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In het oog van de galerie is het beroemdste schilderij van John Ferneley Mr Powell and his Son, with Norton, a Grey Hunter (1816). The Council of Horses (from John Gay's 'Fables') (1850) en William Rutson (1791–1867), on a Grey Hunter (1820) maken het trio compleet dat elk oog herkent. Van de 106 werken van John Ferneley in onze catalogus presenteert de galerie hieronder de 86 bekendste werken, elk een origineel met de jaartal, het museum en wat het uniek maakt.
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 Meet of the Keith Hall Foxhounds is a grand-scale sporting oil painting by John Ferneley. Created about 1824, the work captures a traditional fox hunting scene. A group of mounted huntsmen gathers in the foreground, their scarlet coats providing a sharp contrast against the muted, earthy tones of the landscape. Beneath them, a pack of hounds spreads across the terrain, their forms following the undulating lines of the field.
Miss Catherine Herrick with her Nieces and Nephews, the Five Elder Children of the Rev. and Mrs. Henry Palmer, signed and dated 1827 is a work by the English painter John Ferneley. The piece is dated about 1829. Ferneley was born in 1782 in the village of Thrussington, Leicestershire, and died in 1860 in Melton Mowbray, Leicestershire.
The artwork is titled The Quorn Hunt: a Sketch of the Artist and his Friends Moving Off. It was executed by the artist John Ferneley in 1825. This piece belongs to the genre of sporting art, specifically focusing on the social and equestrian activities of the English countryside during the early nineteenth century.
The air feels heavy and damp, thick with the scent of wet earth and the quiet anticipation of a cloudy afternoon. In this sprawling expanse of Heaton Park, the landscape stretches out in muted tones of ochre and deep green, under a sky filled with soft, diffused light. A dark bay horse stands as the focal point, its sleek coat catching the dim light, while its rider sits with a…
In this 1831 oil on canvas, a woman sits atop a grey horse, presented in a formal equestrian profile. The rider wears a scarlet jacket that provides a sharp chromatic contrast to the pale, cool tones of the horse's coat. The horse is depicted with anatomical precision, showing the musculature of its neck and the subtle dappling of its grey hide. The subject is positioned centrally against a vast landscape…
The air feels heavy with the scent of damp earth and the frantic energy of the chase. In this wide, horizontal expanse, a hunting party surges through an open landscape, their forms caught in a moment of breathless pursuit. The scene is a flurry of movement where horses strain against their reins and hounds press forward, driven by the invisible scent of the game. Everything about the composition suggests a…
The Burton Hunt1830 · Usher Gallery
12
The Rev. and Mrs. Henry Palmer with their six younger children at Withcote Hall, Near Oakham, Leicestershire1838 · Yale Center for British Art
13
William Massey-Stanley driving his Cabriolet in Hyde Park1833 · Yale Center for British Art
14
Edward Horner Reynard and his Brother George Grouse-Shooting At Middlesmoor, Yorkshire, with Their Gamekeeper Tully Lamb1836 · Yale Center for British Art
15
A Groom (Frank Spence) with Two Ponies and Two Greyhounds in a Landscape1837 · National Trust
16
The Drag of Sir Watkin Williams Wynn1843 · Yale Center for British Art
17
Thomas Wilkinson, M.F.H., with the Hurworth Foxhound1846 · Yale Center for British Art
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 · Walker Art Gallery
27
Dr Thomas Ford1820 · New Walk Museum - Art Gallery
28
Archibald (1794–1832), Lord Kennedy, Later Earl of Cassillis, on a Hunter1819 · The 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 · Yale Center for British Art
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 · Walker Art Gallery
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 · Walker Art Gallery
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 · Walker Art Gallery
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 · Yale Center for British Art
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
#2 The Council of Horses (from John Gay's 'Fables')
#3 William Rutson (1791–1867), on a Grey Hunter
#4 Mr Powell and his Son, with Norton, a Grey Hunter
#5 The Meet of the Keith Hall Foxhounds
#6 Miss Catherine Herrick with her Nieces and Nephews, the Five Elder Children of the Rev. and Mrs. Henry Palmer, signed and dated 1827
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 8 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van John Ferneley | Schilderijen uit deze lijst |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 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 |
Derby | 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 |
 Walker Art Gallery |
Liverpool | 4 | The Quorn Hunt, A Pair of Greyhounds, 'General Chasse' on the Course at Aintree |
 National Trust |
Stockport | 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 |
Kies een decennium om het origineel te zien dat dit tijdperk definieert.
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…
In this 1831 oil on canvas, a woman sits atop a grey horse, presented in a formal equestrian profile. The rider wears a scarlet jacket that provides a sharp chromatic contrast to the pale, cool tones of the horse's coat. The horse is depicted with anatomical precision, showing the musculature of its neck and the subtle dappling of its grey hide. The subject is positioned centrally against a vast landscape…
A formal 19th-century equestrian portrait captures a moment of stillness within an outdoor courtyard. The composition achieves balance by weighing the carriage and horses on the left against the architectural structure and figures on the right. Earthy tones of deep brown, ochre, and muted green dominate the scene, punctuated by the red of a soldier's uniform and the driver's jacket. Vertical lines from the buildings and standing figures contrast with…
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). The Council of Horses (from John Gay's 'Fables') (1850) en William Rutson (1791–1867), on a Grey Hunter (1820) volgen.
34 jaar oud: Mr Powell and his Son, with Norton, a Grey Hunter dateert uit 1816, en John Ferneley werd geboren in 1782.
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 en The Quorn at Quenby (sketch). De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 106 werken van John Ferneley, daterend van 1813 tot 1856.
Voornamelijk in Yale Center for British Art (New Haven), National Trust (Derby) en New Walk Museum - Art Gallery (Leicester). De bovenstaande museumtabel bevat een volledig overzicht.
In 1820s: 23 van de 86 werken op deze pagina werden toen gemaakt, waaronder William Rutson (1791–1867), on a Grey Hunter.
Op deze pagina is het vroegste Fox and Duck (1813) en het laatste Carthorses with Grooms at a Fair (1856).
Hunting (19), Horse (16) en Landscape (11), verspreid over de 86 werken op deze pagina.
Oil On Canvas, voor 15 van de 86 werken op deze pagina.
Neoclassicism en Contemporary realism, te oordelen aan de originelen op deze pagina.
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 en Euxton, with John White Up, at Heaton Park: het Yale Center for British Art, New Haven herbergt 10 van de werken op deze pagina.
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.
