Paper
Name Class Date

Sr John E Ferneley, Two Greyhounds and a Dead Hare (1824), National Trust. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Sr John E Ferneley originaluniqueart.com/en/artists/sr-john-e-ferneley/
Artist’s dates
1782 – 1860
Painted
1824
Original size
49 x 61 cm
Movement
Neoclassicism A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.
Held at
National Trust originaluniqueart.com/en/museums/national-trust-cambridge/

In context

Two Greyhounds and a Dead Hare — Sr John E Ferneley

How big is it?

The original measures 49 × 61 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1780
  2. 1790
  3. 1800
  4. 1810
  5. 1820
  6. 1830
  7. 1840
  8. 1850
  9. 1860

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 78 at death.

Painted when the artist was 42. The artist lived to 78. 21 of the 72 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Sr John E Ferneley (1782–1860) ▲ this work, 1824 every dated painting, decade by decade

First works: up to 1823 Main working years: 1823–1840 Late works: from 1840

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/sr-john-e-ferneley-two-greyhounds-and-a-dead-hare-AQRUXA-en/

Colours

Measured from the image

    Main colour

    Driftwood #897355

    Catalogued palette

    • #897355
    • #3A2C21
    • #5E4831
    • #B2A17D

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Sr John E Ferneley over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 78.6%
    2. 2 United States of America 14.3%
    3. 3 Syria 7.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 14 most looked-at works by Sr John E Ferneley

    1. 1 A Strawberry Roan Mule and Two Lurchers in a Stable, and a Stable Lad, 1850 11.8%
    2. 2 Mr Powell and his Son, with Norton, a Grey Hunter, 1816 11.8%
    3. 3 The Quorn at Quenby (sketch), 1823 11.8%
    4. 4 Chestnut Hunter before a Stable, 1825 5.9%
    5. 5 Two Greyhounds and a Dead Hare, 1824 this painting 5.9%
    6. 6 Major Healey, Wearing Raby Hunt Uniform, Riding with the Sedgefield Hunt, 1833 5.9%
    7. 7 'Orion', a Chestnut Hunter Outside a Stable, 1831 5.9%
    8. 8 Longford Lass and the Jew, 1853 5.9%
    9. 9 Major Healey, Wearing Raby Hunt Uniform, Riding with the Sedgefield Hunt, 1833 5.9%
    10. 10 Melton Mowbray Horse Fair 5.9%
    11. 11 A Man in Hunt Uniform 5.9%
    12. 12 A Gentleman Holding Dangerous, the Winner of the 1833 Derby 5.9%
    13. 13 A Jockey On A Chestnut Hunter 5.9%
    14. 14 firebird and policy 5.9%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 90 works by this artist, of which 14 were looked at at least once. This painting ranks 5 of them, with 5.9% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Sr John E Ferneley

    The Master of the English Hunt

    In the golden age of British sporting art, few names evoke the thundering hooves and spirited pursuits of the Regency era quite like John Ferneley I. Born in 1782 in the quiet village of Thrussington, Leicestershire, Ferneley would grow to become a definitive chronicler of the English countryside. His life’s work serves as a vibrant window into a vanished world of aristocratic leisure, where the rhythm of rural life was dictated by the seasons and the exhilarating chase of the fox hunt. To study a Ferneley canvas is to step into the mist of an English morning, feeling the dampness of the dew and the palpable tension of the hounds in pursuit.

    Ferneley’s artistic identity was forged through a profound connection to the landscape and the animals that inhabited it. His early training under the esteemed Benjamin Marshall provided him with more than just technical proficiency; it bestowed upon him a specialized vocabulary of movement. Under Marshall's mentorship, Ferneley learned to translate the raw energy of a galloping horse and the subtle shifts in a rider's posture onto canvas. This foundation allowed him to transition from a student of sporting art to a master of its most complex nuances, eventually leading him to the prestigious Royal Academy School where his talent was refined for the grandest stages of British society.

    A Legacy of Motion and Detail

    The true brilliance of Ferneley’s oeuvre lies in his ability to balance meticulous realism with an almost breathless sense of motion. His compositions are rarely static; instead, they pulse with the vitality of the hunt. He possessed a rare, anatomical understanding of equine musculature, allowing him to depict the strain of a horse in full stride or the sudden halt of a startled beast with startling accuracy. This dedication to detail extended to the human element as well, capturing the varied expressions of hunters—from the focused intensity of the seasoned rider to the breathless excitement of the spectator.

    Throughout his prolific career, Ferneley secured the patronage of the highest echelons of British nobility. His studio in Melton Mowbray became a sanctuary for those seeking to immortalize their sporting triumphs. His catalog of work is vast, yet it maintains a consistent emotional resonance. Some of his most enduring contributions to the art world include:

    The Melton Mowbray Hunt: A sweeping tribute to the very heart of Leicestershire’s hunting traditions.

    Lord Henry Bentinck’s Chestnut Hunter ‘Firebird’: A masterful study in equine portraiture and individual character.

    St John’s Co-Cathedral: Demonstrating his ability to pivot from the kinetic energy of the hunt to more serene, architectural subjects.

    Historical Significance and Enduring Influence

    Beyond the mere documentation of social customs, Ferneley’s work holds a significant place in the evolution of British painting. While often categorized strictly within the genre of sporting art, his approach to light and atmosphere hinted at the burgeoning shifts in artistic thought that would later define the Impressionist movement. He did not merely paint horses; he painted the atmosphere in which they moved, capturing the fleeting qualities of light filtering through autumn leaves or the heavy gloom of a winter afternoon.

    As we look back upon his life, which concluded in 1860, we see an artist who successfully bridged the gap between traditional sporting portraiture and a more expressive, atmospheric style. His legacy remains etched in the annals of art history, serving as a vital link to the traditions of the English landed gentry and providing a timeless celebration of the bond between man, horse, and the natural world. Today, his works continue to captivate collectors and historians alike, standing as enduring monuments to the elegance and vigor of a bygone era.

    Museum

    National Trust

    On show in Cambridge, United Kingdom

    A Tapestry of Time: Exploring the National Trust’s Cambridgeshire Legacy

    Nestled within the verdant heartland of Cambridgeshire, a region steeped in academic tradition and whispered histories, lies a collection of estates that offer far more than mere architectural grandeur. The National Trust's holdings here aren’t simply buildings; they are living narratives—a carefully curated panorama of aristocratic life, horticultural artistry, and the enduring spirit of England’s wild spaces. From the baroque opulence of Wimpole Hall to the serene wetlands of Wicken Fen, a visit to these properties is an immersive journey through centuries of social change, artistic expression, and a profound connection with the natural world. The Trust's commitment extends beyond preservation; it actively seeks to animate history, inviting visitors to step into the footsteps of those who shaped this corner of England and fostering a deep appreciation for its unique heritage.

    Wimpole Hall:

    A Baroque masterpiece, Wimpole Hall stands as a testament to 18th-century grandeur. Its state rooms, adorned with intricate plasterwork and lavish furnishings, offer a glimpse into the extravagant lives of the Chicheley family, who once called it home. The chapel’s delicate ornamentation provides a moment of quiet contemplation, while the working farm offers a tangible connection to the estate's agricultural roots.

    Anglesey Abbey:

    Transformed by the Rothschild family in the Victorian era, Anglesey Abbey is a stunning example of horticultural artistry. The gardens are a vibrant tapestry of seasonal blooms, punctuated by the extraordinary collection of snowdrops that blanket the grounds each winter. Don’t miss the historic watermill, still operational today, showcasing a harmonious blend of nature and human ingenuity.

    Wicken Fen:

    A true jewel in the National Trust's crown, Wicken Fen is Britain’s oldest nature reserve—a remnant of the vast fens that once dominated eastern England. This unique wetland habitat teems with life, providing sanctuary for rare plant species and a diverse array of wildlife, including bitterns and marsh harriers. Walking through Wicken Fen is an exercise in mindful observation, connecting visitors to the delicate balance of this ancient ecosystem.

    Peckover House:

    A charming Victorian residence in Wisbech, Peckover House offers an intimate glimpse into the lives of a prosperous family. Its walled gardens, meticulously maintained, are a haven of tranquility and a testament to Victorian horticultural practices. The house itself is filled with intriguing objects—a witch’s cauldron, death masks, and a boat crafted from bones – each whispering tales of mystery and intrigue.

    Echoes of Aristocratic Life and Horticultural Artistry

    The National Trust's Cambridgeshire estates are not merely architectural marvels; they are living embodiments of social history. Wimpole Hall, for instance, reflects the ambitions and tastes of its aristocratic patrons, while Anglesey Abbey showcases the Victorian fascination with exotic plants and meticulously designed landscapes. The Rothschild family’s influence is particularly evident in the gardens, which were transformed into a showcase of horticultural artistry—a vibrant tapestry of seasonal blooms and carefully curated collections. These estates offer a fascinating window into the evolving tastes, aspirations, and daily lives of those who shaped them, revealing a complex interplay between social status, artistic expression, and practical considerations.

