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.
The most thorough book on the subject although the treatment of
Jackson is narrowly confined, like most wallpaper books, to his
shortcomings as a decorator for elegant homes.
WALPOLE, HORACE. _Anecdotes of Painting in England. A Catalogue of
Engravers who Have Been Born, or Resided in England. Digested from the
Manuscript of George Vertue._ London, 1765 (1st ed. 1762), p. 3.
Important as the first compilation on this subject.
_The Letters of Horace Walpole._ Edited by Mrs. Paget Toynbee, Oxford,
1903-05, vol. 3, p. 166.
WEIGEL, R. _Kunstlagercatalog._ Leipzig, 1837-1866, vol. 2, pp. 103,
105; vol. 4, p. 52.
WICK, PETER A. _Suite of Six Color Woodcuts of Heroic Landscapes by John
Baptist Jackson after Marco Ricci._ 1955, 12 pp.
Manuscript read at the XVIII Congres International d’Histoire de
L’Art, Venice, Sept. 12-18, 1955. The first good, scholarly study of
the Ricci prints. Traces Jackson’s career briefly but accurately.
Y. D. Historical Remarks on Cutting in Wood. _The Gentleman’s Magazine_,
February 1752, vol. 22, pp. 78-79.
The first published statement of Jackson’s contribution as a
woodcutter.
ZANETTI, A. M. _Della pittura veneziana._ Venice, 1792. (1st ed. 1771),
vol. 2, pp. 689, 716. Zanetti was the librarian of St. Mark’s and the
nephew of the famous chiaroscurist.
ZANI, D. P. _Enciclopedia metodica delle belle arti._ Parma, 1817-24,
vol. 11, p. 47.
ZANOTTO, F. _Nuovissimo guida di Venezia._ Venice, 1856, p. 320, note 3.
INDEX TO PLATES
1. _Christ Giving the Keys to St. Peter_, after Raphael,
55 (color), 99
2. _Venus and Cupid with a Bow_, after Parmigianino, 56 (color), 100
3. _Woman Standing Holding Jar on Her Head_, after Parmigianino, 101
5. _Woman Meditating_ (_St. Thais?_), after Parmigianino,
57 (color), 102
6. _Ulysses and Polyphemus_, after Primaticcio, 104
7. _Bookplate_, 103
8. _Judgment of Solomon_, after Rubens, 105
9. _The Visitation_, after Annibale Carracci, 106
10. _Julius Caesar_, after Titian, 107
11. _St. Rocco_, after Cherubino Alberti, 108
12. _Statuette of Neptune_, after Giovanni da Bologna, 109
13. _Descent from the Cross_, after Rembrandt, 58 (color), 112
14. _Christ and the Woman of Samaria_, 110
15. _Romulus and Remus, Wolf and Sea God_, 111
16. _The Death of St. Peter Martyr_, after Titian, 113
17. _The Presentation in the Temple_ (The Circumcision),
after Veronese, 114
18. _The Massacre of the Innocents_, after Tintoretto, 115
19. _The Entombment_, after Jacopo Bassano, 118
20. _Holy Family and Four Saints_, after Veronese, 119
21. _The Mystic Marriage of St. Catherine_, after Veronese, 120
22. _The Crucifixion_, after Tintoretto,
left sheet, 64 (color), 116
center sheet, 37 (proof of key block), 64 (color), 116
right sheet, 65 (color), 117
23. _Miracle of St. Mark_, after Tintoretto,
left sheet, 122
right sheet, 123
24. _The Marriage at Cana_, after Veronese,
left sheet, 124
right sheet, 125
25. _Presentation of the Virgin in the Temple_, after Titian,
left sheet, 136
center sheet, 136
right sheet, 137
26. _The Virgin in the Clouds and Six Saints_, after Titian, 121
27. _The Descent of the Holy Spirit_, after Titian, 126
28. _The Finding of Moses_, after Veronese, 127
29. _The Raising of Lazarus_, after Leandro Bassano, 128
30. _Christ on the Mount of Olives_, after Jacopo Bassano,
38 (key block), 132
31. _Melchisedech Blessing Abraham_, after Francesco Bassano, 129
32. _Dives and Lazarus_ (The Rich Man and Lazarus),
after Jacopo Bassano,
left sheet, 130
right sheet, 131
33. _Algernon Sidney_, after Justus Verus, 134
34. _Antique Bust of Woman_, 135
35. _Lovers_ (facing right), perhaps after Piazzetta, 138
36. _Lovers_ (woman full face), perhaps after Piazzetta, 139
37. _Lamentation Over the Body of Christ_, 133
38. _Heroic Landscape With Dedication and Classical Ruins_,
