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THE ERAGNY PRESS.
A VIRTUALLY COMPLETE SET OF THE BOOKS PRINTED BY THE ERAGNY PRESS, INCLUDING 2 PRESENTATION COPIES INSCRIBED BY LUCIEN PISSARRO (NUMBERS xvii AND xix). The set lacks only Katherine Bradley and Emma Cooper's rare work Whym Chow (London: privately printed for the author, 1914), which was published under their pseudonym of 'Michael Field' in an edition of 27 copies (of which only one has been recorded at auction by 'American Book Prices Current' since 1975). Together with a select collection of bibliographies and reference books relating to The Eragny Press, published between 1898 and 1997.
LUCIEN PISSARRO AND THE ORIGINS OF THE ERAGNY PRESS
Lucien Pissarro (1863-1944) was the eldest son of the French-Jewish impressionist artist Camille Pissarro, and his French wife Julie Vellay, Camille's mother's maid. After studying art in both France and England, Lucien was employed by an art-publishing firm in Paris in 1884, where he remained for the following six years. During this period he continued to paint (exhibiting with his father at the last Impressionist Exhibition in 1886 and at the Salon des Indpendants), and began to experiment with wood-engraving. This interest arose from his desire to illustrate children's books - the publishers that Pissarro submitted his designs to rejected the proposed books as too expensive to produce, so Pissarro decided to learn the techniques of engraving, in order to reduce the cost of manufacturing the books. Under the tutelage of Auguste Lepre, Lucien acquired the necessary skills, and in 1886 he was commissioned by the Revue Illustre to produce four illustrations to accompany the Mirabeau story 'Mait' Liziard'. Unfortunately his illustrations were not well-received, and in 1890 Pissarro decided to return to England, where the renaissance of fine printing and wood-engraving initiated by William Morris's Kelmscott Press offered a more sympathetic environment for his print-making.
In London Pissarro met Charles Ricketts and Charles Shannon, who had published the first issue of their illustrated magazine The Dial from their house The Vale in Chelsea in 1889. Ricketts and Shannon invited Pissarro to contribute illustrations to The Dial, and through this work, and 'by [Ricketts and Shannon's] precept and example', Pissarro 'got to know many of the rules the observance of which is essential to the production of the ''book beautiful''', and also learnt 'that it is not absolutely necessary to depend on a publisher in order to produce a book or a magazine' (number xxxii Notes on the Eragny Press pp. 1-3). These precepts and examples, and their precedents, were subsequently articulated and acknowledged in Ricketts and Pissarro's De la Typographie et de l'harmonie de la page imprime. William Morris et son influence sur les arts et mtiers (number xxxi). In 1894 Pissarro and his wife Esther, who had also learnt the techniques of wood engraving, established The Eragny Press in Epping (Essex), naming it after the village in Normandy where Camille Pissarro had settled, and in the same year they printed their first book, The Queen of the Fishes (number i). In 1897 the press moved to Bedford Park, before finally settling in Hammersmith in 1900, close to the sites of the Kelmscott and Doves presses, where it remained until it closed in 1914, after printing 31 titles.
THE ILLUSTRATION AND DECORATION OF THE ERAGNY PRESS BOOKS
Although the majority of the illustrations of the press's books were designed by Pissarro, some were after works by Camille Pissarro (number xxx La Charrue d'rable), T. Sturge Moore (numbers xiii Histoire de Peau d'Ane and xxiii The Little School) and others. However, the press's books are visually united by Lucien and Esther Pissarro's aesthetic conception: the paper board-coverings, the decorations, the press devices and the majority of the illustrations are their work. In style and subject the illustrations reflect the traditional, rural way of life that both Camille Pissarro and William Morris saw being swept away by industrialisation in the second half of the nineteenth century. In execution, the designs synthesise both the methods of European relief and chiaroscuro woodcuts created by skilled workers in the early centuries of printing (techniques later employed by Morris and his illustrators), and those of the Japanese colour-printed woodcuts made by artists who had been taught by extended apprentiseships to recognised masters, woodcuts which had been fashionable in Europe in the latter part of the nineteenth century, and successfully adapted to a European idiom by Edmund Evans in his illustrations for Kate Greenaway's books. The remarkable synthesis that the Pissarros achieved, coupled with their understanding of the techniques and potential of wood-engraving and ability to develop them further, produced a series of books of the highest quality, with an original style quite distinct from the books published by other English private presses. The Eragny Press's books combined the best aspects of both the English and the French illustrated book, whilst avoiding the sparseness sometimes found in the former and the uncomfortable opulence that can diminish the latter, achieving 'a charm and a freshness quite unlike anything to be found in the work of any other private press [...] in the printing of coloured wood-engravings in particular the Press excelled' (Cave p.151).
Perhaps the epitome of the Eragny Press's books is Histoire de la Reine du Matin et de Soliman ben Daoud (number xxviii), a commission from a French society of bibliophiles, and therefore the first book that Pissarro was able to produce without financial constraints. He recounts in Notes on the Eragny Press that, 'for lack of capital, I was not able to print the books I wanted to produce until the French began, at last, to take an interest in the revival of printing. Mr. Roger Marx, who knew of my efforts, introduced me to Mr. Rodrigues, the President of the Society of the ''Cent Bibliophiles'' in Paris. The latter asked me to produce a book for them, giving me carte blanche with regard to text, illustrations, size, paper, etc. This gave me the opportunity I wanted and with a quiet mind as to cost, I set to work on the production of the Histoire... [...] For this book we used gold leaf in the printing of the initial letters. This gave us much trouble and we had to invent a technique to overcome the great difficulties of preventing the gold leaf from sticking to the wet hand-made paper and, after many attempts, we were successful' (pp. 4-5). Gordon Ray judges Histoire... a 'happy marriage of English and French taste [...] Pissarro's decorations for this extract from Nerval's Voyage en orient achieve a selective richness', whilst regretting that 'it is a pity that the book's extreme rarity (most of the 130 copies printed must still be in France) has prevented collectors from becoming acquainted with it' (England 267).
