Chapter III: Part 3

Several impressions from duplicate or triplicate blocks, printed in
this way, of a very large size, were also given to me, as well as a
drawing of the press from which they were printed, many years ago,
by Jean Baptiste Jackson, who had been patronised by the King of
France; but, whether these prints had been done with the design of
embellishing the walls of houses in that country, I know not. They
had been taken from paintings of eminent old masters, and were
mostly Scripture pieces. They were well drawn, and perhaps correctly
copied from the originals, yet in my opinion none of them looked
well. Jackson left Newcastle quite enfeebled with age, and, it was
said, ended his days in an asylum, under the protecting care of Sir
Gilbert Elliot, Bart., at some place on the border near the Teviot,
or on Tweedside.

[Footnote 42: Bewick, 1925, pp. 213-214.]

If Bewick was correct in reporting that Jackson died while under the protection of Sir Gilbert Elliot, probably in a Poor Law institution, it is unlikely that the date could have been much later than 1777, the year in which Sir Gilbert died. This would place the meeting of both artists shortly before this time, when Bewick was in his early twenties (he was born in 1753). Sir Gilbert lived in Minto House, Roxburghshire, Scotland, but no evidence can be found for the supposition that Jackson died in the vicinity. No obituary has been discovered. The record of Jackson’s death, if it exists, probably lies in a parish register somewhere on the Scottish border.

_Critical Opinion_

In most histories of prints it was considered sufficient to note that certain artists worked in woodcut chiaroscuro; the quality of such work was rarely discussed. But Jackson was an exception: something about his prints aroused critics to defense or attack. The cleavage is absolute, strange for one who was presumably a mere reproductive artist. Nothing could show more clearly the unsettled nature of Jackson’s standing than a sampling of these opinions.

Horace Walpole in a letter, dated June 12, 1753, to Sir Horace Mann describing the furnishings in Strawberry Hill, commented:[43]

The bow window below leads into a little parlour hung with a
stone-colour Gothic paper and Jackson’s Venetian prints, which I
could never endure while they pretended, infamous as they are, to be
after Titian, &c., but when I gave them this air of barbarous
bas-reliefs, they succeeded to a miracle; it is impossible at first
sight not to conclude that they contain the history of Attila or
Tottila done about the very era.

[Footnote 43: _The Letters of Horace Walpole_, ed. Toynbee, 1903,
vol. 3, p. 166.]

Von Heinecken[44] says they are “in the manner of Hugo da Carpi but much inferior in execution.” But Huber, Rost, and Martini[45] noted Jackson’s independent approach:

Jackson’s prints, which are certainly not without merit, are in
general less sought after by collectors than they deserve. His style
is original and is concerned entirely with broad effects.

[Footnote 44: Von Heinecken, 1771, p. 94.]

[Footnote 45: Huber, Rost, and Martini, 1808, vol. 9, pp.
121-123.]

Baverel[46] also had a high opinion of Jackson’s work. Describing the Venetian prints, he says that Jackson “had a skillful and daring attack, and it is regrettable that he did not produce more work.” Nagler’s[47] criticism typifies the academic preconceptions of some writers on the subject of chiaroscuro:

Jackson’s works are not praiseworthy throughout in drawing, and also
he was not thoroughly able to apply the principles of chiaroscuro
correctly.... Yet we have several valuable prints from Jackson....

[Footnote 46: Baverel, 1807, vol. 1, pp. 341-342.]

[Footnote 47: Künstler-Lexicon, op. cit.]

And Chatto[48] remarks:

They are very unequal in point of merit; some of them appearing
harsh and crude, and others flat and spiritless, when compared with
similar products by the old Italian wood engravers.

[Footnote 48: Chatto and Jackson, 1861, p. 455.]

With this verdict W. J. Linton[49] disagrees, saying, “...Chatto underrates him. I find his works very excellent and effective. _The Finding of Moses_ (2 feet high by 16 inches wide) and _Virgin Climbing the Steps of the Temple_ (after Veronese), and others, are admirable in every respect....” Duplessis[50] attacks the Venetian set heatedly and at length, yet he devotes more space to expounding Jackson’s deficiencies than to discussing the work of any other woodcut artist, even Dürer or da Carpi.

[Footnote 49: Linton, 1889, p. 214. The second print mentioned is
after Titian, not Veronese.]

[Footnote 50: Duplessis, 1880, pp. 314-315. Duplessis, who was
_conservateur-adjoint_ in the Cabinet des Estampes of the
Bibliothèque Nationale, no doubt based his judgment on the
impressions in that collection. Certainly few of these were
printed by either Jackson or Pasquali.]

On the evidence we have, the new conception Jackson brought to printmaking was not fully understood until the 20th century. Pierre Gusman[51] in 1916 probably first noted the technical distinction between Jackson’s work and earlier chiaroscuros.

He [Jackson] conceived his prints in a different way from the
Italians, bringing in new aspects in accenting values and planes,
because he did not reproduce drawings but interpreted paintings. The
whites even show embossings in the paper to make the light vibrate,
and a specially cut block is sometimes impressed to help in modeling
the forms. Jackson, in short, very much the wood carver, combined
the resources of the cameo with those of the chiaroscuro and
produced curious works of combined techniques, but without equaling
his predecessors, who were particularly remarkable for their
simplicity of style and treatment.

[Footnote 51: Gusman, 1916, pp. 164, 165.]

One year later, in 1917, Max J. Friedländer[52] commented that relief effects in block printing were not alien additions but natural consequences of the method. His main emphasis, we note, is on the Ricci prints.

A peculiarity of the color woodcut, which first was put up with as a
characteristic of the technique but finally was enhanced and
utilized fully as a means of expression, is the physical relief that
stands out in thick and soft paper with the sharp pressure of die
wood-blocks.... No one has employed the relief of the woodcut so
consciously and artfully as the Englishman John Baptist Jackson in
the eighteenth century, who, particularly in some landscapes,
created most effective and richly colored sheets. He has gone so far
as to express forms in “blind-printing,” entirely without bordering
lines or contrasting colors, merely through relief pressing.

[Footnote 52: Friedländer, 1926 (1st ed. 1917), pp. 224-226.]

Anton Reichel’s important history of chiaroscuro, with its magnificent color plates in facsimile, appeared in 1926.[53] He says of Jackson that his activity in chiaroscuro was “extraordinarily rich,” that he created broad approximations of his subjects which made him neglect details, but that these were “convincingly translated into the language of the woodcut.”

Five heroic landscapes after M. Ricci represent the artistic high
point of his work, having a distinctive richness of color not
previously attained by any other master of chiaroscuro. Each of the
prints has a complete harmony of colors; the single color
blocks-- over ten can be counted in each print-- which show in their
separate tones the extraordinarily cultivated taste of the artist,
give the composition a decorative effect far from any realistic
imitation of nature.... The relief impressed with the blocks is so
strong that, going beyond all other prior attempts of the kind, it
represents an essential factor of the composition through its actual
light-and-shadow effects.

[Footnote 53: Reichel, 1926, p. 48.]

Although by this time Jackson’s chiaroscuros were regarded with respect and his color prints were acknowledged to be of prime importance, some of the conservative wallpaper historians were still repelled by their vigor, which did not suit genteel notions of interior decoration. Sugden and Edmondson[54] in 1925 certainly failed to understand both Jackson’s work and the period in which it was done. They comment:

Jackson’s bold claims to originality and merit are scarcely borne
out by anything he is known to have achieved. That he had a vogue,
however, seems certain, for apart from his “Essay” he has come down
to us as a historical figure. To modern tastes in art many of his
productions seem almost monstrous, and yet they were to some extent
the expression of the time-spirit in which they were born.

[Footnote 54: Sugden and Edmondson, 1925, p. 71.]

