The career of Lucien (1863-1944) straddled the wood engraving revival in Britain. He is the only artist to have shown both in The Dutch Gallery exhibition of 1898 and in the first exhibition of the Society of Wood Engravers in 1920. He is also one of the main links between French and English wood engravers, and when he decided to settle in England in 1890, it was not long before he met Ricketts, Shannon, Sturge Moore and Whistler. — James Hamilton, p. 49

When the agreement of the letters has at last resulted in the sweetness of a well-proportioned page, if there are to be any decorations or illustrations these should be of a similar origin to the type itself, cut with like tools, designed with similar strokes.... — T. Sturge Moore, p. 11

... both Lucien and Esther looked upon their work at the press as a full and complete partnership. Their roles were different [in the bibliographic details, letters and borders are often described as being designed by Lucien and engraved by Esther], but both were indispensable.... — Marcella Genz, n.p.

Introductory Material


Book Design


Engen, R.K. Dictionary of Victorian Wood Engravers. Cambridge: Chadwyck-Healey, 1985.

Genz, Marcella. A History of the Eragny Press, 1894-1914. Berkeley: University of California, 1990 [Review by Jacquelynn Baas].

Hamilton, James. Wood Engraving and the Wood-Cut in Britain, c. 1890-1990. London: Barrie & Jenkins, 1994.

Moorby, Nicola. Catalogue Entry for "Lucien Pissarro: April, 1890." Tate. Web. 18 August 2020. [Useful for the process involved in wood-engraving.]

Moore, T. Sturge. A Brief Account of the Origin of the Eragny Press & a Note on the Relation of the Printed Book as a Work of Art to Life.Internet Archive. Contributed by University of California Libraries. Web. 17 August 2020.

Created 16 August 2020