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 t.i.tles 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 t.i.tling, the same prints being listed differently in different collections. This was to be expected since the artist almost invariably omitted t.i.tles. Nagler's and Le Blanc's catalogs are not descriptive and consequently there has been much guesswork in checking t.i.tles, 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 t.i.tling 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" (?) 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:

7 9 inches with letters, 6 9 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. Jack?on _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:

9 6 inches with letters, 8 6 inches without letters.

Blocks, 4:

Buff, light brown, terra-cotta red, black.

Inscription, bottom:

"+Tho. Brand+ _Arm._ Hospit. Temp. D. D. D. / J. B. Jack?on _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:

6 3 inches.

Blocks, 2:

Mustard yellow, black.

Inscription, at bottom:

"_Per Ill.u.s.tri, ac Praeclaro 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."