Portrait of Camille Pissarro (1830-1903), by Lucien Pissarro (1863-1944). Later 1890s. Thomas Sturge Moore uses this portrait as an illustration among letters from father to son during October 1895. Source: Pissarro, facing p. 275. [Click on the image to enlarge it.]
The two were close: "Of all of Camille’s seven children, Lucien was perhaps closest to his father" ("Lucien Pissarro"). Lucien remained true to his father's principles throughout his career, despite his involvement with the Camden Town Group.
Note that in the list of illustrations, Moore calls this portrait a wood-cut. As Nicola Moorby has pointed out in connection with another of Pissarro's works, in the early days, both Moore and Pissarro employed the term for wood-engravings, although the processes involved are different: put simply,she explains, "wood-cuts involve the cutting away of the ‘negative’ spaces and printing a ‘positive’ image in black. However, wood-engraving prints a ‘positive’ image in white line against a black background." Results with the latter are "finer, more detailed," she explains. This is surely the process used here.
Image capture, text and formatting by Jacqueline Banerjee. You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the person who scanned the image and the Internet Archive, and (2) link your document to this URL in a web document or cite the Victorian Web in a print one.]
Bibliography
"Lucien Pissarro (1863-1944)." Stern Pissarro Gallery. Web. 18 August 2020.
Moorby, Nicola. Catalogue Entry for "Lucien Pissarro: April, 1890." Tate. Web. 18 August 2020.
Created 18 August 2020