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
[Illustration:
1. CHRIST GIVING THE KEYS TO ST. PETER, after Raphael
(See also color plate)]
[Illustration:
2. VENUS AND CUPID WITH A BOW, after Parmigianino
(See also color plate)]
[Illustration:
3. WOMAN STANDING HOLDING JAR ON HER HEAD, after Parmigianino]
[Illustration:
5. WOMAN MEDITATING (ST. THAIS?), after etching by Parmigianino
(See also color plate)]
[Illustration:
7. BOOKPLATE]
[Illustration:
6. ULYSSES AND POLYPHEMUS, after Primaticcio]
[Illustration:
8. JUDGMENT OF SOLOMON, after Rubens]
[Illustration:
9. THE VISITATION, after Annibale Carracci]
[Illustration:
10. JULIUS CAESAR, after Titian]
[Illustration:
11. ST. ROCCO, after Cherubino Alberti]
[Illustration:
12. STATUETTE OF NEPTUNE, after Giovanni da Bologna]
[Illustration:
14. CHRIST AND THE WOMAN OF SAMARIA]
[Illustration:
15. ROMULUS AND REMUS, WOLF, AND SEA GOD]
[Illustration:
13. DESCENT FROM THE CROSS, after Rembrandt (See also color plate)]
[Illustration:
16. THE DEATH OF ST. PETER MARTYR, after Titian]
[Illustration:
17. THE PRESENTATION IN THE TEMPLE (THE CIRCUMCISION),
after Veronese]
[Illustration:
18. THE MASSACRE OF THE INNOCENTS, after Tintoretto]
[Illustration:
22. THE CRUCIFIXION, AFTER TINTORETTO, left sheet
(See also color plates)]
[Illustration:
22. THE CRUCIFIXION, after Tintoretto, center sheet
(See also color plates)]
[Illustration:
22. THE CRUCIFIXION, after Tintoretto, right sheet
(See also color plates)]
[Illustration:
19. THE ENTOMBMENT, after Jacopo Bassano]
[Illustration:
20. HOLY FAMILY AND FOUR SAINTS, after Veronese]
[Illustration:
21. THE MYSTIC MARRIAGE OF ST. CATHERINE, after Veronese]
[Illustration:
26. THE VIRGIN IN THE CLOUDS AND SIX SAINTS, after Titian]
[Illustration:
23. MIRACLE OF ST. MARK, after Tintoretto, left sheet]
[Illustration:
23. MIRACLE OF ST. MARK, after Tintoretto, right sheet]
[Illustration:
24. THE MARRIAGE AT CANA, after Veronese, left sheet]
[Illustration:
24. THE MARRIAGE AT CANA, after Veronese, right sheet]
[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.]
[Illustration:
27. THE DESCENT OF THE HOLY SPIRIT, after Titian]
[Illustration:
28. THE FINDING OF MOSES, after Veronese]
[Illustration:
29. THE RAISING OF LAZARUS, after Leandro Bassano]
[Illustration:
31. MELCHISEDECH BLESSING ABRAHAM, after Francesco Bassano]
[Illustration:
32. DIVES AND LAZARUS (THE RICH MAN AND LAZARUS),
after Jacopo Bassano, left sheet]
[Illustration:
32. DIVES AND LAZARUS (THE RICH MAN AND LAZARUS),
after Jacopo Bassano, right sheet]
[Illustration:
30. CHRIST ON THE MOUNT OF OLIVES, after Jacopo Bassano]
[Illustration:
37. LAMENTATION OVER THE BODY OF CHRIST]
[Illustration:
33. ALGERNON SIDNEY, after Justus Verus]
[Illustration:
34. ANTIQUE BUST OF WOMAN]
[Illustration:
25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
left sheet]
[Illustration:
25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
center sheet]
[Illustration:
25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
right sheet]
[Illustration:
35. LOVERS (facing right), perhaps after Piazzetta]
[Illustration:
36. LOVERS (woman full face), perhaps after Piazzetta]
[Illustration:
38. HEROIC LANDSCAPE WITH DEDICATION AND CLASSICAL RUINS,
after Marco Ricci]
[Illustration:
39. HEROIC LANDSCAPE WITH SHEEP, STATUES, AND GENTLEMEN,
after Marco Ricci]
[Illustration:
40. HEROIC LANDSCAPE WITH FISHERMAN, COWS, AND HORSEMEN,
after Marco Ricci (See also color plates)]
[Illustration:
41. HEROIC LANDSCAPE WITH CART AND GOATHERD, AND WITH
S. GIORGIO MAGGIORE IN BACKGROUND, after Marco Ricci]
[Illustration:
42. HEROIC LANDSCAPE WITH WOMEN AT BROOK, CHILD FISHING
AND HERDSMEN, after Marco Ricci]
[Illustration:
43. HEROIC LANDSCAPE WITH WATERING PLACE, RIDERS AND OBELISK,
after Marco Ricci (See also color plate)]
[Illustration:
44. BATTLE NEAR PARMA, after Francesco Simonini]
[Illustration:
44. BATTLE NEAR PARMA, after Francesco Simonini, detail]
[Illustration:
45. ORNAMENTAL BORDER WITH FRUIT, FLOWERS AND PURPLE GRAPES]
[Illustration:
46. ORNAMENTAL BORDER WITH FRUIT, FLOWERS, AND GREEN GRAPES]
[Illustration:
47. ORNAMENTAL FRAME WITH FLOWERS AND FRUIT]
[Illustration:
48. ORNAMENTAL FRAME WITH FRUIT]
[Illustration:
49. ORNAMENTAL FRAME WITH FLOWERS AND GIRL’S HEAD
(See also color plate)]
[Illustration:
59. WOMAN STANDING HOLDING APRON, after S. Le Clerc]
[Illustration:
50. DANCING NYMPH WITH BOW AND ARROWS]
[Illustration:
51. BUST OF DEMOCRITUS]
[Illustration:
52. THE LION]
[Illustration:
53. BUILDING AND VEGETABLE (See also color plate)]
[Illustration:
54. STATUE OF APOLLO]
[Illustration:
55. THE FARNESE HERCULES]
[Illustration:
56. ANTIQUE BUST OF A MAN]
[Illustration:
57. PHEASANT AND GARDEN URN]
[Illustration:
58. RUIN OF GARDEN TEMPLE]
[Illustration:
60. FEMALE STATUE WITH FRUIT AND WHEAT]
[Illustration:
61. FEMALE STATUE WITH MASK]
[Illustration:
62. QUEEN WITH ARMOR AND MODEL OF BUILDING]
[Illustration:
63. APOLLO WITH LYRE]
[Illustration:
64. WOMAN WITH SHEPHERD’S PIPE]
[Illustration:
65. WOMAN WITH SHEET OF MUSIC AND HORN]
[Illustration:
66. WOMAN WITH PITCHER AND APRON, after S. Le Clerc]
[Illustration:
67. OLD WOMAN STANDING, after S. Le Clerc]
[Illustration:
68. LADY WITH STAFF]
[Illustration:
69. WOMAN WITH FRUIT AND BASKET]
[Illustration:
70. WOMAN WITH BRANCHES AND INCENSE BURNER]
[Illustration:
71. WOMAN WITH FLOWERS AND VINES]
[Illustration:
72. STANDING WOMAN, HEAD TURNED TO RIGHT, after Watteau]
[Illustration:
73. LADY WITH FAN, after S. Le Clerc]
[Illustration:
74. CLASSICAL FEMALE STATUE]
[Illustration:
76. LADY WITH A FLOWER]
[Illustration:
75. BOY LOOKING DOWN]
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.