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.
A
gentleman, 
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.