The Eragny Press's penultimate work was La Charrue d'rable, which was a commission from another French bibliophile society, Le Livre Contemporain, and contained 12 plates engraved by Lucien after drawings depicting French rural life by Camille Pissarro. These images continue a series which Camille and Lucien had collaborated on since 1886, of which one had been published in 1888 by Theo van Gogh. Apart from this print, no interest was shown in the series by French publishers, so the next set of images from this series was issued by Charles Ricketts and Charles Shannon in 1893, as a portfolio of 6 plates by Lucien entitled Travaux des champs, in an edition limited to 25 sets. In Notes on the Eragny Press Pissarro writes that 'my father, Camille Pissarro, was always greatly interested in my books. He planned with me a book to deal with country work. For this purpose he designed twelve compositions to be engraved on wood in chiaroscuro. Unfortunately he died before all the blocks were engraved, but he had seen two of them and this gave me a clue to the rest' (pp. 5-6, although The Artist and the Book states that 'Lucien's Studio Book records that most of the large blocks were cut and proofed before Camille's death in 1903', 247). Le Livre Contemporain commissioned stories of Norman life by Emile Moselly to accompany these images, and Lucien drew 'some head-pieces, initial letters and ''cul-de-Lampes'' to harmonise with my father's illustrations and the text. With this object, I adapted some of his drawings and studies and the soon the book was complete' (Notes on the Eragny Press p. 6). The resulting work 'is a splendid impressionist book which the French themselves have rarely matched' (Ray England 269).
THE ERAGNY PRESS TYPEFACES
The text of The Eragny Press's first book The Queen of the Fishes (number i) was reproduced by process from the calligraphic original. This exception apart, the text of the press's books was printed either in the 'Vale' or 'Brook' types. The 'Vale' type was an original face designed by Ricketts for the books published by The Vale Press, and 'in no sense a recutting or amendment of an older fount' (Tomkinson p. 163). Pissarro used the 'Vale' type for The Eragny Press's publications between 1894 and 1903 (numbers ii-xv), on the understanding that the books printed with it were issued by The Vale Press under the imprint of Hacon and Ricketts. However, in 1903 Ricketts decided to close The Vale Press, and the punches and matrices for the typefaces were thrown into the Thames, whilst the type itself was melted down in 1904 after the publication of The Vale Press's final book, Ricketts's A Bibliography of Books Printed by Hacon and Ricketts between 1896 and 1903.
Pissarro therefore designed his own type, the 'Brook' fount, which 'made no pretension to originality - my aim being restricted to a fount which would harmonise with my wood-engraving and which would, at the same time, be clear and easy to read' (Notes on the Eragny Press p. 4). The face was cut by Edward P. Prince (punchcutter to many private presses, including the Kelmscott Press), and completely satisfies Pissarro's criteria: the text on the page is given its correct weight, without overwhelming the illustrations and decorations, and the two elements are integrated elegantly on the page. This success earned 'Stanley Morison's verdict that the type was ''sophisticated, rather than eccentric'' [...] one in which most authorities would concur' (Cave p. 317). At the same time Pissarro designed 'a very simple fount of music characters adapted to a simple form of music printing' (Notes on the Eragny Press p. 4), which was employed for Some Old English and French Ballads (number xxi) and Ben Jonson's Songs (number xxv). In addition to these founts, Pissarro also designed the 'Distel' typeface and a press device for Dr Jean Franois van Royen's De Zilverdistel press, the first modern Dutch private press.
CONDITION AND PROVENANCE
Unless noted otherwise, all books are in very good to fine condition. As usual with books from the Eragny Press, there may be some occasional browning on pastedowns and/or free endpapers. Each volume bears a discreet monogrammed bookplate of the present owner; other provenance is indicated in the individual description below.
BIBLIOGRAPHY OF REFERENCES CITED
Roderick Cave. The Private Presses. London: 1971; Eleanor M. Garvey. The Artist and the Book 1860-1960 in Western Europe and the United States. New York: 1982; Carol Hogben and Rowan Watson. From Manet to Hockney Modern Artists' Illustrated Books. London: 1985; Will Ransom. Private Presses and their Books. New York: 1929; Gordon N. Ray. The Art of the French Illustrated Book 1700 to 1914. New York: 1986. 2 volumes in one; Gordon N. Ray. The Illustrator and the Book in England from 1790 to 1914. New York: 1976; G.S. Tomkinson. A Select Bibliography of the Principal Modern Presses Public and Private in Great Britain and Ireland. San Francisco: 1975.
BOOKS PRINTED BY THE ERAGNY PRESS
(i) RUST, Margaret. The Queen of the Fishes. An Adaptation in English of a Fairy Tale of Valois. London: by The Eragny Press for Hacon and Ricketts, 1894. 8. Wood-engraved illustrations, borders and printer's device by Lucien and Esther Pissarro after Lucien Pissarro, some illustrations printed in colors, calligraphic text reproduced by process. Original limp vellum gilt. NUMBER 115 OF 150 COPIES ON JAPANESE HAND-MADE PAPER. Provenance: Laurence W. Hodson (bookplate); Sotheby's London, sale 19 June 1986, lot 311, to Bernard Quaritch. The Artist and the Book 248; Hogben and Watson 7; Ransom, Eragny 1; Tomkinson, Eragny 1.
(ii) [THE BIBLE.] The Book of Ruth and the Book of Esther. London: by The Eragny Press for Hacon and Ricketts, 1896. 12. Illustrations and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green patterned paper boards. Provenance: Laurence W. Hodson (bookplate). LIMITED TO 155 COPIES ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 2; Tomkinson, Eragny 2.
(iii) LAFORGUE, Jules. Moralits lgendaires. London: by The Eragny Press for Hacon and Ricketts, 14 January and 24 December 1898. 2 volumes. 8. Wood-engraved frontispieces, borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green patterned paper boards. EACH VOLUME LIMITED TO 220 COPIES ON FRENCH HAND-MADE PAPER. Provenance: 'D' (bookplate in volume I); Henry John and M.C. Bell (bookplate in volume II). Ransom, Eragny 3; Ray England 266; Tomkinson, Eragny 3-4.
(iv) PERRAULT, Charles. La Belle au Bois Dormant. Le Petit Chaperon Rouge. Deux contes de ma mre l'Oye. London: by The Eragny Press for Hacon and Ricketts, 16 July 1899. 8. Wood-engraved illustrations, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original blue patterned paper boards. LIMITED TO 224 COPIES, OF WHICH THIS IS ONE OF 220 ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 4; Tomkinson, Eragny 5.
(v) FLAUBERT, Gustave. La Lgende de Saint Julien l'Hospitalier. London: by The Eragny Press for Hacon and Ricketts, 1900. 16. Wood-engraved frontispiece, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Later brown morocco gilt by Zaehnsdorf. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 5; Tomkinson, Eragny 6.
(vi) VILLON, Franois. Les Ballades de Maistre Franois Villon. London: by The Eragny Press for Hacon and Ricketts, 1900. 8. Wood-engraved frontispiece, border, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. (Some scattered spotting on endpapers and title.) Original pink patterned paper boards. Provenance: J.R. ABBEY (armorial bookplate); William A. Pye (bookplate). LIMITED TO 226 COPIES, OF WHICH THIS IS ONE OF 222 ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 6; Tomkinson, Eragny 7.
