10月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 106点の John Ferneleyの作品がカタログにあります
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当ギャラリーの視点では、John Ferneleyの最も有名な作品はMr Powell and his Son, with Norton, a Grey Hunter (1816)です。 The Council of Horses (from John Gay's 'Fables') (1850)とWilliam Rutson (1791–1867), on a Grey Hunter (1820)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるJohn Ferneleyの作品106点の中から、特に有名な86点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
A man in a formal suit and top hat stands alongside his son, a composition that anchors the viewer in the social hierarchies of 1816. Beside them, a white horse, identified as the grey hunter Norton, provides a bright, vertical counterpoint to the human figures. The scene is populated by additional figures, including a person to the far left and another near the center, creating a sense of a gathered…
The woods hold a quiet assembly. Under a canopy of leaves, horses of varying shades—brown, white, black, and red—gather in a clearing. They do not gallop. Instead, they stand in a stillness that feels heavy with intent. Some graze upon the forest floor, their heads lowered to the earth, while others remain upright, watching. Two birds occupy the periphery, one near the upper left and another toward the bottom right,…
In this 1820 oil on canvas, we find William Rutson seated upon a grey hunter, a composition that captures a quiet moment of equestrian poise. The subject is positioned centrally, his posture reflecting the composed manner of a gentleman of his era. There is a certain stillness here, despite the inherent power of the animal beneath him. The horse, a grey hunter, is rendered with a keen understanding of equine…
In this 1816 oil on canvas, we find ourselves in the presence of Mr. Powell and his son, positioned alongside their grey hunter, Norton. There is a certain stillness here, a pause in the activity of the English countryside that allows us to observe the subtle connections between the figures. The composition is anchored by a triangular arrangement, drawing the eye from the father in his dark coat and top…
The Burton Hunt1830 · Usher Gallery
12
The Rev. and Mrs. Henry Palmer with their six younger children at Withcote Hall, Near Oakham, Leicestershire1838 · イェール英国美術館
13
William Massey-Stanley driving his Cabriolet in Hyde Park1833 · イェール英国美術館
14
Edward Horner Reynard and his Brother George Grouse-Shooting At Middlesmoor, Yorkshire, with Their Gamekeeper Tully Lamb1836 · イェール英国美術館
15
A Groom (Frank Spence) with Two Ponies and Two Greyhounds in a Landscape1837 · National Trust
16
The Drag of Sir Watkin Williams Wynn1843 · イェール英国美術館
17
Thomas Wilkinson, M.F.H., with the Hurworth Foxhound1846 · イェール英国美術館
18
Two Children with a Hurdy Gurdy1847 · New Walk Museum - Art Gallery
19
Carthorses with Grooms at a Fair1856
20
A Saddled Grey Hunter in a Loose Box1854 · National Trust
21
Melton Mowbray Horse FairNew Walk Museum - Art Gallery
22
Fox and Duck1813 · Sizergh Castle
23
A Groom and Two Hunters1820 · Nunnington Hall
24
Sir Robert Leighton after Coursing, with a Groom and a Couple of Greyhounds1816
25
Thomas Strickland (1792–1835), and Horse in the Hunting Field1819 · Sizergh Castle
26
The Quorn Hunt1819 · ウォーカー・アート・ギャラリー
27
Dr Thomas Ford1820 · New Walk Museum - Art Gallery
28
Archibald (1794–1832), Lord Kennedy, Later Earl of Cassillis, on a Hunter1819 · National Trust for Scotland
29
Portrait of an Unknown Man (said to be Joseph Fry)1816 · Bristol Museum - Art Gallery
30
A Chestnut Horse in a Stable1829
31
Study of a Saddled Bay Hunter1828 · イェール英国美術館
32
John, Henry and Francis Grant at Melton1823 · New Walk Museum - Art Gallery
33
Mr Green's Bay Mare1825 · New Walk Museum - Art Gallery
34
Lieutenant Henry Fortescue1824
35
Heaton Park Races (also known as In the Paddock)1829
36
A Bay Hunter in a Stable1829 · National Trust
37
Mr Pare's Coachman with a Newfoundland Dog1823 · New Walk Museum - Art Gallery