[Transcriber’s Note:

The color Plates were printed after the first page of Postscript, at
the mid-sentence point “they preferred imitations of sentimental, /
banal, story-telling oil paintings”.]

_Postscript_

While Jackson had an influence on a small coterie, it did not prolong the life of the color woodcut. In Europe the medium did not survive his disappearance in 1755; no doubt it seemed to later artists intractable and lacking in nuance. The black-and-white woodcut, moreover, went into further decline and was almost entirely disregarded except for the rudest sort of work. Almost a century and a half were to pass before Gauguin and Munch swept aside old taboos and found exciting new possibilities for color in the woodcut process.

The lack of interest in the color woodcut was also the result of new techniques in the copper-plate media, techniques that could be adapted to color printing. In 1756 J. C. François introduced the crayon manner, an etching process that could imitate the effects of chalk and crayon drawings. During the following decades numerous technical variations were developed, the most popular being the pastel manner, the stipple, and the aquatint.

Of these methods only aquatint survived after early years of the 19th century. It was less limited than its companion processes and had wide application in rendering the effect of water-color wash. But color work in this medium, however attractive to a public that appreciated delicacy and charm, did not have mass appeal. The new audience created by the advancing Industrial Revolution wanted printed pictures of a less subtle type; they preferred imitations of sentimental, banal, story-telling oil paintings with a high, waxy finish. Neither aquatint nor other copper-plate media were suitable for these products, and color lithography did not receive serious attention until the late 1830’s. The wood engraving, which had inherited the function of the woodcut and which had greater flexibility in rendering tones and details, became the logical vehicle for the new color picture.

In this situation Jackson suddenly appeared as the pioneer, as the father of printed pictures based upon paintings in oil or water colors. His intention had been translation rather than imitation and he would have abhorred the feeble new product, but this did not concern his successors-- they were interested only in his technical principles. Moreover, in their naïveté, they imagined they were improving on Jackson because their prints were counterfeit paintings while his were not.

The earliest picture printers therefore, used wood engraving. Among them were Frederich W. Gubitz of Berlin, who began the revival about 1815; William Savage[55] of London, a printer who published a book describing his project in 1822; and George Baxter of London, whose work dates from about 1830. All started with chiaroscuro and moved to full color from a large number of wood blocks, although in 1836 Baxter began printing his transparent oil colors over a base of steel engraving reinforced with aquatint. Only Baxter persevered and was rewarded by sensational popular success. His glassy and trivial prints with their high sweet finish enjoyed a vogue among collectors that lasted into the 20th century. In about 1860, however, he was driven from the market by the rise of a cheaper medium, chromolithography, which was responsible in the next few decades for a universal outpouring of popular bathos. This was picture printing in color geared for the mass audience.

[Footnote 55: Savage, 1822. Jackson’s pioneer work is
acknowledged, pp. 15-16.]

It may seem an anticlimax to trace the color woodcut from Jackson to Baxter, and finally to chromolithography, but it is not irrelevant. Although spurned by the better artists, color had too popular an appeal to be ignored. It was inescapable that Jackson’s successful technical procedures should finally be adopted and corrupted in the area of commerce.

Woodcut artists up to Jackson, with few exceptions, had used color for one major purpose, to reproduce drawings in line and tone. By enlarging the conception of the color woodcut Jackson brought the primitive chiaroscuro phase of its history to an end. After him, the chiaroscuro could not be practiced again except as an archaism.[56] The way was open for the modern woodcut, although it was a long time in coming.

[Footnote 56: Only one moderately important chiaroscurist can be
mentioned, John Skippe, who worked in England from the 1770’s to
about 1810.]

The range of Jackson’s work in tone and color exceeded that of all previous woodcutters and can be divided as follows: (1) chiaroscuros-- after drawings, after paintings, after his own pen and ink drawings after paintings, interpretations of engravings and etchings, and interpretations of sculpture; and (2) full color-- after paintings in gouache and after his own water colors. In addition he treated pictorial subjects in flat color areas without a key or outline block, a procedure used before him only by the 17th-century Chinese; and he combined burin work with knife cutting.

But Jackson’s reputation, in the long perspective, must rest upon his qualities as an artist. He had great distinction as a colorist but lacked originality as a designer and was dependent upon others, for the most part, for basic compositions. As an interpreter of these compositions, however, he was imaginative and forceful. He did not follow the example of most copper plate engravers and reproduce subjects faithfully; his conception of the woodcut as a frank medium precluded exact rendition. Except, possibly, for his first chiaroscuro, he always translated freely, with the aim of making good woodcuts rather than accurate representations of his subjects. Jackson’s work after others, in short, was consciously intended as artful approximation. This emphasis on the spirit rather than the letter, together with his novel techniques, often gave his prints a somewhat hybrid character-- an ambiguous look that might serve to explain the uneasy feelings of many critics. But his largeness of feeling is unmistakable, and this is what finally places him among the masters.

The color woodcut is now an important form of printmaking. For this medium in the Western world, Jackson is the main ancestral figure.

CATALOG

Jackson’s chiaroscuros and color woodcuts have been grouped under three headings. The first and main section includes, besides those of unquestionable authenticity, prints which can be attributed to Jackson with some degree of certainty and those actually seen by earlier writers but which have apparently disappeared. In each case the status of the print in Jackson’s _oeuvre_ has been noted.

The second section lists pieces believed to be by Jackson’s workshop. Prints that might have been done independently by close followers have been included here because we have no evidence that would permit distinctions to be drawn.

The last section lists unverified subjects attributed to Jackson in a number of museums but which have been lost through war or other causes, and doubtful titles found in Nagler and Le Blanc. In each category the prints have been listed in chronological order as far as this can be determined. The sequence of the Venetian set follows Jackson’s description in the _Enquiry_, although the prints themselves are dated somewhat differently.

One difficulty in cataloging Jackson’s work is the prevailing confusion in titling, the same prints being listed differently in different collections. This was to be expected since the artist almost invariably omitted titles. Nagler’s and Le Blanc’s catalogs are not descriptive and consequently there has been much guesswork in checking titles, particularly since the Venetian set and the Ricci prints are only partially listed by both writers, and not entirely correctly. Where subjects have not been recorded at all, the variation in titling has been greater.

The location of prints has been given, with the exception of those in the Venetian set and in the _Essay_, which are, in part or whole, in too many collections to make listing feasible. It is not to be taken as complete. Jackson prints in a number of museums, particularly in Germany, have disappeared but might turn up again; some are still packed in boxes and await return to collections. For the sake of simplicity the names of cities alone have been used with the understanding that the chief print collection is meant. Exceptions are Boston where the Museum of Fine Arts is abbreviated to MFA and the Fogg Art Museum is shortened to Fogg, New York where the Metropolitan Museum of Art is listed as MMA and the New York Public Library as NYPL, and London where the British Museum is noted as BM and the Victoria & Albert as V & A.

The woodcuts reproduced are numbered according to this catalog, and placed as nearly as possible in the same order. When prints have been listed by Nagler or Le Blanc their corresponding numbers have been included. Print sizes are given in inches, vertical sides first.

_Prints by Jackson_

[Transcriber’s Note:

The “Inscriptions” are shown as nearly as possible as printed.
Typographic features such as the use of long “s” (ſ) and variation
between italic and non-italic small capitals are reproductions of the
original. Some computers may not be able to display italic long “s”.

Superscript letters are shown in {braces}. Small capitals (non-italic)
are shown +like this+; italic small capitals ‡like this‡.]

1.

_Christ Giving the Keys to St. Peter_, after Raphael [Le Bl. 7, N. 9]

Dimensions:

7¼ × 9¾ inches with letters, 6½ × 9¾ inches without letters.

Blocks, 4:

Light brown, light gray-brown, gray-brown, black.

