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: