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Francis Hayman, 1707/8–1776, British

David Garrick and Mrs. Pritchard in Benjamin Hoadley's "The Suspicious Husband"

Former Title(s):

A Scene from 'The Suspicious Husband' [1985, Cormack, YCBA Concise Catalogue]

David Garrick and Mrs. Pritchard in a scene from "The Suspicious Husband"

Oil on canvas laid to board
Support (PTG): 28 1/8 x 36 1/8 inches (71.4 x 91.8 cm)

Inscribed [in later hand?]: "Mr Garrick & Mrs Pritchard in the Suspicious- | Husband Act ey 4"; Label on verso, upper center: “Pitt & Scott Ltd. | 20/24 Eden Grove, London, N.7 | A Scene from the Suspicious Husband. | by F. Hayman | [handwritten] <...> | #96”; lower right: “Owner Mellon, Mr. Paul | Artist Hayman, Francis | Title A Scene from the Suspicious Husband | National Gallery of Art PM 6623”

Signed and dated [in later hand?]: "Painted by Mr Hayman 1747"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
Paintings and Sculpture
Subject Terms:
actors | chair | costume | curtains | genre subject | hat | interior | man | mask | mirror | oval | painting (visual work) | performance | portrait | stage | theater (discipline) | woman
Associated People:
Garrick, David (1717–1779), actor and playwright
Pritchard, Hannah (1709–1768), actress and singer
Not on view
IIIF Manifest:

David Garrick was the greatest actor of the eighteenth century. He revolutionized British theater and almost singlehandedly revived the reputation of William Shakespeare. A close friend of William Hogarth and the artists in his circle, Garrick was skilled in using contemporary art to promote himself and his Drury Lane theater company. This theatrical portrait of Garrick and Hannah Pritchard represents a scene from Benjamin Hoadly’s popular comedy The Suspicious Husband (1747) in which Ranger, played by Garrick, accidently propositions his own cousin, Clarinda, only to be humiliated as she unmasks herself. It was commissioned by Hoadly to mark the extraordinary success of his play; another version was painted for Garrick and is now in the Museum of London. The frame, of an exceptionally rare pattern, is possibly the original.

Gallery label for installation of YCBA collection, 2016

Malcolm Cormack, A Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, p. 110-111, N590.2 A83 (YCBA)

Genevieve E. Cummins, How the watch was worn, a fashion for 500 years , Antique Collectors' Club, Woodbridge : Antique Collectors' Club, 2010, 2010, pp. 21, 23, NK7489 .C85 2010 + OVERSIZE (YCBA)

Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 29, ND466 G67 (YCBA)

Frederick Ilchman, Casanova: The Seduction of Europe, MFA Publications, Boston, Massachusetts, p. 94, , fig. 44, N6756 .C37 2017 (LC) (YCBA)

Felicity Nussbaum, Rival queens, actresses, performance, and the eighteenth-century British theater , University of Pennsylvania Press, Philadelphia, 2010, p. 7, fig. 4, PN2582.W65 N87 2010 (YCBA)

J. H. Plumb, The pursuit of happiness : a view of life in Georgian England : an exhibition selected from the Paul Mellon collection, , Yale Center for British Art, New Haven, 1977, pp. 42, 91, no. 54, N6766 Y34 1977 (YCBA)

Kate Retford, The Conversation Piece Making Modern Art in Eighteenth-Century Britain, Yale University Press, New Haven, 2017, p. 84, fig. 66, ND1314.4 .R48 2017 (LC) Oversize (YCBA)

Mary Webster, Johan Zoffany, 1733-1810, Yale University Press, New Haven, CT, 2011, p. 179, fig. 156, NJ18 Z68 W43 2011 + (YCBA)

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