Inscription, lower left:

“_Raph. Urb. inv._”

Below, under border:

“+Tho. Hollis+ _Arm._ Hospit. Lincoln. D. D. D. J. B. Jackſon
_sculptor_.”

About 1727. The dedication was added about 1750. After a drawing, now in the Louvre, for Raphael’s tapestry cartoons.

MFA, BM, Berlin-Dahlem

2.

_Venus and Cupid with a Bow_, after Parmigianino

Dimensions:

9¾ × 6¼ inches with letters, 8¾ × 6¼ inches without letters.

Blocks, 4:

Buff, light brown, terra-cotta red, black.

Inscription, bottom:

“+Tho. Brand+ _Arm._ Hospit. Temp. D. D. D. / J. B. Jackſon
_sculptor_.”

Left, running vertically:

“_F. M. Parm. inv._”

1731.

The dedication was added about 1750. Other impressions occur in a combination of green and brown and also in gray and green. Five impressions are in the British Museum including one in which two slanting vertical lines in the table immediately to the left of Cupid’s left leg are omitted.

Philadelphia, MFA, BM, V&A, Berlin-Dahlem, Rotterdam, Brussels

3.

_Woman Standing Holding Jar on Her Head_, after Parmigianino

Dimensions:

6¾ × 3½ inches.

Blocks, 2:

Mustard yellow, black.

Inscription, at bottom:

“_Per Illustri, ac Præclaro Viro +Joseph Smith+ / J. B. Jackson
Humiliter Dedicat Donat, et / Sculpsit._ 1731.”

Another state has the following added in small letters:

“Antonius Ma Zanetti a Jacobo Parmense Delin.”

The block for the tone is in two versions. The one illustrated is dotted in the jar to show gradations, while the other one is more loosely handled.

Free copy of line engraving by G. A. Faldoni.

BM, V&A

4.

_Headpiece with Landscape and Ruins_

This print is listed in the Staatliche Kunstsammlungen, Dresden, but has been lost in the war. No information as to color or size is available. The card catalogue has the following description:

“Ruins to the left. In the middle going over a river is a bridge.
To the right is a city view with campanile, dome and other buildings.
Dated 1731.”

Probably made for use in a book. This seems to be the print described by Baverel and the “_petite vue_” Papillon mentioned.

5.

_Woman Meditating_ (_St. Thais?_), after Parmigianino

Dimensions:

15⅜ × 9¼ inches with letters, 10¾ × 9¼ inches without letters.

Blocks, 2: Pale brown, black. Also in green and blue-green.

After etching by Parmigianino (B. 10).

Inscription, left near top, running diagonally upward:

“_F: M: Parmen* / Inventor / J: B: Jackſon Del / Sculp & excudit._”

Bottom, beneath lower border:

“+Societati Antiquariæ Londinensi+ / _Humillime_ D.D.D. _J.B.J_

_Certo da cor, ch’ alto deſtin non Scelſe,
Son l’impreſe magnanime neglette;
Ma le bell’ alme alle bell’ opre elette
Sanno gioir nelle fatiche eccelſe;
Nè biaſmo popular, frale catena,
Spirto d’onore, il ſuo cammin raffrena.”_

This inscription was added much later, about 1750.

MFA, MMA, Philadelphia
BM, Berlin-Dahlem, Vienna, Bremen, Brussels, Amsterdam, Dresden

6.

_Ulysses and Polyphemus_, after Primaticcio

Dimensions:

7¾ × 10⅛ inches.

Blocks, 2:

Greenish yellow, black.

Inscription, bottom right:

“J. 9”

Some copies lack the inscription. This is from plate 9 of Theodor Van Thulden’s 58 etchings reproducing designs by Primaticcio in Fontainebleau, published as “_Les Travaux d’Ulisse_” by P. Mariette in Paris, 1633.

These etchings were published again in 1740 as “_Errores Ulyssis_.” Listed as by Jackson in Weigel’s _Kunstlagercatalog_, 1843, vol. 2., p. 103.

BM, V&A

7.

_Bookplate_

Dimensions:

4¼ × 6 inches, approximately.

Blocks, 2:

Reddish brown, black.

Inscription left and right top, in ribbon:

“+Litterarum Felicitas+”

BM

8.

_Judgment of Solomon_, after Rubens

Dimensions:

17 × 20⅜ inches.

Blocks, 4:

Yellow-buff, light brown, violet-brown, dark brown.

Inscription, lower right:

“_Ill.{mo} et Exc.{mo} D.D. +Philippo Farsetti+, / Patritio ‡Veneto‡,
Patrono suo Benefic.{mo}_ / Tabulam _hanc ‡Petri Pauli Rubens‡. / In
Ligno cœlavit, et in sui Obsequii et grati Animi / Monumentum
humiliter Devovet J. B. Jackson._”

1735.

BM, Brussels, Venice

9.

_The Visitation_, after Annibale Carracci

Dimensions:

14¼ × 10¼ inches.

Blocks, 4:

Light yellow, buff, brown, dark gray.

Inscription, upper right:

“_[AL]. Caratius Pinx{t}. / J: B: Jackson Fecit / +Venezia+ 1735._”

Weigel described this print as _Der Besuch bei Elisabeth_ in his _Kunstlagercatalog_, 1843, vol. 2, p. 103.

Smithsonian Institution (U.S. National Museum)
MFA, Philadelphia, BM, Dresden

10.

_Julius Caesar_, after Titian

Dimensions:

12 × 9½ inches.

Blocks, 4:

Tones of brown with dark brown key block.

About 1738.

This is a free translation of an engraving by Egidius Sadeler [Le Bl. 143] after one of a series of Roman emperors attributed to Titian. The original paintings have been lost.

BM

11.

_St. Rocco_, after Cherubino Alberti

Dimensions:

12¼ × 10¼ inches.

Blocks, 3:

Green, reddish tan, black.

“S. Rocco” added by another hand.

Some impressions lack the inscription. Also in two colors, mustard yellow and black.

Free transcription of a line engraving by Cherubino Alberti after an undetermined painter (Le Bl. 61). A facsimile in grayed chartreuse and black was published by the Reichsdruckerei in Berlin, about 1925.

MFA, BM

12.

_Statuette of Neptune_, after Giovanni da Bologna [Le Bl. 19, N. 8]

Dimensions:

22½ × 15⅜ inches.

Blocks, 4:

Tones of tan and brown.

Inscription, bottom:

“_Ex Prototypo Æreo +Joannis· Bolonia+ ‡Duacensis‡ in / Museo ‡D:
Josephi Smith‡ Venetiis. / J.B. Jackſon Anglus Sculp & exc._”

About 1738.

The first state is without letters. Third state has inscription on top of statue base,

“+Gul. Lloyd+ _Arm. D.D.D. J.B.J._”

Smithsonian Institution (U.S. National Museum)
MFA, Los Angeles, BM, Paris, Berlin-Dahlem, Wiemar, Amsterdam

13.

_Descent from the Cross_, after Rembrandt [Le Bl. 10, N. 3]

Dimensions:

14 × 11 inches (arched print).

Blocks, 4:

Yellow, gray, light brown, dark violet-brown.

Inscription, bottom left:

“_Rembrandt pinxit, alt. p. 1. lat. unc x.
Extat Venetiis in domo +J: Smith+._”

Bottom right:

“_J: B: Jackson figuras juxta Archetypum Sculp. & excudit. 1738._”

Bottom:

“Acceperunt ergo Corpus JESU, & ligaverunt illud linteis / cum
Aromatibus, sicut mos est Judæis sepelire. _S. Joan. Cap. +xix+
Ver. xi._”/

Lower, with coat of arms:

“_Perillustri ac Praeclaro Viro ‡D. Josepho Smith‡ / Insigne hoc
Opus affabre in Ligno coelavit, & in sui / obseqii & grati Animi
monu-mentum humiliter devovet / J: B: Jackson_”

Smithsonian Institution (U.S. National Museum)

MFA, Fogg, MMA, NYPL, Chapel Hill, Philadelphia
BM, Paris, Berlin-Dahlem, Vienna, Rotterdam, Hamburg, Prague

14.