(vii) FLAUBERT, Gustave. Un Coeur simple. London: by The Eragny Press for Hacon and Ricketts, 1901. 16. Wood-engraved frontispiece, borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. (Some light spotting on endpapers.) Original linen-backed blue paper boards. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Ranson, Eragny 7; Tomkinson, Eragny 8.
(viii) FLAUBERT, Gustave. Hrodias. London: by The Eragny Press for Hacon and Ricketts, 1901. 16. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original linen-backed blue paper boards, uniform with vii. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 8; Tomkinson, Eragny 9.
(ix) VILLON, Franois. Autres posies de Maistre Franois Villon et de son cole. London: by The Eragny Press for Hacon and Ricketts, 1901. 8. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original pink patterned paper boards (spine slightly darkened). LIMITED TO 226 COPIES, OF WHICH THIS IS ONE OF 222 ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 9; Tomkinson, Eragny 10.
(x) VERHAEREN, Emile. Les Petits vieux. London: by The Eragny Press for Hacon and Ricketts, 1901. Oblong 16. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards (spine darkened, gilt a little dull). LIMITED TO 230 COPIES ON JAPANESE HAND-MADE PAPER. Ransom, Eragny 10; Tomkinson, Eragny 11.
(xi) BACON, Francis. Of Gardens. London: by The Eragny Press for Hacon and Ricketts, 1902. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and red patterned paper boards. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Provenance: Laurence W. Hodson (bookplate). Ransom, Eragny 11; Tomkinson, Eragny 12.
(xii) RONSARD, Pierre de. Choix de sonnets. London: by The Eragny Press for Hacon and Ricketts, July 1902. 8. Unopened copy. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and white patterned paper boards. LIMITED TO 226 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 12; Tomkinson, Eragny 13.
(xiii) PERRAULT, Charles. Histoire de Peau d'Ane (Contes de ma mre l'Oye). London: by The Eragny Press for Hacon and Ricketts, September 1902. 8. Unopened copy. Wood-engraved illustrations by and after T. Sturge Moore, wood-engraved frontispiece, borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original blue patterned paper boards, uniform with iv. LIMITED TO 230 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 13; Tomkinson, Eragny 14.
(xiv) RONSARD, Pierre de. Abrg de l'art potique franois. London: by The Eragny Press for Hacon and Ricketts, January 1903. 8. Wood-engraved borders, head- and tail-pieces, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and white patterned paper boards, uniform with xii (spine darkened, a few unobtrusive small chips). LIMITED TO 228 COPIES, OF WHICH THIS IS ONE OF 226 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 14; Tomkinson, Eragny 15.
(xv) [AUCASSIN ET NICOLETTE]. C'est d'Aucassin et de Nicolete. Hammersmith, London: by The Eragny Press for Hacon and Ricketts, May 1903. 8. Unopened copy. Wood-engraved frontispiece, borders, initial and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and blue patterned paper boards. LIMITED TO 230 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 15; Tomkinson, Eragny 16.
(xvi) MOORE, T. Sturge. A Brief Account of the Origin of the Eragny Press. Hammersmith, London: The Eragny Press, June 1903. 8. Wood-engraved illustrations and printer's device by Lucien and Esther Pissarro after Lucien Pissaro. Original green and red patterned paper boards (minor soiling and spotting on spine). LIMITED TO 241 COPIES, OF WHICH THIS IS ONE OF 235 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 16; Tomkinson, Eragny 17.
(xvii) WHITE, Diana. The Descent of Ishtar. Hammersmith, London: Eragny Press, December 1903. 12. Wood-engraved frontispiece by White, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original gray-green patterned paper boards. LIMITED TO 236 (OR 241) COPIES, OF WHICH THIS IS ONE OF 226 ON ARCHES HAND-MADE PAPER. Provenance: A. MORELLI (PRESENTATION INSCRIPTION FROM LUCIEN PISSARRO). Ransom, Eragny 17; Tomkinson, Eragny 18.
(xviii) MILTON, John. Areopagitica. Hammersmith, London: Eragny Press, October 1903. 4. Wood-engraved border, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original blue paper boards. LIMITED TO 211 COPIES, OF WHICH THIS IS ONE OF 200 (OR 201) ON ARCHES HAND-MADE PAPER. Ransom, Eragny 18; Tomkinson, Eragny no. 19.
(xix) BROWNING, R. Some Poems. Hammersmith, London: Eragny Press, June 1904. 8. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and pink patterned paper boards. Provenance: T. BABSON (PRESENTATION INSCRIPTION FROM LUCIEN PISSARRO). LIMITED TO 225 (OR 226) COPIES, OF WHICH THIS IS ONE OF 215 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 19; Tomkinson, Eragny 20.
(xx) COLERIDGE, Samuel Taylor. Christabel, Kubla Khan, Fancy in Nubibus, and Song from Zapolya. Hammersmith, London: Eragny Press, October 1904. 8. Unopened copy. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and lavender patterned paper boards. LIMITED TO 236 COPIES, OF WHICH THIS IS ONE OF 226 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 20; Tomkinson, Eragny 21.
(xxi) STEELE, Robert, editor. Some Old French and English Ballads. Hammersmith, London: Eragny Press, February 1905. 8. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards. LIMITED TO 210 COPIES, OF WHICH THIS IS ONE OF 200 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 21; Tomkinson, Eragny 22.
(xxii) BINYON, Lawrence. Dream-Come-True. Hammersmith, London: Eragny Press, April 1905. 12. Unopened copy. Wood-engraved illustration by Binyon printed in colors, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and pink patterned paper boards. LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 22; Tomkinson, Eragny 23.
(xxiii) MOORE, T. Sturge. The Little School, A Posy of Rhymes. Hammersmith, London: Eragny Press, July 1905. 12. Wood-engraved title vignette, illustrations and tailpiece by Moore, printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Later green morocco gilt by Stiechen. LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 23; Tomkinson, Eragny 24.
(xxiv) KEATS, John. La belle dame sans merci. Hammersmith, London: Eragny Press, New Year, 1906. Oblong 32. Wood-engraved title vignette and initial by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards. Provenance: Joseph Manuel Andreini (bookplate). LIMITED TO 210 COPIES, OF WHICH THIS IS ONE OF 200 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 24; Tomkinson, Eragny 25.
(xxv) JONSON, Ben. Songs... A Selection from the Plays, Masques, and Poems, with the Earliest Known Settings of Certain Numbers. Hammersmith, London: Eragny Press, April 1906. 8. Wood-engraved frontispiece printed in colors, border, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and blue patterned paper boards. LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 25; Tomkinson, Eragny 26.