after Marco Ricci, 140
39. _Heroic Landscape With Sheep, Statues, and Gentlemen_,
after Marco Ricci, 141
40. _Heroic Landscape With Fisherman, Cows, and Horsemen_,
after Marco Ricci, 40 (color), 41 (color, detail), 142
41. _Heroic Landscape with Cart and Goatherd, with
S. Giorgio Maggiore in Background_, after Marco Ricci, 143
42. _Heroic Landscape with Women at Brook, Child Fishing,
and Herdsmen_, after Marco Ricci, 144
43. _Heroic Landscape with Watering Place, Riders, and Obelisk_,
after Marco Ricci, 59 (color), 145
44. _Battle near Parma_, after Francesco Simonini, 146, 147 (detail)
45. _Ornamental Border with Fruit, Flowers, and Purple Grapes_, 148
46. _Ornamental Border with Fruit, Flowers, and Green Grapes_, 148
47. _Ornamental Frame with Flowers and Fruit_, 149
48. _Ornamental Frame with Fruit_, 150
49. _Ornamental Frame with Flowers and Girl’s Head_,
62 (color), 151
50. _Dancing Nymph with Bow and Arrows_, 152
51. _Bust of Democritus_, 153
52. _The Lion_, 154
53. _Building and Vegetable_, 63 (color), 155
54. _Statue of Apollo_, 156
55. _The Farnese Hercules_, 157
56. _Antique Bust of a Man_, 158
57. _Pheasant and Garden Urn_, 159
58. _Ruin of Garden Temple_, 160
59. _Woman Standing Holding Apron_, after S. Le Clerc,
62 (color), 151
60. _Female Statue with Fruit and Wheat_, 161
61. _Female Statue with Mask_, 161
62. _Queen with Armor and Model of Building_, 162
63. _Apollo with Lyre_, 162
64. _Woman with Shepherd’s Pipe_, 163
65. _Woman with Sheet of Music and Horn_, 163
66. _Woman with Pitcher and Apron_, after S. Le Clerc, 164
67. _Old Woman Standing_, after S. Le Clerc, 164
68. _Lady with Staff_, 165
69. _Woman with Fruit and Basket_, 165
70. _Woman with Branches and Incense Burner_, 166
71. _Woman with Flowers and Vines_, 166
72. _Standing Woman, Head Turned to Right_, after Watteau, 167
73. _Lady with Fan_, after S. Le Clerc, 167
74. _Classical Female Statue_, 168
75. _Boy Looking Down_, 170
76. _Lady with a Flower_, 169
_INDEX_
Alberti, Cherubino, 30
Albrizzi, G. B., 26, 28, 29
Altdorfer, Albrecht, 36n
Andreani, Andrea, 10, 11, 12n, 31, 45
Annison, M., 22
Baglioni, 27, 29
Baldung, Hans, 10
Bartolozzi, Francesco, 4
Bassano, Jacopo, 32
Baxter, George, 67
Beccafumi, Domenico, 10
Berghem, Nicolaes, 45
Bewick, Thomas, 5, 9n, 16, 17, 28, 35, 49, 50
_Bibbia del Nicolosi_, 26
_Biblia Sacra_ (published by Hertz), 28
Bloemart, Abraham, 22
Cornelius, 22
Frederick, 22
Boldrini, Niccolò, 11
Bologna, Giovanni da, 31
_Book of St. Albans_, 7
Brand, Thomas, 48
Bromwich, Thomas, 42
Burgkmair, Hans, 10
Businck, Ludolph, 11, 28, 45
Cabinet Crozart, 22, 23
Callot, Jacques, 4, 18, 30
Campagnola, Domenico, 44
Canaletto, 45
Carpi, Ugo da, 10, 11, 25, 26, 41, 44, 45, 51, 52
Carracci, Agostino, 32n
Caslon, William, 16
Caylus, Anne Claude Phillipe, Count de, 22, 23, 28
Chinese woodcuts, 36, 68
Coriolano, Bartolomeo, 11, 45
Giovanni Battista, 11
Coypel, Charles, 28
Cranach, Lucas, 9
Croxall’s _Aesop’s Fables_, 14, 15, 31
Crozat, Pierre, 22, 23, 48
D’Arcy, Robert, 35
Darley, Matthias, 42
Dunbar, Robert, 30
Robert, Jr., 42, 48
Dürer, Albrecht, 4, 9n, 41, 44, 52
Eaton, Edward, 49
Ecman, Edouard, 30
Edwards, George, 5n
“Ekwitz,” 14
Elliot, Sir Gilbert, 50
_Enquiry into the Origins of Printing in Europe_ (publication), 41
_Essay on the Invention of Engraving and Printing
in Chiaro Oscuro_ (publication), 43
Faldoni, Giovanni Antonio, 30
Farsetti, Filippo, 26, 27
François, J. C., 54
Frederick, Charles, 31
Fougeron, John, 49
Gauguin, Paul, 4, 54
George III, 31
Goltzius, Hendrick, 11
Hubert, 22, 29, 45
Goya, Francesco, 4
Guardi, Francesco, 46
Gubitz, Frederich W., 67
Hogarth, William, 17
Hollis, Thomas, 48, 49
_Istoria del Testamento Vecchio e Nuovo_, 26
Jackson, John Baptist
contributions to chiaroscuro and color woodcut, 5, 6, 12, 68
critical opinions of his work, 7, 51-54