_Christ and the Woman of Samaria_

Dimensions:

14¼ × 20⅜ inches.

Blocks, 3:

Buff, greenish yellow, black.

After a Bolognese master. Weigel described this as a “beautiful” chiaroscuro by Jackson.

MFA

15.

_Romulus and Remus, Wolf and Sea God_

Dimensions:

2¾ × 7½ inches.

Blocks, 2:

Green, black.

Attributed to Jackson. Probably an illustration for a book.

BM

16.

_The Death of St. Peter Martyr_, after Titian [Le Bl. 16, N. 10]

Dimensions:

21¼ × 13½ inches.

Blocks, 4:

Buff, pale greenish gray, brown, dark gray.

Inscription, lower left (inside border):

“_J: B: Jackson Sculp: & Excudit Venetiis_ 1739.”

Outside bottom frame, center:

“+Titianus Vecellius Cad. Invenit & Pinxit.+”

The painting was destroyed by fire in 1867.

17.

_The Presentation in the Temple_ (The Circumcision), after Veronese
[Le Bl. 4, N. 15]

Dimensions:

21⅛ × 15⅛ inches.

Blocks, 4:

Buff, reddish gray, dark gray, dark brown.

Inscription, bottom:

“_Illustrissimo, & Erudito Viro +Carolo Frederick+ Armigero,
liberalium Artium Patrono, / ‡Pauli Cagliari‡ praeclarum hoc Opus
in Ligno coelatum, in grati animi argumentum humiliter_ D. D. D. /
_J: B: Jackson_.”

1739.

18.

_The Massacre of the Innocents_, after Tintoretto [Le Bl. 5]

Dimensions:

15½ × 21 inches.

Blocks, 4:

Buff, violet-gray, light brown, dark violet-brown.

Inscription, center bottom:

“_Illustrissimo, / et Praeclaro Viro Dno. Dno. / +Smart Lethieullier+
/ Eruditæ Antiquitatis Studioso / Investigatori, Tabellam hanc /
‡Jacobi Robusti‡_ in sui / obsequium D. D. D. _J: B: Jackson_.”

1739.

19.

_The Entombment_, after Jacopo Bassano [Le Bl. 12., N. 5]

Dimensions:

21⅞ × 15¼ inches.

Blocks, 4:

Buff, light reddish tan, gray, dark brown.

Inscription on urn, above lower right-hand corner:

“_J: B: Jackson Delin Sculp & excudit 1739_”

Across bottom:

“_Insignem hanc Tabulam a +Jacobo de Ponte+ depictam. Clarissimo Viro
+Jacobo Facciolato+ Seminarii Patavini Præsidi; Archigymnasii
ornamenta / ingenii doctrinæ, & in primis Latina eloquentia laude
celeberrimo J B Jackson D. C._”

20.

_Holy Family and Four Saints_, after Veronese

Dimensions:

22⅛ × 13⅝ inches.

Blocks, 4:

Light yellow, light greenish gray, dark brown, dark gray.

Inscription, bottom center:

“_Perillustri et Nobili Viro ‡D{no} D{no}‡ / +Bourchier Wrey+
‡Barronetto‡ / Generoso Artium Liberalium Fautori / in sui Obsequium_
D. D. D. _J. B. Jackson / P: C: Veronese Pinxit._”.

1739.

21.

_The Mystic Marriage of St. Catherine_, after Veronese
[Le Bl. 18, N. 4]

Dimensions:

22 × 15¼ inches.

Blocks, 4:

Pale greenish gray, pale violet-gray, medium greenish gray,
deep cold gray.

Inscription, lower center:

“+Gulielmo Windham+ / _Armigero, Artium Elegantiorum / Fautori, hanc
Tabulam humillime / Dedicat / J. B. Jackson._”

Bottom left:

“_Paulo Veronese Pinxit J B J f 1740_”

Many impressions are found in brown tones.

22.

_The Crucifixion_, after Tintoretto [Le Bl. 9, N. 13]

Dimensions:

21½ × 16¼ inches (left plate), 22¾ × 16⅜ inches (center plate),
21½ × 16½ inches (right plate).

Blocks, 4:

Buff, light brown, gray, reddish brown.

Inscription, bottom center (center plate):

“_Illustrissimo & Nob: Viro D{no}: D{no}: / +Richardo Boyle+ Comti de
Burlington & Cork &c. / Magnæ Britanniæ & Hiberniæ Pari, Hiberniæ
Archi-thesaurario / Heredetario, Nobilisimi Ordinis Periscelidis
Equiti &c. / Optimæ Architecturæ Instauratori ac Cæterarum Artium
Liberalium / Moecenati munificentissimo. / Singolare hoc Opus a
‡Jacobo Robusti‡ depictam in Schola S: ‡Rocci‡ Venetiis / adservatum.
J: B: Jackson Anglus qui Ligno Coelavit humillime D. D. C. 1741._”

On shield, bottom center (center plate):

“+Honi Soit·Qui·Mal y Pense·+”

Below shield, bottom center (center plate):

“+Honor· Virtutis· Premium.+”

A bust portrait of a man in 18th-century dress is visible on the right knee of the woman with a child in the center background of the left sheet. It is not a likeness of Richard Boyle. Could this be a self-portrait by Jackson?

A trial proof of the key block, center sheet, is in the Rosenwald Collection, National Gallery of Art.

23.

_Miracle of St. Mark_, after Tintoretto [Le Bl. 15, N. 2]

Dimensions:

22¼ × 17¾ inches (left sheet), 22¼ × 17¾ inches (right sheet).

Blocks, 4:

Buff, light brown, dark brown, dark gray.

Inscription, lower left (left sheet):

“_Per illustri_ D{no} D{no} / +Eduardo Wright+, / _Armigero, /
pulcrarum Artium ex-/cultori vel sollertissimo, / hoc_ Jacobi Robusti
/ _(communiter Tintoretto) / præclarum opus in / suæ argumentum ob-/
servantiæ addicit, et / consecrat J. B. Jackſon._”

24.

_The Marriage at Cana_, after Veronese

Dimensions:

23 × 16¾ inches (left sheet), 23 × 16¾ inches (right sheet).

Blocks, 4:

Buff, dark buff, violet-brown, dark brown.

Inscription, lower left (left sheet):

“_Paulo Cagliari / Veron: Pinxit._”

Lower right (right sheet):

“Rev{mo.} D{no.} P. / _‡Leopoldo Capello‡ Coenobii ‡D: Georgii‡ / Ord:
S: Benedict: / +Abbati+ / meritissimo. / J: B: Jackson_ / D. D. D.”

Extreme lower right (right sheet):

“_J: B: Jackson Delin: Sculp. / & excudit Venetiis 1740._”

Jackson in the _Enquiry_ (p. 48) described this print, and the two preceding subjects, as being “in _Hugo’s_ Manner with Improvements.”

25.

_Presentation of the Virgin in the Temple_, after Titian
[Le Bl. 3, N. 18]

Dimensions:

22 × 15⅜ inches (left sheet), 22 × 17⅞ inches (center sheet),
22 × 17¼ inches (right sheet).

Blocks, 4:

Light grayish umber, medium brown, dark gray, dark brown.