(xxvi) ROSSETTI, Christina G. Verses Reprinted from G. Polidori's edition of 1847, edited by J.D. Symon. Hammersmith, London: Eragny Press, October 1906. 8. Unopened copy. Wood-engraved borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards (spine darkened, a few unobtrusive small chips). LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 26; Tomkinson, Eragny 27.
(xxvii) PERRAULT, Charles. Riquet la Houppe (Deux versions d'un conte de ma mre Loye). Hammersmith, London: Eragny Press, April 1907. 16. Unopened copy. Wood-engraved frontispiece printed in colors, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original vellum-backed blue paper boards. LIMITED TO 88 COPIES, OF WHICH THIS IS ONE OF 80 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 27; Tomkinson, Eragny 28.
(xxviii) NERVAL, Grard de. Histoire de la Reine du Matin et de Soliman ben Daoud. Hammersmith, London: by The Eragny Press for La Socit des Cent Bibliophiles, December 1907. 8. Wood-engraved title, borders and initials printed in gold and colors, illustrations, tailpieces and printer's device, all by Lucien and Esther Pissarro after Lucien Pissarro. Original limp green lambskin gilt with art nouveau carnation design on covers. LIMITED TO 130 COPIES ON ARCHES HAND-MADE PAPER, OF WHICH THIS NUMBER 106. Provenance: M. Lucien Gougy (subscriber); Laurence W. Hodson (bookplate); Sotheby's London, sale 19 June 1986, lot 344, to Bernard Quaritch. Ransom, Eragny 28; Ray England 267; Tomkinson, Eragny 29.
(xxix) GAUTIER, Judith. Album de pomes tirs du livre de jade. Hammersmith, London: The Eragny Press, 1911. 8. Wood-engraved illustrations and initial printed in gold and colors, ornaments printed in colours, printer's device, all by Lucien and Esther Pissarro after Lucien Pissarro. Original limp green lambskin gilt. LIMITED TO 130 COPIES, OF WHICH THIS IS NUMBER 129 OF 120 ON JAPANESE VELLUM. Ransom, Eragny 29; Ray England 268; Tomkinson, Eragny 30.
(xxx) MOSELLY, Emile. La Charrue d'rable. Paris: by The Eragny Press for Le Livre Contemporain, December 1912. 8. Wood-engraved illustrations by Lucien Pissarro after Camille Pissarro, head- and tail-pieces printed in color and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green limp lambskin gilt (spine and edges faded, split at foot of spine). LIMITED TO 116 COPIES ON PAPER, OF WHICH THIS IS NUMBER 37. Provenance: M. R. Descampes-Scrive (subscriber). The Artist and the Book 247; Ransom, Eragny 30; Ray England 269; Ray French 394; Tomkinson, Eragny 31.
ERAGNY PRESS BIBLIOGRAPHY AND REFERENCE BOOKS
(xxxi) RICKETTS, Charles, and Lucien PISSARRO. De la Typographie et de l'harmonie de la page imprime. William Morris et son influence sur les arts et mtiers. London: The Vale Press, January 1898. 8. Wood-engraved printer's device. Original blue paper boards, plain gray dust jacket. LIMITED TO 260 COPIES, OF WHICH THIS IS ONE OF 250 COPIES ON ARNOLD HAND-MADE PAPER. Tomkinson, Vale 16.
(xxxii) PISSARRO, Lucien. Notes on the Eragny Press, and a Letter to J.B. Manson edited with a supplement by Alan Fern. Cambridge: privately printed by The University Press, 1957. 8. Wood-engraved frontispiece by Gilbert Polliot, plates by Lucien and Esther Pissarro after Lucien Pissarro, all but 2 printed from the original blocks. Original blue patterned paper boards. LIMITED TO 500 COPIES 'FOR PRESENTATION BY THE UNIVERSITY PRINTER TO FRIENDS IN PRINTING AND PUBLISHING CHRISTMAS 1957'. Provenance: 'SENT... AT THE PARTICULAR REQUEST OF MISS OROVIDA PISSARRO' (presentation copy from Lucien and Esther Pissarro's daughter, with typed presentation slip loosely inserted).
(xxxiii) PISSARRO, Lucien. Notes on the Eragny Press, and a Letter to J.B. Manson edited with a supplement by Alan Fern. Cambridge: privately printed by The University Press, 1957. 8. Wood-engraved frontispiece by Gilbert Polliot, plates by Lucien and Esther Pissarro after Lucien Pissarro, all but 2 printed from the original blocks. Original blue patterned paper boards. LIMITED TO 500 COPIES 'FOR PRESENTATION BY THE UNIVERSITY PRINTER TO FRIENDS IN PRINTING AND PUBLISHING, CHRISTMAS 1957'.
(xxxiv) MEADMORE, W.S. Lucien Pissarro: Un Coeur simple. London: Constable & Company Ltd, 1962. 8. Original green paper boards, dust jacket.
(xxxv) CHAMBERS, David. Lucien Pissarro: Notes on a Selection of Wood-Blocks Held at the Ashmolean Museum. Oxford: Ashmolean Museum, 1980. 4. Wood-engraved illustrations by Lucien and Esther Pissarro after Lucien Pissarro, printed from the original blocks. Together with a second copy of the booklet. Blue printed paper wrappers, in green cloth case. LIMITED TO 175 SETS, OF WHICH THIS IS NUMBER 61.
(xxxvi) THOROLD, Anne. Artists, Writers, Politics: Camille Pissarro and His Friends. An Archival Exhibition Held at the Ashmolean Museum from 1 November 1980 to 4 January 1981. Oxford: Ashmolean Museum, 1980. Small 4. Red printed wrappers.
(xxxvii) PISSARRO, Lucien. Notes on the Eragny Press. First published by the Printer of The Cambridge University Press, Christmas 1957, in an edition edited by Alan Fern. [N.pl.]: Gallery 303, [n.d.]. 8. Buff printed wrappers.
(xxxviii) URBANELLI, Lora. The Book of Art Lucien Pissarro. With a bibliographical list of the books of the Eragny Press, 1894-1914. Wakefield, RI and London: Moyen Bell, 1997. 4o. Cloth-backed boards, dust jacket. (40)
A VIRTUALLY COMPLETE SET OF THE BOOKS PRINTED BY THE ERAGNY PRESS, INCLUDING 2 PRESENTATION COPIES INSCRIBED BY LUCIEN PISSARRO (NUMBERS xvii AND xix). The set lacks only Katherine Bradley and Emma Cooper's rare work Whym Chow (London: privately printed for the author, 1914), which was published under their pseudonym of 'Michael Field' in an edition of 27 copies (of which only one has been recorded at auction by 'American Book Prices Current' since 1975). Together with a select collection of bibliographies and reference books relating to The Eragny Press, published between 1898 and 1997.
