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.
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, as seen in the Plates. Some computers may not be able to display italic long “s”.
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
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
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
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.
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
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
Bookplate
Dimensions:
4¼ × 6 inches, approximately.
Blocks, 2:
Reddish brown, black.
Inscription left and right top, in ribbon:
“Litterarum Felicitas”
BM
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
The Visitation, after Annibale Carracci
Dimensions:
14¼ × 10¼ inches.
Blocks, 4:
Light yellow, buff, brown, dark gray.
Inscription, upper right:
“[AL].
Caratius Pinxt. / 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
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
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
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
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
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
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
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.
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.
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.
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.”
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 DNO DNO / Bourchier Wrey Barronetto / Generoso Artium Liberalium Fautori / in sui
Obsequium D. D. D. J. B. Jackson / P: C:
Veronese Pinxit.”.
1739.
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.
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 Dno: Dno: /
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.
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 Dno Dno / 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.”
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):
“Revmo. Dno. 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.”
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.”
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:
“Illmo 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.
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.”
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:
“Illmo et Excellmo 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
Verons. / depicta penes J: Smith Ven / J: B: Jackson Del Sculp & excud
/ 1741.”
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.”
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.
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. Josh Smith.”
1743.
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 Px.”
1743.
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 Mr. 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 Mr.
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 Accot. of Denmark 4th 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
Antique Bust of Woman
Dimensions:
14⅞ × 10½ inches (irregular oval).
Blocks, 4:
Yellow-gray, greenish brown, gray-brown, brown.
MFA
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
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
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
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:
“Illmo, atq; Excellmo Dno
Dno / 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
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.
Lines “1744” and “Colors vary...” reversed in printed text.
Smithsonian Institution (U.S. National Museum), MFA, BM, Venice
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
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
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
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
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
Ornamental Border with Fruit; Flowers, and Purple Grapes
Dimensions:
6¼ × 25⅞ inches.
Blocks, 4:
Red, blue, yellow, green.
Print for wallpaper.
BM
Ornamental Border with Fruit, Flowers, and Green Grapes
Dimensions:
6⅜ × 25⅞ inches.
Blocks, 4:
Red, blue, yellow and green.
Print for wallpaper.
BM
Ornamental Frame with Flowers and Fruit
Dimensions:
24¾ × 18½ inches.
Blocks, 4:
Red, blue, yellow, gray-green.
Print for wallpaper.
BM
Ornamental Frame with Fruit
Dimensions:
25⅛ × 17¼ inches.
Blocks, 4:
Red, blue, yellow, gray-green.
Print for wallpaper.
BM
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
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)
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.
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.
Building and Vegetable
Dimensions:
9¼ × 7½ inches.
Blocks, 6:
Yellow, light green, light red, crimson, light gray, dark gray.
Plate from Jackson, Essay..., 1754.
Statue of Apollo
Dimensions:
9¼ × 7½ inches.
Blocks, 4:
Light buff, medium buff, gray, and dark gray.
Plate from Jackson, Essay..., 1754.
The Farnese Hercules
Dimensions:
9¼ × 7½ inches.
Blocks, 4:
Buff, greenish buff, gray, dark greenish gray.
Plate from Jackson, Essay..., 1754.
Antique Bust of a Man
Dimensions:
9¼ × 7½ inches.
Blocks, 4:
Buff, gray-brown, gray, dark greenish gray.
Plate from Jackson, Essay..., 1754.
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.
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.
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
Female Statue with Fruit and Wheat
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
Female Statue with Mask
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
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
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
Woman with Shepherd’s Pipe
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
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
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
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
Lady with Staff
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia
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
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
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
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
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
Classical Female Statue
Dimensions:
11¼ × 6½ inches.
Blocks, 2:
Deep red and yellow.
Print for wallpaper.
Philadelphia, MMA
Boy Looking Down
Dimensions:
3 × 2 inches.
Blocks, 2:
Light brown and black.
Perhaps after Piazzetta.
MFA, BM
Lady with a Flower
Dimensions:
14⅜ × 11¼ inches.
Blocks, 3:
Buff, light brown, brown.
Possibly after Kneller. Very weak and crude.
BM, V&A