Inscription, lower left (left sheet):

“_Opus hoc admiratione sane dignum, cunctorumq; approbatione /
commendatum, ac Sacrarii Confratrum Caritatis Venetiarum / potiſſimum
ornamentum, a_ Titiano Viccellio _Cadorensi, / Viro pingendi arte præ
cæteris celeberrimo, coloribus quam / fieri potest ad naturale
expressum, adumbratumq; pro viribus / exscribere studens J: B:
Jackson delineavit, excudit, et exſculpsit._ 1742.”

Lower right, on streamer (right sheet):

“+Ducit· Amor Patriæ.+”

Lower right, in block (right sheet):

“Per Illustri, ac Nobili Viro D:{no} D:{no} / +Erasmo Philipps
Barronetto+ / _Artium zelantissimo Fautori, et de re litteraria /
optime merito, Tabulam hanc tenue debitæ venerationis / suæ
argumentum, emeritissimo Patrono, et Mecænati / commendat, et dicat /
J: B: Jackſon._”

26.

_The Virgin in the Clouds and Six Saints_, after Titian
[Le Bl. 14, N. 17]

Dimensions:

23¼ × 14¾ inches.

Blocks, 2:

Buff, black.

Inscription, upper left and right:

“Ill{mo} atq; Excell:{mo} D:{no} D:{no} +Philippo Farsetti+ Nob. Ven.
/ _Tabellam hanc a _Titiano Viccellio_ jam depictam in / gratissimi
animi, cultusq; perpetui testimonium, / Mecænati, ac Sospiti
munificentissimo / humiliat, et consecrat _J. B. Jackſon_._”

Center of picture, on wall:

“+Titianus Faciebat+”

Bottom center:

“_J. B. Jackson Del: sculp:&c. 1742._”

Niccolò Boldrini’s woodcut after Titian’s drawing of the lower half of this subject (Le Bl. 12) evidently inspired Jackson to transcribe the entire painting as a pen-and-ink drawing in Titian’s style, with a tint block added.

27.

_The Descent of the Holy Spirit_, after Titian [Le Bl. 13, N. 1]

Dimensions:

22⅜ × 15⅛ inches.

Blocks, 4:

Buff, light gray-brown, light yellow-brown, dark brown.

Inscription, upper left and right:

“_Perilluſtri, ac Nobili Viro D:{no} D:{no} +Jacobo Stewart
Mackinzie+, / Honorabili Magnæ Britan-niæ Conſilii Conſcripto Patri /
Opus hoc, quod ex_ Titi-ani Viccellii _Pictura, / exſcripsit, in
humillimi obſequii testi-/monium devo-vebat_ / J. B. Jackſon.”

28.

_The Finding of Moses_, after Veronese [Le Bl. 2, N.14]

Dimensions:

22 × 15 inches.

Blocks, 4:

Buff, light brown, light violet-gray, dark gray.

Inscription, lower right:

“_Ill{mo} et Excell{mo} +D: D: / Everardo Fawkener+ Eq Aur / pro Mag:
Brit: Rege ad Turc: Imper: / Legato. Elegant: Artium Moecena-/ti
Munificentis: in sui Obsequii. Ar-/gumentum humill: D: D: / J: B:
Jackson._”

Lower left:

“_Ex Tabella / a ‡Paulo Calliari‡ Veron{s}. / depicta penes J: +Smith+
Ven / J: B: Jackson Del Sculp & excud / 1741._”

29.

_The Raising of Lazarus_, after Leandro Bassano [Le Bl. 6, N. 7]

Dimensions:

23½ × 14⅞ inches.

Blocks, 4:

Buff, light reddish gray, gray, dark cold brown.

Inscription, upper left and right:

“_Ill:{mo} D:{no} D:{no} +Vincentio Riccardi+, Marchioni / Florentino,
amplissimo Senatori, / amœnarum litterarum scientiarumq; excultori /
peramantissimo, Tabellam hanc a / +Leandro+ de +Ponte+ colori-/bus
expressam veluti exigu-/um obser-vantiæ suæ / specimen_ D. D. D. /
J B Jackson”

Center bottom:

“_J: B: Jackſon Del. Sculp. &c. 1742._”

30.

_Christ on the Mount of Olives_, after Jacopo Bassano
[Le Bl. 8, N. 6]

Dimensions:

22 × 15⅛ inches.

Blocks, 4:

Buff, medium brown, gray, dark brown.

Inscription, bottom:

“Ill:{mæ} atq; Excell:{mæ} D:{næ} D:{næ} / _Paulinæ Contarenæ / ‡Nob:
Venetæ‡, aviti sanguinis ingenti splendore claræ, sed Virtutum
nobilitate longe clariori, piissimum / hoc Christianæ Fidei
monumentum, exiguum obsequentissimæ servitutis suæ signum, quod ex
pictura / _Jacobi de Ponte_ delineavit, et exſculpsit, generossimæ
Patronæ, et Auspici dedicabat J: B: Jackson._”.

1743.

A trial proof of the key block is in the Rosenwald Collection, National Gallery of Art.

31.

_Melchisedech Blessing Abraham_, after Francesco Bassano
[Le Bl. 1, N. 19]

Dimensions:

22½ × 15⅛ inches.

Blocks, 4:

Buff, warm gray, brown, dark brown.

Inscription, lower right:

“_Per-illustri D.{no} D.{no} / +Joanni Reade+ / Tabellam hanc
in obſe-/quentiſſimæ reverentiæ / specimen D. D. D. / J. B. Jackſon /
ex Tabella penes / D. Jos{h} Smith._”

1743.

32.

_Dives and Lazarus_ (The Rich Man and Lazarus), after Jacopo Bassano

Dimensions:

22 × 15 inches (left sheet), 22 × 15 inches (right sheet).

Blocks, 4:

Buff, light brown, light brownish gray, dark brownish gray.

Inscription, lower left of left plate:

“_Per-illustri, ac Honorabili Viro_ / D:{no} D:{no} +Roberto Hoblyn+,
/ _Armigero, Magnæq; Britan-/niæ Consilii Conscripto Patri, / Artium,
Scientiarumq; Cultori, / et Mæcenati, sui ergo obsequii / dicabat_ /
J. B. Jackſon.”

Lower right of left plate:

“_Ab Exemplari, Jacobi de Ponte, quod Venetiis penes / D. Joſeph Smith
extat, exſcripſit qui dicabat. / J: Baſan P{x}._”

1743.

33.

_Algernon Sidney_, after Justus Verus [Le Bl. 20]

Dimensions:

13⅜ × 8¾ inches with letters, 8½ × 7½ inches (oval portrait only).

Blocks, 4:

Tan, light brown, light gray, dark gray.

Inscription, left and right under oval:

“_Zustus Verus, pinx: J: B: J: sculp; et exc:_”

In rectangle at bottom:

“_At the Time when_ M{r}. +Algernon Sidney+ _was_ Ambaſſador
_at that Court, Monſieur +Terlon+ the_ French _Ambaſſador,
had the Confidence to tear out of the Book of_ Mottos
_in the King’s Library, this Verse, which_ M{r}. Sidney
_(according to the Liberty allowed to all Noble Strangers)
had written in it:_/

“Manus haec inimica Tyrannis
Enſe petit placidam sub Libertate quietem.

“_Though Monſieur_ Terlon _underſtood not a word of_
Latin, _he was told by others the meaning of that Sen-
tence, which he considered as a_ Libel _upon the_ French
_Government and upon ſuch as was then setting up in_
Denmark _by_ French _Aſſistance_ or Example.”

Pref: to _Acco{t}. of Denmark_ 4{th} _Edit:P:23._

Another version with light red in place of light gray (Philadelphia, which also has set of progressive proofs).

Smithsonian Institution (U.S. National Museum) Worcester, MFA, Fogg, Baltimore, MMA, NYPL, Philadelphia BM, Berlin-Dahlem, Brussels, Frankfurt, Hamburg

34.