LUCIEN PISSARRO AND THE ORIGINS OF THE ERAGNY PRESS
Lucien Pissarro (1863-1944) was the eldest son of the French-Jewish impressionist artist Camille Pissarro, and his French wife Julie Vellay, Camille's mother's maid. After studying art in both France and England, Lucien was employed by an art-publishing firm in Paris in 1884, where he remained for the following six years. During this period he continued to paint (exhibiting with his father at the last Impressionist Exhibition in 1886 and at the Salon des Indpendants), and began to experiment with wood-engraving. This interest arose from his desire to illustrate children's books - the publishers that Pissarro submitted his designs to rejected the proposed books as too expensive to produce, so Pissarro decided to learn the techniques of engraving, in order to reduce the cost of manufacturing the books. Under the tutelage of Auguste Lepre, Lucien acquired the necessary skills, and in 1886 he was commissioned by the Revue Illustre to produce four illustrations to accompany the Mirabeau story 'Mait' Liziard'. Unfortunately his illustrations were not well-received, and in 1890 Pissarro decided to return to England, where the renaissance of fine printing and wood-engraving initiated by William Morris's Kelmscott Press offered a more sympathetic environment for his print-making.
In London Pissarro met Charles Ricketts and Charles Shannon, who had published the first issue of their illustrated magazine The Dial from their house The Vale in Chelsea in 1889. Ricketts and Shannon invited Pissarro to contribute illustrations to The Dial, and through this work, and 'by [Ricketts and Shannon's] precept and example', Pissarro 'got to know many of the rules the observance of which is essential to the production of the ''book beautiful''', and also learnt 'that it is not absolutely necessary to depend on a publisher in order to produce a book or a magazine' (number xxxii Notes on the Eragny Press pp. 1-3). These precepts and examples, and their precedents, were subsequently articulated and acknowledged in Ricketts and Pissarro's De la Typographie et de l'harmonie de la page imprime. William Morris et son influence sur les arts et mtiers (number xxxi). In 1894 Pissarro and his wife Esther, who had also learnt the techniques of wood engraving, established The Eragny Press in Epping (Essex), naming it after the village in Normandy where Camille Pissarro had settled, and in the same year they printed their first book, The Queen of the Fishes (number i). In 1897 the press moved to Bedford Park, before finally settling in Hammersmith in 1900, close to the sites of the Kelmscott and Doves presses, where it remained until it closed in 1914, after printing 31 titles.
THE ILLUSTRATION AND DECORATION OF THE ERAGNY PRESS BOOKS
Although the majority of the illustrations of the press's books were designed by Pissarro, some were after works by Camille Pissarro (number xxx La Charrue d'rable), T. Sturge Moore (numbers xiii Histoire de Peau d'Ane and xxiii The Little School) and others. However, the press's books are visually united by Lucien and Esther Pissarro's aesthetic conception: the paper board-coverings, the decorations, the press devices and the majority of the illustrations are their work. In style and subject the illustrations reflect the traditional, rural way of life that both Camille Pissarro and William Morris saw being swept away by industrialisation in the second half of the nineteenth century. In execution, the designs synthesise both the methods of European relief and chiaroscuro woodcuts created by skilled workers in the early centuries of printing (techniques later employed by Morris and his illustrators), and those of the Japanese colour-printed woodcuts made by artists who had been taught by extended apprentiseships to recognised masters, woodcuts which had been fashionable in Europe in the latter part of the nineteenth century, and successfully adapted to a European idiom by Edmund Evans in his illustrations for Kate Greenaway's books. The remarkable synthesis that the Pissarros achieved, coupled with their understanding of the techniques and potential of wood-engraving and ability to develop them further, produced a series of books of the highest quality, with an original style quite distinct from the books published by other English private presses. The Eragny Press's books combined the best aspects of both the English and the French illustrated book, whilst avoiding the sparseness sometimes found in the former and the uncomfortable opulence that can diminish the latter, achieving 'a charm and a freshness quite unlike anything to be found in the work of any other private press [...] in the printing of coloured wood-engravings in particular the Press excelled' (Cave p.151).
Perhaps the epitome of the Eragny Press's books is Histoire de la Reine du Matin et de Soliman ben Daoud (number xxviii), a commission from a French society of bibliophiles, and therefore the first book that Pissarro was able to produce without financial constraints. He recounts in Notes on the Eragny Press that, 'for lack of capital, I was not able to print the books I wanted to produce until the French began, at last, to take an interest in the revival of printing. Mr. Roger Marx, who knew of my efforts, introduced me to Mr. Rodrigues, the President of the Society of the ''Cent Bibliophiles'' in Paris. The latter asked me to produce a book for them, giving me carte blanche with regard to text, illustrations, size, paper, etc. This gave me the opportunity I wanted and with a quiet mind as to cost, I set to work on the production of the Histoire... [...] For this book we used gold leaf in the printing of the initial letters. This gave us much trouble and we had to invent a technique to overcome the great difficulties of preventing the gold leaf from sticking to the wet hand-made paper and, after many attempts, we were successful' (pp. 4-5). Gordon Ray judges Histoire... a 'happy marriage of English and French taste [...] Pissarro's decorations for this extract from Nerval's Voyage en orient achieve a selective richness', whilst regretting that 'it is a pity that the book's extreme rarity (most of the 130 copies printed must still be in France) has prevented collectors from becoming acquainted with it' (England 267).
The Eragny Press's penultimate work was La Charrue d'rable, which was a commission from another French bibliophile society, Le Livre Contemporain, and contained 12 plates engraved by Lucien after drawings depicting French rural life by Camille Pissarro. These images continue a series which Camille and Lucien had collaborated on since 1886, of which one had been published in 1888 by Theo van Gogh. Apart from this print, no interest was shown in the series by French publishers, so the next set of images from this series was issued by Charles Ricketts and Charles Shannon in 1893, as a portfolio of 6 plates by Lucien entitled Travaux des champs, in an edition limited to 25 sets. In Notes on the Eragny Press Pissarro writes that 'my father, Camille Pissarro, was always greatly interested in my books. He planned with me a book to deal with country work. For this purpose he designed twelve compositions to be engraved on wood in chiaroscuro. Unfortunately he died before all the blocks were engraved, but he had seen two of them and this gave me a clue to the rest' (pp. 5-6, although The Artist and the Book states that 'Lucien's Studio Book records that most of the large blocks were cut and proofed before Camille's death in 1903', 247). Le Livre Contemporain commissioned stories of Norman life by Emile Moselly to accompany these images, and Lucien drew 'some head-pieces, initial letters and ''cul-de-Lampes'' to harmonise with my father's illustrations and the text. With this object, I adapted some of his drawings and studies and the soon the book was complete' (Notes on the Eragny Press p. 6). The resulting work 'is a splendid impressionist book which the French themselves have rarely matched' (Ray England 269).
