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[Dives and Lazarus (The Rich Man and Lazarus)]
[Venice: J. Baptist Pasquali, No date but 1743]. Woodcut by Jackson, on two sheets, printed from four blocks in buff, warm gray, brown and dark brown, left sheet dedicated to Sir Robert Hoblyn. Overall image size: 22 x 30 inches. Individual sheet size: 28 1/4 x 20 inches. [Kainen 32]. Fine condition. A fine untouched example of Jackson's work: a pair of the extraordinary chiaroscuro woodcuts from his very rare masterpiece: 'Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata' - one of the great glories of 18th-century print-making. Jackson began the Titiani Vecelii... in 1739 with three subscribers, and despite difficulties in obtaining other subscribers due to the outbreak of war in Europe, he managed to complete the twenty-four prints depicting 17 paintings by 1743, and the work was published as a bound volume in 1745. During the four and a half years Jackson was involved in this project, he included the techniques of embossing in his prints, he had cut and proofed ninety-four blocks, and had brought chiaroscuro forward as a strong alternative to standard engraving as a means of reproducing paintings. In his book of 1754, An Essay on the Invention of Engraving and Printing in Chiaro Oscuro, Jackson comments on his medium; "... there is a masterly and free Drawing [in chiaroscuro], a boldness of Engraving and Relief, which pleases a true Taste more than all the little Exactness found in the Engravings in Copper plates...". These particular prints are unusual and particularly desirable in that they are completely uncut, showing the stab holes of the original sewing in the right margin, and the registration holes in the upper and lower margins. These registration holes were made by Jackson during the printing process. In addition there is an attractive 'waviness' to the paper that is the natural result of Jackson's extreme printing method. The untouched nature of the prints also allows for an appreciation of the three-dimensional texture that Jackson brings to the image by the use of multiple blocks - some apparently used just to add physical depth to the image rather than another colour. Cf. Bigmore & Wyman A Bibliography of Printing (1880-1886) I, pp.205 and 365; cf. Burch Colour Printing and Colour Printers pp.72-77; cf. Chatto & Jackson A Treatise on Wood-Engraving (1861) pp.453-457; cf. Frankau Eighteenth- Century Colour-Prints (1907) pp.42-46; cf. Hardie English Coloured Books (1906) pp.19-27; Kainen John Baptist Jackson: 18th-Century Master of the Color Woodcut (1962) 32; cf. Le Blanc Manuel de l'amateur d'estampes (1854- 1888) II, p.416; cf. Linton The Masters of Wood Engraving (1889) p.214; cf. NaglerAllgemeines Kunstler-Lexicon (1835-1852) VI, pp383-384
      [Bookseller: Donald Heald Rare Books]
Last Found On: 2013-07-14           Check availability:      Biblio    

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