_Antique Bust of Woman_

Dimensions:

14⅞ × 10½ inches (irregular oval).

Blocks, 4:

Yellow-gray, greenish brown, gray-brown, brown.

MFA

35.

_Lovers_ (facing right), perhaps after Piazzetta

Dimensions:

15 × 10½ inches.

Blocks, 5:

Light brownish gray, darker brownish gray, medium brown, cold gray,
dark brown.

Attributed to Jackson.

V&A

36.

_Lovers_ (woman full face), perhaps after Piazzetta

Dimensions:

15 × 10½ inches.

Blocks, 5:

Light brownish gray, darker brownish gray, medium brown, cold gray,
dark brown.

Companion piece to previous print. Attributed to Jackson.

V&A

37.

_Lamentation Over the Body of Christ_

Dimensions:

20½ × 13¼ inches.

Blocks, 5 or 6:

Blue, brown, red, flesh, gray.

Inscription, bottom:

“_Et tuam ipſius animam pertranſibit gladius,_”

This is probably an experiment in color printing made by Jackson, after his own design, before attempting the Ricci set.

BM

38.

_Heroic Landscape With Dedication and Classical Ruins_, after Marco Ricci [Le Bl. 21-25, N.20-25a]

Dimensions:

16⅜ × 23⅛ inches.

Blocks, 7 to 10:

Tones of blue, buff, gray-violet, green and dark gray.

Inscription in tablet at lower left:

“_Ill{mo}, atq; Excell{mo} D{no} D{no}_ / +Roberto D’Arcy+, / Comiti
de Holderneſſe _&c. &c. &c. / Apud Sereniſs Remp: Venetam pro Mag: /
Britan· Rege Legato Extraordinario. / Hoc noviſſime excogitatum Opus
in humillimi / obsequii teſtimonium dedicabat_ / J. B. Jackſon.”.

1744.

A copy in the Museum of Fine Arts, Boston, has D’Arcy’s coat-of-arms on the entablature of the arch to the right with red and blue notes. The British Museum has a copy with brownish-red touched in with water colors in the clothing of the men under the arch.

Reichel reproduced this in full size and color (plate 98).

MFA, MMA, BM, Venice

39.

_Heroic Landscape With Sheep, Statues, and Gentlemen_, after Marco Ricci [Le Bl. 21-25, N. 20-25b]

Dimensions:

16¾ × 23⅛ inches.

Blocks, 7 to 10:

Colors vary in different impressions.

1744.

Smithsonian Institution (U.S. National Museum)

MFA, BM, Venice

40.

_Heroic Landscape with Fisherman, Cows, and Horsemen_, after Marco Ricci [Le Bl. 21-25, N. 20-25c]

Dimensions:

16½ × 23 inches.

Blocks, 7 to 10:

Colors vary in different impressions.

1744.

MFA, MMA, Worcester, BM, V&A, Berlin-Dahlem, Venice, Brussels

41.

_Heroic Landscape with Cart and Goatherd, with S. Giorgio Maggiore in Background_, after Marco Ricci [Le Bl. 21-25, N. 20-25d]

Dimensions:

16½ × 23 inches.

Blocks, 7 to 10:

Colors vary in different impressions.

1744.

MFA, BM, Venice, Dresden

42.

_Heroic Landscape with Women at Brook, Child Fishing, and Herdsmen_, after Marco Ricci [Le Bl. 21-25, N. 20-25e]

Dimensions:

16¾ × 23½ inches.

Blocks, 7 to 10:

Colors vary in different impressions.

1744.

Reichel reproduced this in full size and color (plate 99).

MMA, MFA, BM, Venice, Milan, Berlin-Dahlem

43.

_Heroic Landscape with Watering Place, Riders, and Obelisk_, after Marco Ricci

Dimensions:

16⅝ × 23¼ inches.

Blocks, 7 to 10:

Colors vary in different impressions.

1744.

MFA, MMA, BM, V&A, Venice

44.

_Battle near Parma_, after Francesco Simonini

Dimensions:

20 × 40 inches (two joined sheets)

Blocks, 7 or 8:

Buff, brown, light green, blue-green, light transparent red, deep red,
dark gray.

1752.

The only known copy is in the British Museum. Tone has darkened and paper is torn in parts. This print is described in the _Enquiry_. Jackson erroneously referred to this artist as “Simonnetta.”

BM

45.

_Ornamental Border with Fruit; Flowers, and Purple Grapes_

Dimensions:

6¼ × 25⅞ inches.

Blocks, 4:

Red, blue, yellow, green.

Print for wallpaper.

BM

46.

_Ornamental Border with Fruit, Flowers, and Green Grapes_

Dimensions:

6⅜ × 25⅞ inches.

Blocks, 4:

Red, blue, yellow and green.

Print for wallpaper.

BM

47.

_Ornamental Frame with Flowers and Fruit_

Dimensions:

24¾ × 18½ inches.

Blocks, 4:

Red, blue, yellow, gray-green.

Print for wallpaper.

BM

48.

_Ornamental Frame with Fruit_

Dimensions:

25⅛ × 17¼ inches.

Blocks, 4:

Red, blue, yellow, gray-green.

Print for wallpaper.

BM

49.

_Ornamental Frame with Flowers and Girl’s Head_

Dimensions:

26 × 18½ inches.

Blocks, 4:

Red, blue, yellow, green.

Print for wallpaper. Central figure is described under No. 59.

BM

50.

_Dancing Nymph with Bow and Arrows_

Dimensions:

11⅛ × 6⅜ inches.

Blocks, 2:

Olive green, black.

Print for wallpaper. Probably cut by Jackson as a guide for his workshop. See Nos. 59-74.

Smithsonian Institution (U.S. National Museum)

51.

_Bust of Democritus_

Dimensions:

9¼ × 7½ inches (sheet size).

Blocks, 4:

Buff, light gray, medium gray, dark gray.

Plate from Jackson, _An Essay on the Invention of Engraving and Printing in Chiaro Oscuro_, 1754.

52.

_The Lion_

Dimensions:

9¼ × 7½ inches.

Blocks, 6:

Yellow, red, light green, blue-gray, light gray, dark gray-green.

Plate from Jackson, _Essay_..., 1754. This subject was copied from plate 34 of Giorgio Fossati, _Raccolta di varie favole_, Venice, 1744.

53.

_Building and Vegetable_

Dimensions:

9¼ × 7½ inches.

Blocks, 6:

Yellow, light green, light red, crimson, light gray, dark gray.

Plate from Jackson, _Essay_..., 1754.

54.

_Statue of Apollo_

Dimensions:

9¼ × 7½ inches.

Blocks, 4:

Light buff, medium buff, gray, and dark gray.

Plate from Jackson, _Essay_..., 1754.

55.

_The Farnese Hercules_

Dimensions:

9¼ × 7½ inches.

Blocks, 4:

Buff, greenish buff, gray, dark greenish gray.

Plate from Jackson, _Essay_..., 1754.

56.

_Antique Bust of a Man_

Dimensions:

9¼ × 7½ inches.

Blocks, 4:

Buff, gray-brown, gray, dark greenish gray.

Plate from Jackson, _Essay_..., 1754.

57.

_Pheasant and Garden Urn_

Dimensions:

9¼ × 7½ inches.

Blocks, 7:

Yellow, light green, warm gray, blue-gray, light red, crimson, dark
gray-green.

Plate from Jackson, _Essay_..., 1754.

58.

_Ruin of Garden Temple_

Dimensions:

9¼ × 7½ inches.

Blocks, 7:

Yellow, light green, warm gray, cold gray, light red, crimson, dark
gray-green.

Plate from Jackson, _Essay_..., 1754.

_Jackson’s Workshop_

59.

_Woman Standing Holding Apron_, after S. Le Clerc

Dimensions:

11¼ × 6½ inches (sheet size).