THE ERAGNY PRESS TYPEFACES
The text of The Eragny Press's first book The Queen of the Fishes (number i) was reproduced by process from the calligraphic original. This exception apart, the text of the press's books was printed either in the 'Vale' or 'Brook' types. The 'Vale' type was an original face designed by Ricketts for the books published by The Vale Press, and 'in no sense a recutting or amendment of an older fount' (Tomkinson p. 163). Pissarro used the 'Vale' type for The Eragny Press's publications between 1894 and 1903 (numbers ii-xv), on the understanding that the books printed with it were issued by The Vale Press under the imprint of Hacon and Ricketts. However, in 1903 Ricketts decided to close The Vale Press, and the punches and matrices for the typefaces were thrown into the Thames, whilst the type itself was melted down in 1904 after the publication of The Vale Press's final book, Ricketts's A Bibliography of Books Printed by Hacon and Ricketts between 1896 and 1903.
Pissarro therefore designed his own type, the 'Brook' fount, which 'made no pretension to originality - my aim being restricted to a fount which would harmonise with my wood-engraving and which would, at the same time, be clear and easy to read' (Notes on the Eragny Press p. 4). The face was cut by Edward P. Prince (punchcutter to many private presses, including the Kelmscott Press), and completely satisfies Pissarro's criteria: the text on the page is given its correct weight, without overwhelming the illustrations and decorations, and the two elements are integrated elegantly on the page. This success earned 'Stanley Morison's verdict that the type was ''sophisticated, rather than eccentric'' [...] one in which most authorities would concur' (Cave p. 317). At the same time Pissarro designed 'a very simple fount of music characters adapted to a simple form of music printing' (Notes on the Eragny Press p. 4), which was employed for Some Old English and French Ballads (number xxi) and Ben Jonson's Songs (number xxv). In addition to these founts, Pissarro also designed the 'Distel' typeface and a press device for Dr Jean Franois van Royen's De Zilverdistel press, the first modern Dutch private press.
CONDITION AND PROVENANCE
Unless noted otherwise, all books are in very good to fine condition. As usual with books from the Eragny Press, there may be some occasional browning on pastedowns and/or free endpapers. Each volume bears a discreet monogrammed bookplate of the present owner; other provenance is indicated in the individual description below.
BIBLIOGRAPHY OF REFERENCES CITED
Roderick Cave. The Private Presses. London: 1971; Eleanor M. Garvey. The Artist and the Book 1860-1960 in Western Europe and the United States. New York: 1982; Carol Hogben and Rowan Watson. From Manet to Hockney Modern Artists' Illustrated Books. London: 1985; Will Ransom. Private Presses and their Books. New York: 1929; Gordon N. Ray. The Art of the French Illustrated Book 1700 to 1914. New York: 1986. 2 volumes in one; Gordon N. Ray. The Illustrator and the Book in England from 1790 to 1914. New York: 1976; G.S. Tomkinson. A Select Bibliography of the Principal Modern Presses Public and Private in Great Britain and Ireland. San Francisco: 1975.
BOOKS PRINTED BY THE ERAGNY PRESS
(i) RUST, Margaret. The Queen of the Fishes. An Adaptation in English of a Fairy Tale of Valois. London: by The Eragny Press for Hacon and Ricketts, 1894. 8. Wood-engraved illustrations, borders and printer's device by Lucien and Esther Pissarro after Lucien Pissarro, some illustrations printed in colors, calligraphic text reproduced by process. Original limp vellum gilt. NUMBER 115 OF 150 COPIES ON JAPANESE HAND-MADE PAPER. Provenance: Laurence W. Hodson (bookplate); Sotheby's London, sale 19 June 1986, lot 311, to Bernard Quaritch. The Artist and the Book 248; Hogben and Watson 7; Ransom, Eragny 1; Tomkinson, Eragny 1.
(ii) [THE BIBLE.] The Book of Ruth and the Book of Esther. London: by The Eragny Press for Hacon and Ricketts, 1896. 12. Illustrations and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green patterned paper boards. Provenance: Laurence W. Hodson (bookplate). LIMITED TO 155 COPIES ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 2; Tomkinson, Eragny 2.
(iii) LAFORGUE, Jules. Moralits lgendaires. London: by The Eragny Press for Hacon and Ricketts, 14 January and 24 December 1898. 2 volumes. 8. Wood-engraved frontispieces, borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green patterned paper boards. EACH VOLUME LIMITED TO 220 COPIES ON FRENCH HAND-MADE PAPER. Provenance: 'D' (bookplate in volume I); Henry John and M.C. Bell (bookplate in volume II). Ransom, Eragny 3; Ray England 266; Tomkinson, Eragny 3-4.
(iv) PERRAULT, Charles. La Belle au Bois Dormant. Le Petit Chaperon Rouge. Deux contes de ma mre l'Oye. London: by The Eragny Press for Hacon and Ricketts, 16 July 1899. 8. Wood-engraved illustrations, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original blue patterned paper boards. LIMITED TO 224 COPIES, OF WHICH THIS IS ONE OF 220 ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 4; Tomkinson, Eragny 5.
(v) FLAUBERT, Gustave. La Lgende de Saint Julien l'Hospitalier. London: by The Eragny Press for Hacon and Ricketts, 1900. 16. Wood-engraved frontispiece, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Later brown morocco gilt by Zaehnsdorf. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 5; Tomkinson, Eragny 6.
(vi) VILLON, Franois. Les Ballades de Maistre Franois Villon. London: by The Eragny Press for Hacon and Ricketts, 1900. 8. Wood-engraved frontispiece, border, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. (Some scattered spotting on endpapers and title.) Original pink patterned paper boards. Provenance: J.R. ABBEY (armorial bookplate); William A. Pye (bookplate). LIMITED TO 226 COPIES, OF WHICH THIS IS ONE OF 222 ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 6; Tomkinson, Eragny 7.
(vii) FLAUBERT, Gustave. Un Coeur simple. London: by The Eragny Press for Hacon and Ricketts, 1901. 16. Wood-engraved frontispiece, borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. (Some light spotting on endpapers.) Original linen-backed blue paper boards. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Ranson, Eragny 7; Tomkinson, Eragny 8.
