1 of 3 images

John Ferneley Senior
A bay thoroughbred horse in a landscape

About

A bay thoroughbred in a landscape Oil painting on unlined canvas 34 x 42 inches in its original antique giltwood frame. Signed, “J. Ferneley” inscribed “Melton Mowbray” and dated 1842 Provenance: Commissioned in 1842 by William Everard of Gosberton, Lincolnshire, Literature: [presumably] the artist's account book no.509, where listed as “W.Everard Esq., Dec. 1842 £10 10s 0d”; Burton Court collection, Yorkshire John Ferneley was born at Thrussington in Leicestershire, in the midst of the English Hunting Shires. His precocity attracted the attention of the Duke of Rutland, who persuaded his wheelwright father to apprentice him to the great Sporting Painter Ben Marshall. The latter became a life-long friend as well as teacher. Little of Ben Marshall's broad and vigorous technique is evident in his pupil's later free and refined style, though some of Ferneley's early works, such as those painted on his visits to Ireland between 1808 and 1812 have echoes of his Master. Ferneley’s most important early patron had been the young Duke of Rutland for whom he had painted several pictures in the years up to 1808, and it was the Duke, whose father had been Lord Lieutenant of Ireland, who gave him introductions to the sporting aristocracy of Ireland. He first arrived in Ireland in late 1808/early 1809, and stayed about a year, returning to Thrussington in November 1809. He had painted for such distinguished patrons as the Lords Lismore and Rossmore, the Earl of Belmore and the Trenches and O’Callaghans. He contrived to earn and save £180, enough to pay for his marriage to Sally Kettle shortly after his return to England. They stayed in England only a few weeks, returning to Ireland in the Spring of 1810, where they were received with generosity and affection by the clients of the previous year. In five months they amassed a small fortune of over £200 (compare this with a labourer’s weekly wage at the time of eight shillings (£0.40)). Ferneley is without question the best sporting artist of his day working in Ireland, and yet few indeed of his paintings of this prolific period survive and are identified today. There are still two such in the collection of the Earl of Belmore at Castle Coole, and they are also of “Egyptian Ponies”, like the present painting, called “Plenipo” and “Buffer”. (Information kindly provided by John, the present Lord Belmore) Ferneley rapidly established a distinguished English and Scottish clientele, and he and Herring were the Sporting Painters par excellence in the period 1820-1850. Ferneley was himself a keen sportsman, and he tells us in his (eccentrically spelled) surviving letters of his exploits in the field. Throughout most of his working life he kept a meticulous Book of Accounts, which enable the vast majority of his work to be traced and identified. This makes him the best-documented - not to say one of the most satisfying - Sporting Artists in the heyday of hunting. Ferneley was patronised at the highest levels of society, and he seems to have been accepted by the sporting grandees who were his patrons as an agreeable companion as well as a fine painter. He stayed, for instance, with family of the Earl of Kintore at Keith, where he not only painted numerous commissions, including a vast and splendid Hunting Conversation-piece but also took part in all the sports both equine and shooting, joining members of the family shooting game and stalking in the hills above Keith. He died on June 3rd 1860, and was buried at Thrussington. His sons, John Jr and Claude Lorraine, were competent sporting painters, though not in the same exalted class as their father. The present painting was commissioned in 1842 by William Everard of Gosberton, an estate with large Georgian house near Spalding in the Lincolnshire fens, about 40 miles east of Melton Mowbray (see photograph below). Everard was an occasional patron of Ferneley in the 1840's, ordering portraits of favourite horses.

Details

  • Artist
    John Ferneley Senior (1782 - 1860, British)
  • Creation year
  • Gallery location
    London, GB
  • Reference number
    LU44631530953

Shipping, Returns & Payment

  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
    Generate an invoice that you can customize and print.

About the Seller

Recognized
Vetted
1stdibs seller since 2016
Typical response time: 2 hrs
Located in London, GB
Associations:
LAPADA - The Association of Arts & Antiques Dealers
International Confederation of Art and Antique Dealers' Associations
The British Antique Dealers' Association
You may also contact the seller by phoneCall seller through 1stdibs

Why Shop on 1stdibs?

Learn More

Only Vetted, Professional Sellers

Buyer Protection Guaranteed

Fully Insured Global Deliveries

More From This Seller
$13,396

A pastoral landscape with shepherds tending the...

William Mulready

Canvas, Oil

A pastoral landscape with shepherds tending their flock of sheep Oil painting on canvas 28 x 36 inches in its giltwood frame Signed lower left corner “W. Mulready” Provenance: ...

$30,228

A set of four hunting scenes

John Nott Sartorius SNR

Oil

John Nost Sartorius 1759-1828 A set of 4 hunting scenes, with horses, hounds in landscapes Signed Oil painting on canvas 35.6 x 45.7 cm 14 x 18 in

$19,236

A pair of hunting scenes

Francis Sartorius

Oil

John Francis Sartorius 1755-1831 A pair of Hunting scenes Oil on canvas 36 x 53 cm 14 1/8 x 20 7/8 in

Price Upon Request

A huntsman on horse back accompanied by fox hou...

John Nott Sartorius SNR

Oil

John Nost Sartorius (1759-1828) A huntsman on a bay, accompanied by three foxhounds and a member of the field on a dark bay, talking to a farmer by a cottage Signed and dated 1808 Oi...

You May Also Like
$13,603

“Sheep on a Hillside”

Charles Jones (b.1836)

Canvas, Oil

A delightfully observed and detailed observation of sheep on a moorland hill, observed by the meticulous and skilled hand of renowned Victorian animal painter Charles Jones. Signe...

$1,854

Over the Brook

Samuel Edmund Waller

Oil, Board

Samuel Edmund Waller British, (1850–1903) Over the Brook Oil on canvasboard, signed & dated ‘96 Image size: 6½ inches x 12 inches Size including frame: 11 inches x 16½ inches Samuel ...

$7,557

At Herne, Kent, oil on canvas

William Sidney Cooper

Canvas, Oil

William Sidney Cooper British, (1854-1927) At Herne, Kent Oil on canvas, signed & dated 1921 Image size: 20 inches x 30 inches Size including frame: 31 inches x 41 inches ...

$7,557

Near Amberley, Sussex, oil on canvas

William Sidney Cooper

Canvas, Oil

William Sidney Cooper British, (1854-1927) Near Amberley, Sussex Oil on canvas, signed & dated 1921 Image size: 20 inches x 30 inches Size including frame: 31 inches x 41 ...

$2,541

Taking Aim

Robert John Hammond

Canvas, Oil

Robert John Hammond British, (1853-1911) Taking Aim Oil on canvas, signed & dated 1894 Image size: 11½ inches x 8½ inches Size including frame: 18¼ inches x 15¼ inches Robert Joh...

$7,488

The Day’s Bag

D. Murray

Canvas, Oil

D Murray British, (1844-1903) The Day’s Bag Oil on canvas, signed Image size: 35½ inches x 49 inches Size including frame: 44¼ inches x 57¾ inches D Murray was the pseudonym of Rober...

$7,832

Sheep in the Highlands

Robert Watson

Canvas, Oil

Robert Watson British, (1855-1921) Sheep in the Highlands Oil on canvas, signed & dated 1916 Image size: 20 inches x 30 inches Size including frame: 27 inches x 37 inches Robert Will...

$9,549

Highland Cattle

Walter J. Watson

Canvas, Oil

Walter J Watson British, (1877-1963) Highland Cattle Oil on canvas, signed & dated 1908 Image size: 15.5 inches x 25.5 inches Size including frame: 21.5 inches x 31.5 inches Walte...