Blocks, 2:

Deep red and pale green.

Print for wallpaper. This figure appears in the center of the ornamental frame, No. 49 in this catalog, in the British Museum impression. After a plate in the series of etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed.

BM

60.

_Female Statue with Fruit and Wheat_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and yellow.

Print for wallpaper.

Philadelphia

61.

_Female Statue with Mask_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and yellow.

Print for wallpaper.

Philadelphia

62.

_Queen with Armor and Model of Building_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and pale green.

Print for wallpaper. In the style of Villamena.

Philadelphia

63.

_Apollo with Lyre_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Green and black. Also deep red and yellow.

Print for wallpaper.

Smithsonian Institution (U.S. National Museum)
Philadelphia

64.

_Woman with Shepherd’s Pipe_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and yellow.

Print for wallpaper.

Philadelphia

65.

_Woman with Sheet of Music and Horn_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and pale green. Also red and yellow.

Print for wallpaper.

Philadelphia

66.

_Woman with Pitcher and Apron_, after S. Le Clerc

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and pale green.

Print for wallpaper. After a plate in the series of 24 etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed.

Philadelphia

67.

_Old Woman Standing_, after S. Le Clerc

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and pale green.

Print for wallpaper. After a plate in the series of 24 etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed.

Philadelphia

68.

_Lady with Staff_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and yellow.

Print for wallpaper.

Philadelphia

69.

_Woman with Fruit and Basket_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and pale green. Also red and yellow.

Print for wallpaper. In the style of Villamena.

BM

70.

_Woman with Branches and Incense Burner_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and pale green. Also red and yellow.

Print for wallpaper. In the style of Villamena.

BM

71.

_Woman with Flowers and Vines_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Red and green. Also red and yellow.

Print for wallpaper. In the style of Villamena.

BM

72.

_Standing Woman, Head Turned to Right_, after Watteau

Dimensions:

11 × 5 inches.

Blocks, 2:

Green and black.

Print for wallpaper. After Boucher’s etching after a drawing by Watteau (plate 216 in Jean de Julienne’s compilation of Watteau’s work, _Figures de différents caractères_, ca. 1740).

MMA, Philadelphia, BM

73.

_Lady with Fan_, after S. Le Clerc

Dimensions:

11 × 4½ inches.

Blocks, 2:

Green and black.

Print for wallpaper. After a plate in the series of 24 etchings by Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is reversed and the fan has been shifted to the upper hand.

MMA

74.

_Classical Female Statue_

Dimensions:

11¼ × 6½ inches.

Blocks, 2:

Deep red and yellow.

Print for wallpaper.

Philadelphia, MMA

75.

_Boy Looking Down_

Dimensions:

3 × 2 inches.

Blocks, 2:

Light brown and black.

Perhaps after Piazzetta.

MFA, BM

76.

_Lady with a Flower_

Dimensions:

14⅜ × 11¼ inches.

Blocks, 3:

Buff, light brown, brown.

Possibly after Kneller. Very weak and crude.

BM, V&A

_Unverified Subjects_

77.

_The Annunciation_, after Parmigianino

Dimensions:

6¾ × 4⅝ inches.

Blocks, 3:

Tones of brown.

This is listed as Jackson’s in Gutekunst & Klipstein’s catalogue 40, 1938. It is described as having “the initials and an engraved letter border,” but whether the initials are Jackson’s or Parmigianino’s is uncertain.

78.

_St. Peter and St. Paul Surprised by the Executioner_, after Titian
[Le Bl. 17, N. 16]

Le Blanc and Nagler list this print in addition to _St. Peter Martyr_, but most likely it is the same subject. The title might have been taken from a museum catalogue which listed the identical print under a different title.

79.

_The Entombment_, after Titian [Le Bl. 11]

This is included in Le Blanc (_J. C. mis au tombeau_) but it seems likely that it was confused with Bassano’s identically titled subject.

80.

_Giovanni Gastro I De Medici_

This is listed as a Jackson print in Berlin-Dahlem but has not been located.

81.

_Elisabeth, Duchess of Hamilton, as a Shepherdess_

This is catalogued as a Jackson print in the Dresden Kunstsammlungen but was lost in the war.

The _Chiaroscuros_ and _Color Woodcuts_ of John Baptist Jackson

[Transcriber’s Note:
The left and right halves of Plate 24 appear to be mislabeled in the
original. See the html file for combined version.]

BIBLIOGRAPHY

ANONYMOUS. _An Enquiry into the Origins of Printing in Europe, by a Lover of Art._ London, 1752.

A rewrite of Jackson’s manuscript journal, with some sections quoted
verbatim. The artist’s career from about 1725 to 1752 is described.
The most important biographical source and a rare book.

AUDIN, M. _Essai sur les graveurs de bois en France au dix-huitième siècle._ Paris, 1925, pp. 99-102.

Contains a section listing many books illustrated by Jackson in
Paris, mostly in later editions.

BAVEREL, P. _Notices sur les graveurs_, Besançon, 1807, vol. 1, pp. 341-342.

BÉNÉZIT, E. _Dictionnaire des peintres, sculpteurs, dessinateurs, & graveurs._ Paris, 1924 (1st ed. 1913), vol. 2, p. 693.

BEWICK, THOMAS. _Memoir of Thomas Bewick, Written by Himself_, 1822-1828. New York, 1925 (1st ed., 1862), pp. 213-214.

Mentions meeting Jackson in advanced age, about 1777. The book
contains much personal reminiscence and observation on life but
little concrete detail for the student.

BIGMORE, E. C. and WYMAN, C. W. H. _A Bibliography of Printing._ London, 1880-1886, vol. 1, pp. 201, 365.

The most extensive annotated listing of books relating to printing.
Has a description of Jackson’s _Essay_.

BRULLIOT, F. _Dictionnaire des monogrammes._ Munich, 1832-1834, vol. 2, Nos. 1288, 1352, 1535.

BRYAN, M. _Dictionary of Painters and Engravers._ London and New York, 1904 (1st ed. 1816), vol. 3, p. 99.

The most comprehensive biographical dictionary of artists in the
English language.

BURCH, R. M. _Colour Printing and Colour Printers._ London, 1910, pp. 72-77.

The most comprehensive general survey, but with more than occasional
inaccuracies. There is a lack of sensitivity in art matters. These
comments apply also to the section on Jackson.

CHATTO, W., and JACKSON, J. _A Treatise on Wood-Engraving._ London, 1861 (1st. ed. 1839), pp. 453-457.

The classic work on the subject; scholarly, objective, and
voluminously illustrated. Has the fullest early account of Jackson
and is the basis for most later studies of the artist.

CUST, L. “John Baptist Jackson,” _Dictionary of National Biography._ New York and London, 1885-1900, vol. 29, p. 100.

DE BONI, F. _Biografia degli artisti._ Venice, 1840, p. 499.

DONNELL, EDNA. “The Van Rensselaer Wall Paper and J. B. Jackson-- A Study in Disassociation.” _Metropolitan Museum Studies_, 1932, vol. 4, pp. 77-108.

The most scholarly study of Jackson’s wallpaper career. Shows, by an
examination of styles, that Jackson could not have made the
wallpapers indiscriminately attributed to him.

DUPLESSIS, G. Histoire de la gravure. Paris, 1880, pp. 314-315.

ENTWISLE, E. A. _The Book of Wallpaper._ London, 1954, pp. 65-67, 76.

Contains new information on wallpaper manufacturers in London during
the 18th century, some of it bearing on Jackson.

FRANKAU, J. _Eighteenth-Century Colour-Prints._ London, 1907, pp. 42-46.

Has an appreciative section on Jackson, highly romanticized.