(viii) FLAUBERT, Gustave. Hrodias. London: by The Eragny Press for Hacon and Ricketts, 1901. 16. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original linen-backed blue paper boards, uniform with vii. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 8; Tomkinson, Eragny 9.
(ix) VILLON, Franois. Autres posies de Maistre Franois Villon et de son cole. London: by The Eragny Press for Hacon and Ricketts, 1901. 8. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original pink patterned paper boards (spine slightly darkened). LIMITED TO 226 COPIES, OF WHICH THIS IS ONE OF 222 ON ARNOLD HAND-MADE PAPER. Ransom, Eragny 9; Tomkinson, Eragny 10.
(x) VERHAEREN, Emile. Les Petits vieux. London: by The Eragny Press for Hacon and Ricketts, 1901. Oblong 16. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards (spine darkened, gilt a little dull). LIMITED TO 230 COPIES ON JAPANESE HAND-MADE PAPER. Ransom, Eragny 10; Tomkinson, Eragny 11.
(xi) BACON, Francis. Of Gardens. London: by The Eragny Press for Hacon and Ricketts, 1902. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and red patterned paper boards. LIMITED TO 226 COPIES ON ARNOLD HAND-MADE PAPER. Provenance: Laurence W. Hodson (bookplate). Ransom, Eragny 11; Tomkinson, Eragny 12.
(xii) RONSARD, Pierre de. Choix de sonnets. London: by The Eragny Press for Hacon and Ricketts, July 1902. 8. Unopened copy. Wood-engraved frontispiece, borders, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and white patterned paper boards. LIMITED TO 226 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 12; Tomkinson, Eragny 13.
(xiii) PERRAULT, Charles. Histoire de Peau d'Ane (Contes de ma mre l'Oye). London: by The Eragny Press for Hacon and Ricketts, September 1902. 8. Unopened copy. Wood-engraved illustrations by and after T. Sturge Moore, wood-engraved frontispiece, borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original blue patterned paper boards, uniform with iv. LIMITED TO 230 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 13; Tomkinson, Eragny 14.
(xiv) RONSARD, Pierre de. Abrg de l'art potique franois. London: by The Eragny Press for Hacon and Ricketts, January 1903. 8. Wood-engraved borders, head- and tail-pieces, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and white patterned paper boards, uniform with xii (spine darkened, a few unobtrusive small chips). LIMITED TO 228 COPIES, OF WHICH THIS IS ONE OF 226 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 14; Tomkinson, Eragny 15.
(xv) [AUCASSIN ET NICOLETTE]. C'est d'Aucassin et de Nicolete. Hammersmith, London: by The Eragny Press for Hacon and Ricketts, May 1903. 8. Unopened copy. Wood-engraved frontispiece, borders, initial and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and blue patterned paper boards. LIMITED TO 230 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 15; Tomkinson, Eragny 16.
(xvi) MOORE, T. Sturge. A Brief Account of the Origin of the Eragny Press. Hammersmith, London: The Eragny Press, June 1903. 8. Wood-engraved illustrations and printer's device by Lucien and Esther Pissarro after Lucien Pissaro. Original green and red patterned paper boards (minor soiling and spotting on spine). LIMITED TO 241 COPIES, OF WHICH THIS IS ONE OF 235 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 16; Tomkinson, Eragny 17.
(xvii) WHITE, Diana. The Descent of Ishtar. Hammersmith, London: Eragny Press, December 1903. 12. Wood-engraved frontispiece by White, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original gray-green patterned paper boards. LIMITED TO 236 (OR 241) COPIES, OF WHICH THIS IS ONE OF 226 ON ARCHES HAND-MADE PAPER. Provenance: A. MORELLI (PRESENTATION INSCRIPTION FROM LUCIEN PISSARRO). Ransom, Eragny 17; Tomkinson, Eragny 18.
(xviii) MILTON, John. Areopagitica. Hammersmith, London: Eragny Press, October 1903. 4. Wood-engraved border, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original blue paper boards. LIMITED TO 211 COPIES, OF WHICH THIS IS ONE OF 200 (OR 201) ON ARCHES HAND-MADE PAPER. Ransom, Eragny 18; Tomkinson, Eragny no. 19.
(xix) BROWNING, R. Some Poems. Hammersmith, London: Eragny Press, June 1904. 8. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and pink patterned paper boards. Provenance: T. BABSON (PRESENTATION INSCRIPTION FROM LUCIEN PISSARRO). LIMITED TO 225 (OR 226) COPIES, OF WHICH THIS IS ONE OF 215 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 19; Tomkinson, Eragny 20.
(xx) COLERIDGE, Samuel Taylor. Christabel, Kubla Khan, Fancy in Nubibus, and Song from Zapolya. Hammersmith, London: Eragny Press, October 1904. 8. Unopened copy. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and lavender patterned paper boards. LIMITED TO 236 COPIES, OF WHICH THIS IS ONE OF 226 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 20; Tomkinson, Eragny 21.
(xxi) STEELE, Robert, editor. Some Old French and English Ballads. Hammersmith, London: Eragny Press, February 1905. 8. Wood-engraved frontispiece, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards. LIMITED TO 210 COPIES, OF WHICH THIS IS ONE OF 200 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 21; Tomkinson, Eragny 22.
(xxii) BINYON, Lawrence. Dream-Come-True. Hammersmith, London: Eragny Press, April 1905. 12. Unopened copy. Wood-engraved illustration by Binyon printed in colors, borders, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and pink patterned paper boards. LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 22; Tomkinson, Eragny 23.
(xxiii) MOORE, T. Sturge. The Little School, A Posy of Rhymes. Hammersmith, London: Eragny Press, July 1905. 12. Wood-engraved title vignette, illustrations and tailpiece by Moore, printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Later green morocco gilt by Stiechen. LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 23; Tomkinson, Eragny 24.
(xxiv) KEATS, John. La belle dame sans merci. Hammersmith, London: Eragny Press, New Year, 1906. Oblong 32. Wood-engraved title vignette and initial by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards. Provenance: Joseph Manuel Andreini (bookplate). LIMITED TO 210 COPIES, OF WHICH THIS IS ONE OF 200 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 24; Tomkinson, Eragny 25.
(xxv) JONSON, Ben. Songs... A Selection from the Plays, Masques, and Poems, with the Earliest Known Settings of Certain Numbers. Hammersmith, London: Eragny Press, April 1906. 8. Wood-engraved frontispiece printed in colors, border, initials, and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original green and blue patterned paper boards. LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 25; Tomkinson, Eragny 26.