    A Landscape Shaped by History and Nature

    Beyond the formal gardens and grand interiors, the National Trust’s commitment extends to preserving Cambridgeshire's wilder heart. Wicken Fen stands as a testament to this dedication—a unique wetland habitat that has been carefully managed for over a century. The site’s history is inextricably linked to the region’s agricultural past, with the fenland landscape gradually transformed from a vast expanse of marshes and reeds into a thriving nature reserve. Today, Wicken Fen serves as a vital refuge for rare plant species and a diverse array of wildlife, offering visitors a chance to connect with the natural world on a profound level. The ongoing restoration efforts are not simply about preserving a landscape; they are about safeguarding a vital part of Britain’s ecological heritage—a legacy that will endure for generations to come.

    Notable Exhibitions and Events

    The National Trust regularly hosts a diverse range of exhibitions and events, designed to engage visitors of all ages and interests. From themed tours exploring the history and architecture of its properties to seasonal celebrations marking the changing seasons, there’s always something new to discover. Recent exhibitions have focused on topics such as the lives of the families who once inhabited these estates, the evolution of horticultural practices, and the importance of preserving Britain's natural heritage. Keep an eye on the National Trust website for details of upcoming events, including guided tours, workshops, and family-friendly activities.

    A Legacy of Preservation: From Victorian Charm to Enduring Beauty

    The architectural diversity across the National Trust’s Cambridgeshire properties reflects their unique histories. Peckover House, with its intimate scale and meticulously maintained walled gardens, offers a charming glimpse into the lives of a prosperous family in Wisbech. The estate's diverse collection of buildings—from grand country houses to humble farmsteads—provides a rich tapestry of social and cultural history. The National Trust’s dedication to preservation extends beyond mere restoration; it encompasses a commitment to safeguarding these treasures for future generations, ensuring that they continue to inspire and educate visitors for years to come. The organization's ongoing work is a testament to the enduring value of heritage—a reminder of our connection to the past and a vital investment in the future.

    Where to read more

    Find this online

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    Cite this artwork

    MLA
    Ferneley, Sr John E. Two Greyhounds and a Dead Hare. 1824, National Trust. https://originaluniqueart.com/en/art/sr-john-e-ferneley-two-greyhounds-and-a-dead-hare-AQRUXA-en/
    APA
    Ferneley, Sr John E (1824). Two Greyhounds and a Dead Hare [Painting]. National Trust. https://originaluniqueart.com/en/art/sr-john-e-ferneley-two-greyhounds-and-a-dead-hare-AQRUXA-en/
    Chicago
    Sr John E Ferneley. Two Greyhounds and a Dead Hare. 1824. National Trust. https://originaluniqueart.com/en/art/sr-john-e-ferneley-two-greyhounds-and-a-dead-hare-AQRUXA-en/
    Harvard
    Ferneley, Sr John E (1824) Two Greyhounds and a Dead Hare. National Trust. Available at: https://originaluniqueart.com/en/art/sr-john-e-ferneley-two-greyhounds-and-a-dead-hare-AQRUXA-en/

    Look closely

    Two Greyhounds and a Dead Hare — Sr John E Ferneley

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: greyhounds, hunting, dogs. Do you agree? What would you add, or take away?
    4. Look back at A Saddled Grey Hunter in a Loose Box (1854), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Neoclassicism: A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Does "Two Greyhounds and a Dead Hare" show strong light-dark contrasts?

    The contrast level of "Two Greyhounds and a Dead Hare" by Sr John E Ferneley is bold.

    Where does "Two Greyhounds and a Dead Hare" sit within Sr John E Ferneley's body of work?

    "Two Greyhounds and a Dead Hare" belongs to Sr John E Ferneley's Neoclassicism work, whose recorded themes include classical portraiture, sporting art, british tradition, hunting culture, aristocratic leisure, victorian england.

    What stage of Sr John E Ferneley's career does "Two Greyhounds and a Dead Hare" (1824) belong to?

    Given its 1824 date, "Two Greyhounds and a Dead Hare" falls in Sr John E Ferneley's Mature Period.