This collection, which seems to have been a very large one, the drawings alone comprising 2,275 lots, was sold, part in March, 1740, and the remainder in April, 1747, after his widow's death, the sales occupying many days. By his will, dated 2nd September, 1738, and proved 3rd December, 1739, he left his wife Penelope his portraits of relations and friends done by him, and desired that his collection of pictures, drawings, ivory basso-relievos of Fiammingo, Urbino ware and prints should be publicly sold. On his return to London he took up his residence in his brother-in-law's house, in Cleveland Court. In 1738, his health breaking down, he revisited Italy, but remained for only a short time. The work was not, however, published until 1742, after his death. His association with literary society and his natural vanity induced him to adventure into literature himself, and he made a translation of "Don Quixote," to which his friend Warburton contributed a prefatory history of chivalry and romance. On the death of Kneller in 1723 Jervas was appointed principal painter to George I, a post in which he was continued under George II. In a letter to Archdeacon Walls, 4th October, 1716, he writes: "Do you hear anything of Jervas going for I hate to be in town while he is there" and he was relieved when Jervas left Ireland "My service to friend Jervas," he writes to Walls "I heartily wish him a good voyage." Jervas was again in Ireland a few years later, returning to England in September, 1751 and, as appears from a letter from Knightly Chetwode to Swift (10th September, 1729) he was in Ireland once more in 1729. Perhaps on account of the demands made on his time by the painter, Swift avoided Jervas's company. During his sojourn in his native country he painted a number of portraits, including one of Swift and one of Thomas Parnell, the poet, painted for Pope.
Gay, in his congratulatory poem to Pope, mentions him: "Thee, Jarvis hails, robust and debonnair."Ībout the end of 1715 Jarvis paid a visit to Ireland, and remained there till December, 1716. To Pope, whom he painted several times, he gave lessons in painting for about a year and a half, and received from the poet a complimentary epistle praising his art in extravagant terms. Swift sat to him in London in 1709, and again in Dublin in 1716. Jervas." He married a widow with a fortune, had a house at Hampton, and was enabled to entertain his friends, among whom he numbered many of the literary celebrities of the day-Pope, Addison, Swift, Arbuthnot, Warburton and others, whose portraits he painted. Two court beauties, painted as "Chloe" and "Clarissa," were noticed by Steele in "The Tatler" (15th April, 1709) as the work of "the last great painter Italy has sent us, Mr.
In 1709 he returned to England and soon obtained the patronage of fashionable society, his style taking the fancy of the moment. There he applied himself to the study of art, especially of drawing in which he was hitherto deficient, and made many copies of the Old Masters. Clarke of Oxford, who, with other friends, enabled him to go to Italy. Some small copies of Raphael's cartoons, which he made there, he sold to Dr. He was patronized by Norris, the Keeper of the King's pictures, and was permitted to copy at Hampton Court. In the letters of administration granted by the Prerogative Court of Dublin on the 7th February, 1697-8, of the goods of his father, who died at Cape May in America, he is described as "Charles Jervas of the city of Dublin, gent." He had four brothers, John of Clonliske and Corralanty, King's County Martin, of Pennsylvania Matthew and Trevor, and two sisters, Lucy and Mary.Įarly in life he went to London and was in Kneller's studio as a pupil and assistant for about a year. Was son of John Jervas, of Clonliske, in the parish of Shinrone, King's County, by his wife Elizabeth, daughter of John Baldwin of Shinrone, and was born about 1765. Charles Jervas (or Jarvis), Portrait Painter ( b.
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