - dated 1912, it explains that the original intention was to publish in four parts, but only two parts were issued thus, the remaining four being new to this edition. The limitation of 80 copies is stated on the announcement rather than the book itself. This was the copy of furniture-designer and noted collector Sir Ambrose Heal, though without mark of ownership.

Illustrated with a frontispiece portrait by Robin Guthrie, and two engravings and other illustrations and decorations by James Guthrie printed in ochre. One of 250 copies (this no.81). Small folio, good and bright in the original red cloth blocked in gilt on front cover, uncut. Flansham, The Pear Tree Press. Edward Thomas's memory is celebrated with a twelve page eulogy by James Guthrie, poems, illustrations, a summary of Edward Thomas's letters to W.H. Hudson and the famous full length portrait of Edward Thomas by James Guthrie's son Robin.

Pear Tree Press. 1948-1951. A striking "rough" watercolour design (circa 274 x 1909mm), on laid card, by Betty Bunn, for the cover or dustwrapper of a planned edition of The Wild Garden by James Guthrie and his Pear Tree Press, executed in Art Nouveau style with the artist's name and address, in her hand, to the reverse, together with another watercolour design on rough paper for the title and frontispiece of the book (circa 225 x 142mm), vertically folded, also with a finely executed design for the upper cover in watercolour (circa 102 x 151mm) on laid card mounted on larger cream card alongside a very sketchy watercolour trial for the same, with other original artwork by Betty Bunn which might relate to this publication, or another, including 4 other small and poignant watercolours of children, all painted on artist's card (each signed with initials on the reverse, with the date '48), a larger atmostpheric watercolour (circa 130 x 170mm), again signed with initials "B.B." entitled "Village", and 4 other small, and well-executed, drawings of children, in bold black line, 2 handpainted, including one colophon, all signed or with the artist's details on the reverse in her hand.Sold together with 4 long autograph letters signed, and one card, by the founder of the Pear Tree Press, James Guthrie, to the artist Betty Bunn, discussing their collaboration on The Wild Garden and referring to technical details, paper shortages and frustrations with printers, among much else.Born in Glasgow, the Scotsman James Guthrie (1874-1952), artist, typographer and printer, was the respected founder of The Pear Tree Press. It was conceived when Guthrie was living at Pear Tree Cottage in Ingrave, Essex, but was later moved to Shorne in Kent, then Harting in Sussex, before setling at Flansham near Bognor Regis, Sussex, in 1907. Given the fashion of the period it is surprising that Guthrie was not inspired so much by William Morris as by William Blake, a man who assumed control of all aspects of his operation at an artisan level The Wild Garden, a book of children's verse, was first published by the press in 1924, in a limited edition of 100 copies with designs by Guthrie and signed by the author, so it would seem that the original artwork commissioned here was for a planned reprinting which was never published. Betty Bunn had been a student at the Slade and was a personal friend of Guthrie. She worked on other titles for the press.