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John Ferneley JuniorCharger (military horse) "Sphinx"1860
1860
$10,838.86
£8,000
€9,360.80
CA$14,931.24
A$16,722.05
CHF 8,725.29
MX$204,252.60
NOK 111,011.07
SEK 104,641.24
DKK 69,858.54
About the Item
John Ferneley Jr. (1815–1862) was born in 1815 in Melton Mowbray, Leicestershire, the eldest son of renowned sporting artist John Ferneley Sr. Growing up in a family immersed in the world of equestrian art, Ferneley Jr. was introduced to painting at an early age under his father's tutelage. His siblings, including brother Claude Lorraine Ferneley and sister Sarah Ferneley, also pursued artistic careers, indicating a family deeply engaged in the arts.
By 1839, Ferneley Jr. had established his own studio in Malton, North Yorkshire, marking the beginning of his independent artistic career. He specialized in equestrian portraits and sporting scenes, capturing the grace and power of horses with meticulous attention to detail. His works often depicted horses in various settings, from racing scenes to portraits in stables, reflecting the sporting culture of 19th-century Britain.
Ferneley Jr.'s clientele included wealthy landowners and aristocrats, and he produced a series of paintings for the 7th (Princess Royal's) Dragoon Guards and the 4th Royal Irish Dragoon Guards. His ability to convey the elegance and vitality of horses made his works highly sought after.
In 1846, Ferneley Jr. married Rachel Strickland, and later, in 1856, he married Mary Wilcox, a widow from Cheshire. The couple resided near Manchester, where Ferneley Jr. continued his artistic endeavours until his death in 1862. His legacy as a prominent equestrian artist endures, with his works held in various collections and admired for their historical and artistic value.
"Sphinx" (1860)
The painting showcases Sphinx as a proud and muscular charger, characterized by its reddish brown coat and distinct black legs. The horse stands poised, exuding strength and elegance, with its name "Sphinx" inscribed in green on the bottom left corner of the canvas.
In the background, two other horses are visible: one white and the other dark brown. These figures add depth to the composition and suggest a dynamic equestrian scene. The inclusion of these horses also reflects Ferneley Jr.'s skill in creating a sense of movement and interaction within his works.
The choice of the name "Sphinx" for the horse may have been symbolic, perhaps alluding to the animal's enigmatic and regal presence. Such naming conventions were common among aristocratic horse owners of the time, who often chose names that conveyed power, mystery, or nobility.
This painting exemplifies Ferneley Jr.'s expertise in capturing the essence of horses, not merely as animals but as subjects of grace and character. His works continue to be celebrated for their historical significance and artistic merit, offering a glimpse into the equestrian culture of 19th-century Britain.
Signed John Ferneley 1860.
Sizes without the frame 73 x 93 cm.
Painting and frame conservation services are provided upon request. Please message us for further advice.
- Creator:John Ferneley Junior (1815 - 1862, British)
- Creation Year:1860
- Dimensions:Height: 33.08 in (84 cm)Width: 40.56 in (103 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:London, GB
- Reference Number:Seller: 321stDibs: LU2841216327862
John Ferneley Junior
Born in Melton Mowbray 1815 and died in Leeds 1862 He was the eldest son of John Ferneley Senior, and brother to Claude Lorraine Ferneley but little else is known about his life except that he worked in Manchester, York, and died in Leeds. His work is often confused with that of his father. It is also believed that both father and son collaborated on many pictures, John Jnr. tended to sign his paintings John Ferneley whilst his father signed then J. Ferneley. But John Jnr would also sign his paintings in heavy black paint and would add either York or Jnr and sometimes both. It is likely that he received some of his earliest training with his father in the creation of the plates for the famous color print series Count Sandor's Hunting Exploits in Leicestershire. Out of the two brothers, he was probably the most confident as he tackled large composition pieces both military and hunting. He died a bachelor in Manchester in 1862
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