first work in chiaroscuro, 11, 12, 23
birth, 14
training, 14, 15
early work in London, 15, 17
arrival in Paris, 17
association with Papillon, 18-22
association with de Caylus and Crozat, 22, 23
Papillon’s criticism of Jackson, 19, 20
arrival in Venice, 25
association with Zanetti, 25, 26
first chiaroscuros in Venice, 26
first chiaroscuro reproducing a painting, 27
early plans for wallpaper, 30
influence of line engraving, 29, 30
association with Joseph Smith, 30, 31, 32
production of the Venetian set, 31, 32, 33
production of the Ricci set,
his first prints in full color, 33, 35, 36
use of embossing, 33, 36
marriage, 40
return to England, 40
designs for calico, 40
career as a maker of wallpaper, 40-50
publication of _An Enquiry into the Origins
of Printing in Europe_, 41
publication of _An Essay on the Invention of Engraving
and Printing in Chiaro Oscuro_, 43
pioneer of scenic wallpaper, 46, 47
album ascribed to him, 48
collapse of wallpaper venture, 48, 49
meeting with Bewick, 49, 59
last days, 50
Walpole’s criticism, 51
Janinet, Jean François, 4
Japanese woodcuts, 4, 33n, 36
Jegher, Christoffel, 11
Jones, Inigo, 46
Kirkall, Elisha, 5, 11, 14, 15, 22, 33, 41
Knapton, George, 33
Lallemand, George, 11, 28
Lancret, Nicolas, 47
Le Blon, Jacob Christoph, 36, 39
Le Clerc, Sébastien, 18, 19, 30
Le Sueur, Nicolas, 11, 22, 23, 28, 45
Vincent, 11, 18, 23, 45
Lethieullier, Smart, 31
Lewis, John, 23, 25
_Liber selectarum cantionum_, Senfel, 7n
Lorrain, Claude, 45
Mantegna, Andrea, 12n
Mariette, Pierre-Jean, 25, 26, 28
Mattaire’s _Latin Classics_, 14, 31
Mellan, Claude, 30
Moreelse, Paulus, 11
Moretti, Giuseppe Maria, 25, 45
Munch, Edvard, 4, 54
Negker, Jost de, 10
Newdigate, Sir Roger, 32n
Pannini, Giovanni Paolo, 45, 46, 47
Papillon, Jean (father of J. M.), 19, 21, 22
Jean Michel, 6, 14, 15, 18, 19, 20, 21, 22, 23, 24, 28, 35
Parmigianino, 10, 22, 26, 44
Pasquali, J. B., 32, 40
Pezzana, 27, 28, 29
Piranesi, Giovanni Battista, 46
Pond, Arthur, 33
Poussin, Nicolas, 45
Raphael, 10, 11, 22, 23, 44
Ratdolt, Erhard, 7n
Rembrandt, 4, 31, 32
Ricci, Marco, 6, 35, 36, 46, 47, 53
Robert, P. P. A., 22
Romano, Giulio, 11, 23
Rosa, Salvator, 45
Rubens, Peter Paul, 27
Sadeler, Egidius, 29
Salviati, Francesco, 44
Savage, William, 67
Simonini, Francesco (erroneously called “Simonnetta”), 42
Skippe, John, 68n
Smith, Joseph, 30, 31
Suetonius’ _Lives of the Twelve Caesars_, 29, 34, 48
Swaine, J. B., 49
Tintoretto, 32
Titian, 11, 29, 32, 44
_Traité historique et pratique
de la gravure en bois_, 6, 14, 19, 20, 21
Trento, Antonio da, 10
“Urban, Sylvanus,” 41
Vallotton, Felix, 4
Velasquez, 42
Vernet, Claude Joseph, 47
Veronese, 52
Verus, Justus, 45
Vicentino, Giuseppe Niccolò, 10, 44
Villamena, Francesco, 30
Vouet, Simon, 11
Wallpaper, first use in England, 40
Walpole, Horace, 8, 31, 51
Ward, Dr. John, 49
Wechtlin, Hans, 10
Weiditz, Hans, 7n
Whistler, James M., 5n
Wouwerman, Philips, 45
Wrey, Sir Bouchier, 32n
Zanetti, Count Antonio Maria, 11, 25, 26, 45
Zuccarelli, Francesco, 46
* * * * *
* * * *
* * * * *
Errors and Inconsistencies
pretentions to literary culture [spelling unchanged]
also a woodcutter who copied Le Clerc [name printed without space]
Catalog:
Punctuation in the Inscriptions is unchanged.
5, Inscription: F: M: Parmen* / Inventor [partially illegible]
9, Inscription: [AL] [A+L ligature sharing vertical line]
13, Inscription: Perillustri ac Praeclaro Viro ‡D. Josepho Smith‡
[printed as “‡Viro D. Josepho‡” Smith with misplaced small capitals,
but see Plate 13]
16, St. Peter; 21, St. Catherine
[period after “St.” invisible, but see Plate captions]
39: Lines “1744” and “Colors vary...” reversed in printed text.
Bibliography:
[J. B. Jackson] ... as Practised by Albert Durer [no umlaut]
Index to Plates:
16, _The Death of St. Peter Martyr_, after Titian
[printed with italic “after”]