FRIEDLÄNDER, M. J. _Der Holzschnitt: Handbücher der Staatlichen Museen zu Berlin._ Berlin and Leipzig, 1926 (1st ed. 1917), pp. 224-226.

FUESSLI, J. C. _Raisonirendes Verzeichniss der vornehmsten Kupferstecher._ Zurich, 1771, pp. 353-354.

FURST, H. _The Modern Woodcut._ New York, 1924, pp. 88, 99.

A fine general survey, although judgments are occasionally dogmatic.

GALLO, R. _L’Incisioni nel ’700 a Venezia e a Bassano._ Venice, 1941, pp. 22-23.

A solid study containing some new material on the artists of the
period.

GORI GANDELLINI, G. _Notizie Istoriche degl’ Intagliatori._ Siena, 1771, vol. 2, p. 156.

GUSMAN, P. _La Gravure sur bois et d’epargne sur metal du XIVe au XXe siècle._ Paris, 1916, pp. 32, 164-165, 193, 252.

HARDIE, MARTIN. _English Coloured Books._ New York and London, 1906, pp. 19-27.

While a brief but sensitive account of Jackson is given, the main
emphasis is on the _Essay_ as an illustrated book.

HEINECKEN, C. H. VON. _Idée générale d’une collection complette d’estampes._ Leipzig and Vienna, 1771, p. 94.

HELLER, J. _Geschichte der Holzschneidekunst._ Bamberg, 1823, pp. 295-296. _Praktisches Handbuch für Kupferstichsammler._ Leipzig, 1850, p. 334.

Lists 10 chiaroscuros by Jackson.

HELLER, J., and ANDRESEN, A. _Handbuch für Kupferstichsammler._ Leipzig, 1870, vol. 1, pp. 706-707.

Lists 11 prints by Jackson.

HUBER, M. _Notices générales des graveurs et des peintres._ Dresden, 1787, pp. 676, 698.

HUBER, M., and ROST, C. C. _Handbuch für Kunstliebhaber und Sammler._ Zurich, 1808, vol. 9, pp. 129-131.

HUBER, M., ROST, C. C., and MARTINI, C. G. _Manuel des curieux et des amateurs d’art._ Zurich, 1797-1808, vol. 9, pp. 121-123.

First catalog of Jackson’s work; lists 10 titles.

JACKSON, JOHN BAPTIST. _An Essay on the Invention of Engraving and Printing in Chiaro Oscuro, as Practised by Albert Durer, Hugo di Carpi, &c., and the Application of It to the Making Paper Hangings of Taste, Duration, and Elegance._ London, 1754.

Written by Jackson to promote his wallpapers, it repeats some of his
assertions in the _Enquiry_ but gives little detail concerning his
career. It is important as an illustrated book and as an early
document in the history of wallpaper. The prints have suffered from
the use of an inferior oil vehicle.

KAINEN, JACOB. “John Baptist Jackson and his Chiaroscuros.” _Printing and Graphic Arts_, vol. 4, no. 4, 1956, pp. 85-92.

An excerpt from the present work, then in progress, in a different
version.

KREPLIN, B. C. “John Baptist Jackson,” in Thieme, U., and Becker, F., _Allgemeines Lexikon der Bildenden Künstler._ Leipzig, 1907-1950, vol. 18, pp. 224-225.

The most comprehensive biographical dictionary of artists. Has a
good article on Jackson and a small bibliography.

LE BLANC, C. _Manuel de l’amateur d’estampes._ Paris, 1854-1888, vol. 2, p. 416.

Particularly valuable for its catalogs of the work of engravers.
With Nagler, contains the largest listing of Jackson’s prints.

LEVIS, H. C. _A Descriptive Bibliography of Books in English Relating to Engraving and the Collection of Prints._ London, 1912, pp. 182-184.

LEWIS, C. T. C. _The Story of Picture Printing in England During the 19th Century; or Forty Years of Wood and Stone._ London, 1928, pp. 2, 21, 26, 34, 40, 43, 195.

Written in an oppressively popular style with emphasis on Baxter and
Le Blond. Jackson is mentioned often but sketchily as the distant
ancestor of “picture printing.”

LINTON, W. _The Masters of Wood Engraving._ London, 1889, p. 214.

Discusses the subject from the standpoint of a late-19th-century
technician. Nevertheless is open-minded, if slightly superior, about
the chiaroscuro woodcut.

LONGHI, G. _Catalogo dei più celebri intagliatori in legno ed in rame._ Milan, 1821, p. 51.

MABERLY, J. _The Print Collector._ London, 1844, p. 130.

The first American edition, New York, 1880, edited by Robert Hoe,
copies the annotated description of the _Essay_ from Bigmore and
Wyman.

MCCLELLAND, N. _Historic Wall-Papers._ Philadelphia and London, 1924, pp. 47, 79, 141-154, 165, 324-329, 423.

Makes many references to Jackson, largely inaccurate.

MIREUR, H. _Dictionnaire des ventes d’art fait en France._ Paris, 1911-1912, vol. 4, p. 23.

MÜLLER, F., and KLUNZINGER, K. _Die Künstler Aller Zeiten und Völker._ 1857-1864, vol. 2, p. 430.

MÜLLER, H. A., MÜLLER, H. W., and SINGER, H. W. _Allgemeines Künstler-Lexicon._ Frankfurt, 1895-1901, vol. 2, p. 240.

NAGLER, G. K. _Allgemeines Künstler-Lexicon._ Munich. 1835-51, vol. 6, pp. 383-384.

The most extensive of all dictionaries of artists up to the time of
Thieme and Becker, _q.v._ With Le Blanc, has the fullest catalog of
Jackson’s prints.

_Die Monogrammisten_, Munich, 1858-1879, vol. 3, pp. 730, 836.

OMAN, C. C. _Catalogue of Wall-Papers._ London, Victoria and Albert Museum, 1929, pp. 24-25, 33.

A good historical account which includes Jackson’s contributions to
the rise of scenic wallpaper.

PALLUCCHINI, RODOLFO. _Mostra degli incisori Veneti del settecento._ Venice, 1941, ed. 2, pp. 16, 103-104.

Catalog of the exhibition held in Venice in 1941.

PAPILLON, J. M. _Traité historique et pratique de la gravure en bois._ Paris, 1766, vol. 1, pp. 323-324, 327-329, 415.

Contains personal recollections of Jackson and his career in France.
The book is valuable as the first technical treatise on the woodcut,
but the historical section is notoriously inaccurate and heavily
weighted with Papillon’s prejudices.

PERCIVAL, MACIVER. “Jackson of Battersea and his Wall Papers.” _The Connoisseur_, 1922, vol. 62, pp. 25-36.

REDGRAVE, S. _Dictionary of Artists of the English School._ London, 1874, p. 227.

REICHEL, ANTON. _Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII. Jahrhunderts._ Zurich, Leipzig, and Vienna, 1926, p. 48.

The finest work on chiaroscuro, with 100 magnificent facsimile
illustrations in color, fully described, and black-and-white
illustrations in the text. Reproduces two of Jackson’s Ricci prints
in actual size and color.

SAVAGE, W. _Practical Hints on Decorative Printing._ London, 1822, pp. 15-16.

Savage was the first writer to acknowledge Jackson’s contributions
to color printing, although he was critical of his inks. The book
attempts to show, through examples, that color printing from
woodblocks is practical for a variety of purposes.

SMITH, J. _The Printers Grammar._ London, 1755, p. 136.

SPOONER, S. _Dictionary of Painters, Engravers, Sculptors & Architects._ New York, 1853, vol. 1, pp. 420-421.

STRUTT, J. _Dictionary of Engravers._ London, 1785-86, vol. 2, p. 41.

SUGDEN, A. V., and EDMONDSON, J. L. _A History of English Wallpaper._ New York and London, 1925, pp. 61-71.