Pear Tree Press Guthrie James (9 results)

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.

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).

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.

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.

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).

[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.

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.