A gentleman, by John Wesley Jarvis, circa 1806.

  This is a superb example of Jarvis' rare work in miniature.
 
Set in the original 'rolled gold' locket frame with beaded bezel, the reverse with aperture with beaded border containing plaited hair.

2 3/4 inches high.  

John Wesley Jarvis (1780-1840) "...was engraver, sculptor, silhouettist, natural scientist, anatomist, wine-bibber extraordinary, the best ‘story teller that ever lived' and, in his day, he enjoyed a position ‘in the foremost rank of American masters.' " (Bolton & Groce, The Art Quarterly, 1938).  Born in England, a great-nephew of the fire and brimstone founder of Methodism, John Wesley, he spent the first five years of his life under the great man's protection, and probably the rest of his life rebelling.  Jarvis was taken to America at the age of five.  His early years in Philadelphia were spent hanging around the studio of Matthew Pratt, before being apprenticed to Edward Savage.  Though Jarvis had little affection or respect for Savage, he honored the arrangement, moving to New York City with his master.  By 1803, Jarvis was established on his own and had begun the celebrated partnership with Joseph Wood.  The highly successful duo made a great deal of money and enjoyed their wealth and fame. During this golden time, the two met Edward Greene Malbone who became a close friend, instructing them both on aspects of miniature painting.  Along with Malbone's friend, miniaturist Anson Dickinson, whose studio was close, the four were the most popular and celebrated artists in New York. The partners went their separate ways in 1809, Jarvis taking on Henry Inman as an apprentice, and Wood taking on Nathaniel Rogers; between then spawning the greatest  miniature dynasty in America.  In  1814, Jarvis received the coveted commission to paint the heros of the War of 1812  for City Hall.  These portraits stand even today as the most important documents of Federal America.  Jarvis was a founder of The New York Historical Society, presenting them with portraits throughout the years, including his sculpted bust of Thomas Paine.    Perhaps one of Jarvis' greatest contributions to American art was that of teacher and patron.  Henry Inman remained with Jarvis for thirteen years, long after his apprenticeship had expired.  Jarvis not only encouraged Thomas Sully, but made sure, in Sully's early days, that he had enough work to support for his family.  John Jay Audubon writes with great fondness of his days in Jarvis' studio in New Orleans. The only job available was sweeping up.  Audubon took it to watch the master paint and listen to the wittiest raconteur in town. He was also one of the earliest instructors at the National Academy of Design.  It is interesting to speculate where Jarvis would have ended up in the annals of American Art if his high living had not gotten the better of him, but his astonishing portraits, and the body of works of those he encouraged will secure his place in history.