38
A Prize Ox in a Landscape1831 · National Trust
39
'Orion', a Chestnut Hunter Outside a Stable1831 · Brooke Robinson Museum
40
Two Greyhounds and a Dead Hare1824 · National Trust
41
Chestnut Hunter before a Stable1825 · National Trust
42
A Pair of Greyhounds1824 · ウォーカー・アート・ギャラリー
43
Portrait of the Artist and His Family in His Studio1823
44
Lieutenant Henry Fortescue (1798–1876)1824 · National Maritime Museum
45
Sir John Palmer on His Favourite Mare with His Shepherd, John Green, and His Prize Leicester Longwool Sheep1823
46
The Ferneley Family Pew in Melton Mowbray Parish Church, Leicestershire1828 · New Walk Museum - Art Gallery
47
Hunt Scurry1832
48
John Burgess of Clipstone, Nottinghamshire, on a Favourite Horse, with his Harriers1838
49
Hunter in a Landscape1839 · New Walk Museum - Art Gallery
50
John Burgess of Clipstone, Nottinghamshire, on a Favourite Horse, with his Harriers1838
51
Defiance, a Brood Mare, with Reveller, a Foal1833
52
Major Healey, Wearing Raby Hunt Uniform, Riding with the Sedgefield Hunt1833
53
Major Healey, Wearing Raby Hunt Uniform, Riding with the Sedgefield Hunt1833
54
'General Chasse' on the Course at Aintree1835 · ウォーカー・アート・ギャラリー
55
'Lofty', a Skewbald Carriage Horse, with a Greyhound1837 · National Trust
56
The Opening of the Leicester and Swannington Railway (The Arrival of the First Train at Bagworth, 17 July 1832)1832
57
A Bay Hunter Called 'Queen Mab' outside Calke Abbey1842 · National Trust
58
Gentleman in a Red Coat on a Bay Hunter1840 · ウォーカー・アート・ギャラリー
59
A Dappled Grey Hunter Called 'Spangle' and a Terrier Called 'Reveller'1843 · National Trust
60
Two Horses and a Dog1845
61
Archery Meeting in Bradgate Park, Leicestershire1850 · イェール英国美術館
62
Lieutenant Colonel Sir Robert Tolver Gerard, Bt, and His Regiment, the Lancashire Hussars, on Parade1851 · Duke of Lancaster's Own Yeomanry Museum
63
Grooms and Horses in front of Calke Abbey1850 · National Trust
64
Longford Lass and the Jew1853
65
Lieutenant Colonel Sir Robert Tolver Gerard, Bt, and His Regiment, the Lancashire Hussars, on Parade1851 · Duke of Lancaster's Own Yeomanry Museum
66
A Group of Ponies in the Park1850
67
Longford Lass and the Jew1853 · Fitzwilliam College
68
A Group of Ponies in the Park1850 · National Trust
69
A Strawberry Roan Mule and Two Lurchers in a Stable, and a Stable Lad1850 · National Trust
70
Lord Howe's Groom with Gray Hunter
71
Master John Marriott on a grey horse, with his sister Annis and their dogs
72
firebird and policy
73
A Bay Hunter In A Loose Box
74
A Gentleman Holding Dangerous, the Winner of the 1833 Derby
75
Mountsorrel, Leicestershire, the Market Place1842 · New Walk Museum - Art Gallery
76
The Game Keeper's Larder1836
77
'Rodolph', a bay hunter, in an extensive landscape
78
A Jockey On A Chestnut Hunter
79
A Chestnut Hunter in a Landscape
80
A Man in Hunt UniformUpton House
81
Solomon, Out of King David
82
A Grey Hunter in a StableNational Trust
83
A Chestnut Hunter in a FieldNational Trust
84
Lincoln High Street, Two Years after the Coming of the RailwaysUsher Gallery
85
Bay Racehorse and Rider
86
A Chestnut Hunter in a StableNational Trust
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
#45 Sir John Palmer on His Favourite Mare with His Shepherd, John Green, and His Prize Leicester Longwool Sheep
#62 Lieutenant Colonel Sir Robert Tolver Gerard, Bt, and His Regiment, the Lancashire Hussars, on Parade
#65 Lieutenant Colonel Sir Robert Tolver Gerard, Bt, and His Regiment, the Lancashire Hussars, on Parade
#74 A Gentleman Holding Dangerous, the Winner of the 1833 Derby
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | John Ferneleyの作品 | このリストの絵画 |
|---|---|---|---|
 イェール英国美術館 |
ニューヘイブン | 10 | Miss Catherine Herrick with her Nieces and Nephews, the Five Elder Children of the Rev. and Mrs. Henry Palmer, signed and dated 1827, The Quorn Hunt: a Sketch of the Artist and his Friends Moving Off, Euxton, with John White Up, at Heaton Park |
 National Trust |
