see caption

58. Ruin of Garden Temple

see caption

74. Classical Female Statue

see caption

75. Boy Looking Down

see caption

76. Lady With a Flower

see caption

1. Christ Giving the Keys to St. Peter, after Raphael
(b/w plate)

see caption

2. Venus and Cupid with a Bow, after Parmigianino
(b/w plate)

see caption

5. Woman Meditating (St. Thais?), after etching by Parmigianino
(b/w plate)

see caption

13. Descent from the Cross, after Rembrandt
(b/w plate)

see caption

22. The Crucifixion, after Tintoretto, left sheet
(b/w plate)

see caption

22. The Crucifixion, after Tintoretto, center sheet
(b/w plate)

see caption

22. The Crucifixion, after Tintoretto, right sheet
(b/w plate)

The Crucifixion, combined view.

see caption

40. Heroic Landscape with Fisherman, Cows, and Horsemen, after Marco Ricci
(b/w plate)

see caption

40. Heroic Landscape with Fisherman, Cows and Horsemen, after Marco Ricci, Detail

see caption

43. Heroic Landscape with Watering Place, Riders, and Obelisk, after Marco Ricci
(b/w plate)

see captions

49. Ornamental Frame with Flowers and Girl’s Head
59. Woman Standing Holding Apron
(b/w plate)

see captions

Woman Standing Holding Apron: separate view added by transcriber.

see caption

53. Building and Vegetable
(b/w plate)

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 XIV^e au XX^e siècle. Paris, 1916, pp. 32, 164-165, 193, 252.

Hardie, Martin. English Coloured Books. New York and London, 1906, pp. 19-27.

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

Heinecken, C. H. von. Idée générale d’une collection complette d’estampes. Leipzig and Vienna, 1771, p. 94.

Heller, J. Geschichte der Holzschneidekunst. Bamberg, 1823, pp. 295-296. Praktisches Handbuch für Kupferstichsammler. Leipzig, 1850, p. 334.

Lists 10 chiaroscuros by Jackson.

Heller, J., and Andresen, A. Handbuch für Kupferstichsammler. Leipzig, 1870, vol. 1, pp. 706-707.

Lists 11 prints by Jackson.

Huber, M. Notices générales des graveurs et des peintres. Dresden, 1787, pp. 676, 698.

Huber, M., and Rost, C. C. Handbuch für Kunstliebhaber und Sammler. Zurich, 1808, vol. 9, pp. 129-131.

Huber, M., Rost, C. C., and Martini, C. G. Manuel des curieux et des amateurs d’art. Zurich, 1797-1808, vol. 9, pp. 121-123.

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

Jackson, John Baptist. An Essay on the Invention of Engraving and Printing in Chiaro Oscuro, as Practised by Albert Durer, Hugo di Carpi, &c., and the Application of It to the Making Paper Hangings of Taste, Duration, and Elegance. London, 1754.

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

Kainen, Jacob. “John Baptist Jackson and his Chiaroscuros.” Printing and Graphic Arts, vol. 4, no. 4, 1956, pp. 85-92.

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

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

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

Le Blanc, C. Manuel de l’amateur d’estampes. Paris, 1854-1888, vol. 2, p. 416.

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

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

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

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

Linton, W. The Masters of Wood Engraving. London, 1889, p. 214.

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

Longhi, G. Catalogo dei più celebri intagliatori in legno ed in rame. Milan, 1821, p. 51.

Maberly, J. The Print Collector. London, 1844, p. 130.

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

McClelland, N. Historic Wall-Papers. Philadelphia and London, 1924, pp. 47, 79, 141-154, 165, 324-329, 423.

Makes many references to Jackson, largely inaccurate.

Mireur, H. Dictionnaire des ventes d’art fait en France. Paris, 1911-1912, vol. 4, p. 23.

Müller, F., and Klunzinger, K. Die Künstler Aller Zeiten und Völker. 1857-1864, vol. 2, p. 430.

Müller, H. A., Müller, H. W., and Singer, H. W. Allgemeines Künstler-Lexicon. Frankfurt, 1895-1901, vol. 2, p. 240.

Nagler, G. K. Allgemeines Künstler-Lexicon. Munich. 1835-51, vol. 6, pp. 383-384.

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

— Die Monogrammisten, Munich, 1858-1879, vol. 3, pp. 730, 836.

Oman, C. C. Catalogue of Wall-Papers. London, Victoria and Albert Museum, 1929, pp. 24-25, 33.

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

Pallucchini, Rodolfo. Mostra degli incisori Veneti del settecento. Venice, 1941, ed. 2, pp. 16, 103-104.

Catalog of the exhibition held in Venice in 1941.

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

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

Percival, MacIver. “Jackson of Battersea and his Wall Papers.” The Connoisseur, 1922, vol. 62, pp. 25-36.

Redgrave, S. Dictionary of Artists of the English School. London, 1874, p. 227.

Reichel, Anton. Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII. Jahrhunderts. Zurich, Leipzig, and Vienna, 1926, p. 48.

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

Savage, W. Practical Hints on Decorative Printing. London, 1822, pp. 15-16.

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

Smith, J. The Printers Grammar. London, 1755, p. 136.

Spooner, S. Dictionary of Painters, Engravers, Sculptors & Architects. New York, 1853, vol. 1, pp. 420-421.

Strutt, J. Dictionary of Engravers. London, 1785-86, vol. 2, p. 41.

Sugden, A. V., and Edmondson, J. L. A History of English Wallpaper. New York and London, 1925, pp. 61-71.

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