(xxvi) ROSSETTI, Christina G. Verses Reprinted from G. Polidori's edition of 1847, edited by J.D. Symon. Hammersmith, London: Eragny Press, October 1906. 8. Unopened copy. Wood-engraved borders and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green and yellow patterned paper boards (spine darkened, a few unobtrusive small chips). LIMITED TO 185 COPIES, OF WHICH THIS IS ONE OF 175 ON ARCHES HAND-MADE PAPER. Ransom, Eragny 26; Tomkinson, Eragny 27.
(xxvii) PERRAULT, Charles. Riquet la Houppe (Deux versions d'un conte de ma mre Loye). Hammersmith, London: Eragny Press, April 1907. 16. Unopened copy. Wood-engraved frontispiece printed in colors, initials and printer's device by Lucien and Esther Pissarro after Lucien Pissarro. Original vellum-backed blue paper boards. LIMITED TO 88 COPIES, OF WHICH THIS IS ONE OF 80 COPIES ON ARCHES HAND-MADE PAPER. Ransom, Eragny 27; Tomkinson, Eragny 28.
(xxviii) NERVAL, Grard de. Histoire de la Reine du Matin et de Soliman ben Daoud. Hammersmith, London: by The Eragny Press for La Socit des Cent Bibliophiles, December 1907. 8. Wood-engraved title, borders and initials printed in gold and colors, illustrations, tailpieces and printer's device, all by Lucien and Esther Pissarro after Lucien Pissarro. Original limp green lambskin gilt with art nouveau carnation design on covers. LIMITED TO 130 COPIES ON ARCHES HAND-MADE PAPER, OF WHICH THIS NUMBER 106. Provenance: M. Lucien Gougy (subscriber); Laurence W. Hodson (bookplate); Sotheby's London, sale 19 June 1986, lot 344, to Bernard Quaritch. Ransom, Eragny 28; Ray England 267; Tomkinson, Eragny 29.
(xxix) GAUTIER, Judith. Album de pomes tirs du livre de jade. Hammersmith, London: The Eragny Press, 1911. 8. Wood-engraved illustrations and initial printed in gold and colors, ornaments printed in colours, printer's device, all by Lucien and Esther Pissarro after Lucien Pissarro. Original limp green lambskin gilt. LIMITED TO 130 COPIES, OF WHICH THIS IS NUMBER 129 OF 120 ON JAPANESE VELLUM. Ransom, Eragny 29; Ray England 268; Tomkinson, Eragny 30.
(xxx) MOSELLY, Emile. La Charrue d'rable. Paris: by The Eragny Press for Le Livre Contemporain, December 1912. 8. Wood-engraved illustrations by Lucien Pissarro after Camille Pissarro, head- and tail-pieces printed in color and initials by Lucien and Esther Pissarro after Lucien Pissarro. Original green limp lambskin gilt (spine and edges faded, split at foot of spine). LIMITED TO 116 COPIES ON PAPER, OF WHICH THIS IS NUMBER 37. Provenance: M. R. Descampes-Scrive (subscriber). The Artist and the Book 247; Ransom, Eragny 30; Ray England 269; Ray French 394; Tomkinson, Eragny 31.
ERAGNY PRESS BIBLIOGRAPHY AND REFERENCE BOOKS
(xxxi) RICKETTS, Charles, and Lucien PISSARRO. De la Typographie et de l'harmonie de la page imprime. William Morris et son influence sur les arts et mtiers. London: The Vale Press, January 1898. 8. Wood-engraved printer's device. Original blue paper boards, plain gray dust jacket. LIMITED TO 260 COPIES, OF WHICH THIS IS ONE OF 250 COPIES ON ARNOLD HAND-MADE PAPER. Tomkinson, Vale 16.
(xxxii) PISSARRO, Lucien. Notes on the Eragny Press, and a Letter to J.B. Manson edited with a supplement by Alan Fern. Cambridge: privately printed by The University Press, 1957. 8. Wood-engraved frontispiece by Gilbert Polliot, plates by Lucien and Esther Pissarro after Lucien Pissarro, all but 2 printed from the original blocks. Original blue patterned paper boards. LIMITED TO 500 COPIES 'FOR PRESENTATION BY THE UNIVERSITY PRINTER TO FRIENDS IN PRINTING AND PUBLISHING CHRISTMAS 1957'. Provenance: 'SENT... AT THE PARTICULAR REQUEST OF MISS OROVIDA PISSARRO' (presentation copy from Lucien and Esther Pissarro's daughter, with typed presentation slip loosely inserted).
(xxxiii) PISSARRO, Lucien. Notes on the Eragny Press, and a Letter to J.B. Manson edited with a supplement by Alan Fern. Cambridge: privately printed by The University Press, 1957. 8. Wood-engraved frontispiece by Gilbert Polliot, plates by Lucien and Esther Pissarro after Lucien Pissarro, all but 2 printed from the original blocks. Original blue patterned paper boards. LIMITED TO 500 COPIES 'FOR PRESENTATION BY THE UNIVERSITY PRINTER TO FRIENDS IN PRINTING AND PUBLISHING, CHRISTMAS 1957'.
(xxxiv) MEADMORE, W.S. Lucien Pissarro: Un Coeur simple. London: Constable & Company Ltd, 1962. 8. Original green paper boards, dust jacket.
(xxxv) CHAMBERS, David. Lucien Pissarro: Notes on a Selection of Wood-Blocks Held at the Ashmolean Museum. Oxford: Ashmolean Museum, 1980. 4. Wood-engraved illustrations by Lucien and Esther Pissarro after Lucien Pissarro, printed from the original blocks. Together with a second copy of the booklet. Blue printed paper wrappers, in green cloth case. LIMITED TO 175 SETS, OF WHICH THIS IS NUMBER 61.
(xxxvi) THOROLD, Anne. Artists, Writers, Politics: Camille Pissarro and His Friends. An Archival Exhibition Held at the Ashmolean Museum from 1 November 1980 to 4 January 1981. Oxford: Ashmolean Museum, 1980. Small 4. Red printed wrappers.
(xxxvii) PISSARRO, Lucien. Notes on the Eragny Press. First published by the Printer of The Cambridge University Press, Christmas 1957, in an edition edited by Alan Fern. [N.pl.]: Gallery 303, [n.d.]. 8. Buff printed wrappers.
(xxxviii) URBANELLI, Lora. The Book of Art Lucien Pissarro. With a bibliographical list of the books of the Eragny Press, 1894-1914. Wakefield, RI and London: Moyen Bell, 1997. 4