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File:Drawing, print study (BM Oo,5.3).jpg

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drawing, print study   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Title
drawing, print study
Description
English: Study for a christening, called 'Orator Henley christening a child'; group of figures standing around a circular table, including a woman in black hood, the parish clerk, the parson in white wig, holding the child and a young woman in white cap and gown laced with blue ribbon. c.1728
Oil, unfinished, on grey-grounded canvas
Depicted people Portrait of: Rev John Henley
Date circa 1728
date QS:P571,+1728-00-00T00:00:00Z/9,P1480,Q5727902
Medium canvas
Dimensions
Height: 319 millimetres
Width: 233 millimetres
institution QS:P195,Q6373
Current location
Prints and Drawings
Accession number
Oo,5.3
Notes

Etched, 1786, by Samuel Ireland, on a smaller scale by Jane Ireland in 'Graphic Illustrations', I, p 135, and the figure of the Orator only, by George Cruikshank, in 'Caulfield', IV, p 1 (BM Sat, nos 2838-40)

Stainton & White 1987 This fluent, lively oil sketch is a study for the central group of figures in Hogarth's painting of the same title (Private Collection), which has been dated about 1729. The clergyman is said to be 'Orator' John Henley, a notorious figure whose eccentric manner forced him to resign from the Church of England. He officiated at a private chapel, to which he charged admission as for a theatrical performance, and attracted large congregations. Alexander Pope denounced him in the 'Dunciad':

"Oh great Restorer of the good old Stage, Preacher at once, and Zany of the age!"

Henley was the butt of several of Hogarth's satirical prints. Here, while he is supposed to be officiating at a christening, he is ogling the girl at the right of the composition. In the finished painting and the related mezzotint by Joseph Sympson (Paulson, op. cit., 1965), a young man pays court to the mother of the baby being christened, while the father ignores both his wife and the ceremony to admire himself in a mirror. As Paulson has pointed out, 'The Christening' foreshadows the first scene of 'Marriage à la Mode' (1743-5). This preparatory sketch also anticipates Hogarth's delicately responsive portraits, which culminate in the study of his servants (about 1750-55; Tate Gallery, London).

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Subsequent research identified the first owner of the finished painting as Hewer Edgeley Hewer (1692-1728) giving a terminus ante quem. Hewer's collection including the painting was sold in May 1729.
Source/Photographer https://www.britishmuseum.org/collection/object/P_Oo-5-3
Permission
(Reusing this file)		 © The Trustees of the British Museum, released as CC BY-NC-SA 4.0

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