11th Jan, 2020 9:30 GMT/BST

Sporting Art

 
Lot 2035
 

2035

John Ferneley Snr. (1782-1860) Portrait of Sir Francis Grant on Grindal Oil on canvas, 83.5 by...

John Ferneley Snr. (1782-1860)
Portrait of Sir Francis Grant on Grindal
Oil on canvas, 83.5 by 110cm

Provenance: Sir Francis Grant, thence by descent

John Ferneley Snr. was arguably the most gifted painter of sporting subjects of his generation. What set him apart was his ability to pinpoint equine characteristics and to faithfully record the surrounding landscape. In this way, his works are some of the most important records of 19th Century Sporting Britain. Ferneley was the sixth son of a Leicestershire wheelwright, his talent was spotted at a young age by the Duke of Rutland who, in 1801, is said to have persuaded Ferneley's father to allow him to become a pupil of Ben Marshall, himself of Leicestershire origin who was then working in London. Ferneley studied and lodged with Marshall between 1801 and 1804 and was enrolled by him in the Royal Academy Schools. Ferneley's rise to prominence was fast, exhibiting his first picture at the Royal Academy in 1806.

By 1814 he had set up his studio in Melton Mowbray, the hub of the fox-hunting scene with three fashionable packs, the Quorn, the Belvoir and the Cottesmore, providing hunting six days a week. Each winter an influx of 250-300 sportsmen, distinguished by birth, profession and intellect and unaccompanied by their wives, entered into a world obsessed by the chase. Ferneley flourished with a steady stream of patronage and his work became increasingly desirable. His patrons included many of the famous sportsmen of the day, and members of some of the most prominent aristocratic families.

Sir Francis Grant PRA (1803-1878) was one such gentleman, his life-long passion for fox-hunting led him eventually to move to Melton Mowbray. Ferneley and Grant met during the 1820s when Grant studied under him. Following Grant's launch as a professional artist in the 1830s, he and Ferneley frequently collaborated, Grant providing portraits and Ferneley the animals. Portrait of Sir Francis Grant on Grindal is a wonderful example of this partnership, executed in 1851 when Grant was 48 years old, the face is a self-portrait by Grant.

The present picture is not recorded in Ferneley's account books. This can be explained by the existence of an almost identical version of the work, commissioned by Ferneley's friend and patron Little Gilmore. Portrait of F. Grant, Esq., A.R.A., on a favourite hunter was exhibited at the Royal Academy in 1850, no. 536 (see Major G. Paget, The Melton Mowbray of John Ferneley, 1782-1860. The account books of John Ferneley, Leicester 1931, facing p. 51). As Ferneley exhibited only 22 works at the Royal Academy throughout his career, he was clearly extremely pleased with the portrait of Grant. Indeed, both artists were so delighted with the work that the following year they collaborated to bring about the present picture, with a few compositional alterations, for Grant's own personal collection. The work is a fine example of Ferneley's brilliance in rendering a remarkable horse portrait as well as his skill in conveying a sense of space and fresh air in the harmonious palette of the scenery, punctuated by the vibrant red of the huntsmen's coats.

Sold for £15,000
Estimated at £15,000 - £20,000


 

In fully restored condition. Re-lined, cleaned and re-varnished. Various areas of fine infilling to the left of and above the horses head within the sky, at the tip of the horses nose and in the area moving towards the horizon on the left hand side. Thicker and more consistent overpainting at horizon height on the left hand side and extending upwards to approx 4cm at its widest point. The immediate area around the shoulders, head and hat of the figure on the far left hand side has been strengthened and overpainted. The central horse of this group has had slightly less concentrated restoration and elements of the white horse beside this, particularly within the areas of definition, have also been strengthened, as has the extended neck and ears of the horse on the far right of this arrangement. The landscape between this group and the primary standing horse has been overpainted, which extends to approx. 1/3 of the landscape beneath the standing horses belly. A reasonable to signification amount of the darker tones and definition of the hose has been overpainted/strengthened (mostly contained to the body). The upper part of the top hat worn by the rider, the left hand side of the brim, outline of his face, right hand side cheek and lapel of his jacket have all been restored. Further infilling to old craquelure within lower right hand side. The surface of the sky especially is somewhat thin and flat as a result of the restoration process, with likely areas of general strengthening. Varying stable craquelure throughout surface. Discoloured varnish and surface dirt now in evidence. For further information please contact the department.

 


We are happy to provide Condition Reports to prospective buyers, but would welcome your request as soon as possible, preferably at least 48 hours before the Day of Sale. We cannot guarantee a reply to any requests made within 48 hours of the start of the auction. The absence of a Condition Report from a lot does not mean that the lot is in perfect condition. A Condition Report is an honest expression of our opinion, not a statement of fact and is provided as a service to the seller. All lots are available on public view ahead of an auction and we encourage prospective buyers to inspect an item in person where possible. Our Condition Reports are not prepared by professional conservators, restorers, or engineers, and are prepared with the naked eye unless otherwise stated.

Regarding Pictures, Prints and Works on Paper, works are not examined out of the frame, unless specifically stated. Tennants Auctioneers do not cover damage to gilded wood or plaster picture frames, or to picture frame glass whilst the item is in our possession.

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Auction: Sporting Art, 11th Jan, 2020

Sporting Art

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