Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata. John Baptist JACKSON, c.1701-c.1780.
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata

Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista Jackson, Anglo ligno coelata et coloribus adumbrata

Venice: J. Baptist Pasquali, [1739-]1745. Large folio. (23 1/3 x 18 3/4 inches). Letterpress title page. 24 chiaroscuro woodcuts, each printed in four colours.

Expertly bound to style in quarter marbled calf with tips and period Italian patterned paper covered boards, spine with raised bands in eight compartments, red morocco lettering piece in the second compartment, the others with a repeat decoration in gilt

Very rare complete set of the twenty-four chiaroscuro woodcuts which make up Jackson's masterpiece: one of the great glories of 18th-century printmaking.

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 in 1745. During the four and a half years Jackson was involved in this project, he included the techniques of embossing in his prints, cut and proofed ninety-four blocks, and 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..."

The set of woodcuts is as follows:
1. The Death of St. Peter Martyr, after Titian, 1739, printed from four blocks in buff, pale greenish gray, brown and dark gray. [Kainen 16].
2. The Presentation in the Temple (The Circumcision), after Veronese, 1739, dedicated to Charles Frederick Armiger, printed from four blocks in buff, reddish gray, dark gray and dark brown, [Kainen 17].
3. The Massacre of the Innocents, after Tintoretto, 1739, dedicated to Smart Lethieullier, printed from four blocks in buff, violet-gray, light brown and dark violet-brown, [Kainen 18].
4. The Entombment, after Jacopo Bassano, 1739, dedicated to Jacob Faccilato, printed from four blocks in buff, light reddish tan, gray and dark brown, slight surface scuff in middle of image. [Kainen 19].
5. Holy Family and Four Saints, after Veronese, 1740, dedicated to William Windham, printed from four blocks in light gray, light greenish gray, dark greenish gray and dark gray, [Kainen 20].
6. The Mystic Marriage of St. Catherine, after Veronese, 1740, dedicated to William Windham, printed from four blocks in pale greenish gray, pale violet-gray, medium greenish gray and deep cold gray, [Kainen 21].
7. The Crucifixion, after Tintoretto, left sheet, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22].
8. The Crucifixion, after Tintoretto, center sheet, 1741, dedicated to Richard Boyle, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22].
9. The Crucifixion, after Tintoretto, right sheet, printed from four blocks in buff, light brown, gray and dark reddish brown, [Kainen 22].
10. Miracle of St. Mark, after Tintoretto, left sheet, dedicated to Edward Wright, printed from four blocks in buff, light brown, dark brown and dark gray, [Kainen 23].
11. Miracle of St. Mark, after Tintoretto, right sheet, printed from four blocks in buff, light brown, dark gray, three tears in image, [Kainen 23].
12. The Marriage at Cana, after Veronese, left sheet, 1740, printed from four blocks in buff, dark buff, violet-brown and dark brown, [Kainen 24].
13. The Marriage at Cana, after Veronese, right sheet, 1740, dedicated to Leopold Capell, printed from four blocks in buff, dark buff, violet-brown and dark brown. [Kainen 24].
14. Presentation of the Virgin in the Temple, after Titian, left sheet, 1742, printed from four blocks in light grayish umber, medium brown, dark gray and dark brown, [Kainen 25].
15. Presentation of the Virgin in the Temple, after Titian, center sheet, 1742, printed from four blocks in light gray, sienna gray, gray-brown, and dark gray, [Kainen 25].
16. Presentation of the Virgin in the Temple, after Titian, right sheet, 1742, dedicated to Erasmus Phillips, printed from four blocks in light gray, sienna gray, gray-brown and dark gray, [Kainen 25].
17. The Virgin in the Clouds and Six Saints, after Titian, 1742, dedicated to Philippo Farsetti, printed from two blocks in buff and black. [Kainen 26].
18. The Descent of the Holy Spirit, after Titian, dedicated to Jacob Stewart Mackinzie, printed from four blocks in buff, light gray-brown, light yellow-brown and dark brown, [Kainen 27].
19. The Finding of Moses, after Veronese, 1741, dedicated to Everard Fawkener, printed from four blocks in buff, light brown, light violet-gray and dark gray, [Kainen 28].
20. The Raising of Lazarus, after Leandra Bassano, 1742, dedicated to Vicenzo Riccardi, printed from four blocks in buff, light reddish gray, gray and dark cold brown, [Kainen 29].
21. Christ on the Mount of Olives, after Jacopo Bassano, 1743, dedicated to Paulina Contarina, printed from four blocks in dark buff, medium brown, gray and dark brown, [Kainen 30].
22. Melchisedech blessing Abraham, after Francesco Bassano, 1743, dedicated to John Reade, printed from four blocks in buff, warm gray, brown and dark brown, [Kainen 31].
23. Dives and Lazarus (The Rich Man and Lazarus), after Jacopo Bassano, left sheet, 1743, printed from four blocks in buff, warm gray, brown and dark brown, [Kainen 32].
24. Dives and Lazarus (The Rich Man and Lazarus), after Jacopo Bassano, right sheet, 1743, printed from four blocks in buff, warm gray, brown and dark brown, [Kainen 32].

Bigmore & Wyman A Bibliography of Printing (1880-1886) I, pp.205 and 365; Burch Colour Printing and Colour Printers pp.72-77; Chatto & Jackson A Treatise on Wood-Engraving (1861) pp.453-457; Frankau Eighteenth-Century Colour-Prints (1907) pp.42-46; Hardie English Coloured Books (1906) pp.19-27; Kainen John Baptist Jackson: 18th-Century Master of the Color Woodcut (1962); Le Blanc Manuel de l'amateur d'estampes (1854-1888) II, p.416; Linton The Masters of Wood Engraving (1889) p.214; Nagler Allgemeines Kunstler-Lexicon (1835-1852) VI, pp383-384.

Item #2778

Price: $37,500.00