ダービー | 9 | The Council of Horses (from John Gay's 'Fables'), A Groom (Frank Spence) with Two Ponies and Two Greyhounds in a Landscape, A Saddled Grey Hunter in a Loose Box |
 New Walk Museum - Art Gallery |
Leicester | 9 | Two Children with a Hurdy Gurdy, Melton Mowbray Horse Fair, Dr Thomas Ford |
 ウォーカー・アート・ギャラリー |
リバプール | 4 | The Quorn Hunt, A Pair of Greyhounds, 'General Chasse' on the Course at Aintree |
 National Trust |
ストックポート | 3 | A Grey Hunter in a Stable, A Chestnut Hunter in a Field, A Chestnut Hunter in a Stable |
 Nunnington Hall |
2 | William Rutson (1791–1867), on a Grey Hunter, A Groom and Two Hunters | |
 Usher Gallery |
Lincoln | 2 | The Burton Hunt, Lincoln High Street, Two Years after the Coming of the Railways |
 Sizergh Castle |
Kendal | 2 | Fox and Duck, Thomas Strickland (1792–1835), and Horse in the Hunting Field |
その時代を象徴する名作を見るために、年代を選択してください。
A man in a formal suit and top hat stands alongside his son, a composition that anchors the viewer in the social hierarchies of 1816. Beside them, a white horse, identified as the grey hunter Norton, provides a bright, vertical counterpoint to the human figures. The scene is populated by additional figures, including a person to the far left and another near the center, creating a sense of a gathered…
In this 1820 oil on canvas, we find William Rutson seated upon a grey hunter, a composition that captures a quiet moment of equestrian poise. The subject is positioned centrally, his posture reflecting the composed manner of a gentleman of his era. There is a certain stillness here, despite the inherent power of the animal beneath him. The horse, a grey hunter, is rendered with a keen understanding of equine…
The woods hold a quiet assembly. Under a canopy of leaves, horses of varying shades—brown, white, black, and red—gather in a clearing. They do not gallop. Instead, they stand in a stillness that feels heavy with intent. Some graze upon the forest floor, their heads lowered to the earth, while others remain upright, watching. Two birds occupy the periphery, one near the upper left and another toward the bottom right,…
Mr Powell and his Son, with Norton, a Grey Hunter (1816)。続いてThe Council of Horses (from John Gay's 'Fables') (1850)、William Rutson (1791–1867), on a Grey Hunter (1820)が続きます。
34歳：Mr Powell and his Son, with Norton, a Grey Hunterは1816年の作品で、John Ferneleyの生年は1782年です。
Mr Powell and his Son, with Norton, a Grey Hunter, The Council of Horses (from John Gay's 'Fables'), William Rutson (1791–1867), on a Grey Hunter, Mr Powell and his Son, with Norton, a Grey Hunter, The Meet of the Keith Hall Foxhounds, Miss Catherine Herrick with her Nieces and Nephews, the Five Elder Children of the Rev. and Mrs. Henry Palmer, signed and dated 1827, The Quorn Hunt: a Sketch of the Artist and his Friends Moving Off, Euxton, with John White Up, at Heaton Park, Duchess と The Quorn at Quenby (sketch)。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。
当カタログには、1813年から1856年にかけて制作されたJohn Ferneleyによる106点の作品が収められています。
主にイェール英国美術館 (ニューヘイブン), National Trust (ダービー) と New Walk Museum - Art Gallery (Leicester)に所蔵されています。上記の美術館一覧にすべて記載されています。
1820s年：このページにある全86作品のうち、23作品がその時期に制作されました。そのうちWilliam Rutson (1791–1867), on a Grey Hunter作品が含まれます。
このページでは、最も古い作品はFox and Duck (1813)、最新の作品はCarthorses with Grooms at a Fair (1856)です。
このページに掲載されている86点の作品におけるHunting (20), Beach (6) と Men (6)
このページに掲載されている全86作品のうち、5作品のOil On Canvas
このページに掲載されているオリジナル作品から判断すると、Neoclassicism と Contemporary realismです。
Miss Catherine Herrick with her Nieces and Nephews, the Five Elder Children of the Rev. and Mrs. Henry Palmer, signed and dated 1827, The Quorn Hunt: a Sketch of the Artist and his Friends Moving Off と Euxton, with John White Up, at Heaton Park：イェール英国美術館, ニューヘイブンには、このページに掲載されている作品のうち10点が所蔵されています。
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.
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:
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.
