JACKSON'S chiaroscuros and color woodcuts have been grouped under three 

 headings. The first and main section includes, besides those of unquesiionable 

 authenticity, prints which can be attributed to Jackson with some degree of 

 certainty and those actually seen by earlier writers but which have apparently dis- 

 appeared. In each case tlie status of the print in Jackson's octivre has been noted. 



The second section lists pieces believed to be by Jackson's workshop. Prints 

 diat 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 titles 

 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 

 titling, the same prints being listed differently in different collections. This was to 

 be expected since the artist almost invariably omitted titles. Nagler's and Le Blanc's 

 catalogs are not descriptive and consequently there has been much guesswork in 

 checking titles, 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 titling has been greater. 



The location of prints has been given, with the exception of those in the Vene- 

 tian 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. 



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