Restored in 2025 with funding from Arnold M. Bernstein

This notable collection of chiaroscuro woodcut prints by 18th-centiry British artist John Baptist Jackson holds international significance and was acquired by the Musei Civici di Venezia through two prominent local sources. Teodoro Correr bequeathed twenty-two of these works, while Francesco Maria Gherro contributed eighteen woodcuts from the collection of Emmanuele Antonio Cicogna, which he acquired in 1865.

Jackson stands out as one of the most innovative printmakers of the 18th century. His career spanned several major cities including London, Paris, Edinburgh, and Venice, where he specialized in the then-rare techniques of large chiaroscuro and color woodcuts. In Venice, Jackson created two seminal works that have left a lasting impact on European printmaking. First, he produced the Opera Selectiora (1739-1743), an extraordinary series of chiaroscuro woodcuts inspired by 16th-century Venetian paintings. Following this, he made six color woodcuts (1744-1745) that emulated the tempera landscape paintings of Marco Ricci, further showcasing his technical mastery and artistic vision.

The 52 prints held by the Fondazione Musei Civici di Venezia include several rare and exceptional impressions, along with six proofs—four of which are unique. This collection is notably significant for two reasons: the variety and rarity of the impressions, and most importantly, the presence of an extraordinary group of proofs. Jackson primarily printed in shades of brown and ochre, but he also explored greens and greys. Occasionally, he experimented with color combinations that were never used for full editions; such rare sheets are preserved at Gabinetto dei disegni in Ca’ Rezzonico Museum.

Working proof impressions, which are pulled to evaluate progress while the artist continues to work on the woodblocks, are exceedingly rare in Jackson’s oeuvre, with many being unique. The presence of six such proof impressions in the Fondazione Musei Civici di Venezia collection is therefore truly exceptional. For instance, the impression cataloged as Correr 3069 originates from a single block (of four) intended for the left panel (of three) of Jackson’s print The Crucifixion (after Tintoretto). Notably, the original painting is currently undergoing restoration by Save Venice. This impression has only one known counterpart, which resides in the National Gallery of Art in Washington.

One remarkable item in the collection is a unique facsimile of Jackson’s chiaroscuro woodcut of the Pentecost, based on Titian’s work. This facsimile, created with meticulous brushwork and opaque watercolors, achieves an exceptionally high and convincing quality. An inscription by Cicogna on the reverse describes it as a “facsimile perfettissimo,” indicating that it was masterfully crafted by Pietro Pianton (d. 1864), the abbot of Santa Maria Misericordia. This abbey housed a significant collection of Jackson’s prints in the mid-19th century, though unfortunately, that collection has since been lost.

The woodcuts presented a range of condition issues, including surface dirt and debris (notably insect droppings), tears, losses, warping, severe creases, stains, oxidation, and smudging. The conservation treatment addressed all of these problems in a systematic and carefully controlled manner.

Each of the 52 sheets underwent thorough mechanical cleaning, followed—where possible—by double washing by immersion. Detrimental non-original materials, including old repairs and invasive backing supports, were carefully removed. The works were treated with an alkaline solution to reduce their acidity and ensure their long-term preservation. Tears and losses were repaired and integrated, and new custom mounts and tailor-made boxes were produced to house the collection safely for the future.

John Baptist Jackson (1703 – c. 1773)
52 Chiaroscuro Woodcuts
c. 1731 – 1745, chiaroscuro woodcuts
Ca’ Rezzonico Museum, Gabinetto dei disegni e delle stampe

Braides, Orsola, Giovanni Maria Fara, and Alessia Giachery (eds.). L’arte di tradurre l’arte: John Baptist Jackson incisore nella Venezia del Settecento. Florence: Leo S. Olschki Editore 2024

Kainen Jacob. John Baptist Jackson: Master of the Color Woodcut. In “Bulletin of the United States National Museum,” 222 (1962): pp. 1-183

Mastrapasqua, Giorgio. John Baptist Jackson (1701-1780): Chiaroscuri della collezione Remondini del Museo Biblioteca Archivio di Bassano del Grappa. Vicenza: La Serenissima, 1996

Seifert, Christian T. John Baptist Jackson: Printing Chiaroscuro and Colour Woodcuts in Paris, Venice, and London. In Morgan Grasselli, Margaret and Elizabeth Savage (eds.). Printing Colour 1700-1830: Histories, Techniques, Functions and Receptions (Proceedings of the British Academy), Liverpool: Liverpool University Press, 2024, pp. 99-116

Wöldicke, Evelyn. John Baptist Jackson’s Woodcuts and the Question of Embossing. In “Print Quarterly,” 34 (2017): 298-310