In his youth, Nathaniel Jocelyn worked for his father, a watch and clockmaker, but simultaneously developed a strong facination for art and was constantly attempting to draw, paint and engrave. Several of his early engravings eventually came to the attention of John Trumbull who encouraged the young artist's ambitions. In 1817 Jocelyn moved to Hartford where he helped found the Hartford Graphic and Bank Note Engraving Company. After his marriage to Sarah Atwater Plant the following year, he began working as a portrait painter. From 1820 to 1822 he lived in Savannah, Georgia and worked as a portrait and minature painter, and by the time he returned to Connecticut his reputation was well established. He worked in New Haven until he embarked for Europe in 1829. Jocelyn first visited London where he was soon joined by Samuel F.B. Morse and Ithiel Town. In 1830, after the three had travelled to Paris, he returned to New Haven.
During the 1830s Jocelyn was involved with a variety of interests aside from portraiture. The engraving business N. & S. S. Jocelyn, which he had established with his brother Simon, required considerable attention. Soon Jocelyn also became actively concerned with the growing abolition movement. In 1843, while still residing in New Haven, Jocelyn opened a studio in New York City, his success as a portraitist having led to numerous commission in both cities. His paintings were, during this period, regularly included in the Academy's annual exhibitions.
Jocelyn was, however, still actively involved as an engraver. From 1849 to 1865 he participated in a number of business ventures which culminated with the founding of the American Bank Note Company of New York in 1858. He served as the head of this company's art department until the end of the Civil War. When Jocelyn abandoned this interest he returned to portraiture. He was provided a studio in New Haven at the newly founded Yale Art School and served as their curator of Italian Art. He remained active as a portraitist until his death.
