Notes on the Eragny Press, and a Letter to J.B. Manson

Lucien Pissarro

In 1957 Cambridge University printed this book as an homage to the artist and founder of the Eragny Press, and included plates printed from the original blocks, which had been donated to the school by Pissarro's widow, Esther. Four of these images are full color and one includes gilding, and the cover papers are from the original Eragny Press design.

Lucien Pissarro, son of artist Camille Pissarro (whose portrait is included in this book), grew up among the leading Impressionists of the late 19th century and was himself an exhibiting painter in the last major Impressionist exhibition in 1886. His true passion, however, was woodengraving and book design. He taught himself woodblock printmaking and bookbinding, honing his skills while working for a publishing agency in France with the aim of publishing fine art books. By the late 1890s he had relocated to England where he met with followers of Arts and Crafts designer William Morris and soon found his footing.

Finding that most publishers balked at the cost of printing fine art books, Pissarro decided to open his own press. In 1894 he and Esther, herself a woodengraver, founded the Eragny Press. Between then and 1914 they published 31 books illustrated with original woodengravings, many on commission and on occasion in collaboration with other artists, including Lucien's father. They developed their own typefaces, cover papers, and an illustration style frequently lauded for finding the balance between British restraint and French opulence.

In this book, Cambridge University Press chose a sampling of Lucien's illustrations, faithfully recreating his colors and using the same paper types, and the cover papers are of a design created by the Pissarros. The text includes a letter by Pissarro to artist, Tate Gallery director, and friend J.B. Manson and an essay on Pissarro's work by Alan Fern.