Victorian Oil Painting Derby Winner Melton With Champion Jockey Fred Archer C1885

F S Evans 1885 Melton Derby Winner With Fred Archer Original Victorian Sporting Oil Painting

An important original nineteenth-century British sporting oil painting signed and dated 1885 by F. S. Evans, depicting Melton, winner of the Epsom Derby and St Leger, with legendary champion jockey Fred Archer mounted.

The painting is distinguished by its contemporary signature and date, original Percy Young canvas supplier's stamp, published provenance from the estate of Stafford Ellerman and important comparative works in the National Trust collection.

Continuing historical research has also brought forward valuable correspondence and family photographs supplied by Fred Archer's great-granddaughter, Diana Reynolds, alongside the painting's private exhibition at The Famous Lord Hill Museum in October 2026.

Highlights

• Original Victorian British oil on canvas, signed and dated 1885.

• Depicts Melton, winner of the 1885 Epsom Derby and St Leger.

• Features Fred Archer (1857–1886), five-time Epsom Derby-winning jockey.

• Signed F. S. Evans and dated 1885, lower right.

• Melton was owned by George Manners Astley, 20th Baron Hastings.

• Two important comparative paintings by Evans in the National Trust collection.

• Original Percy Young, Slade School Fine Art Depot, canvas supplier's stamp.

• Documented auction appearance at Ewbank's, 21 March 2024, Lot 1178.

• Provenance from the estate of Stafford Ellerman (1928–2022).

• Reported historical connection involving Stafford Thomas Cass, subject to verification.

• Correspondence and historical photographs supplied by Diana Reynolds.

• Family testimony concerning Archer's likeness and the historical significance of Melton's Derby victory.

• Privately loaned and exhibited at The Famous Lord Hill Museum, October 2026.

• Original canvas measuring 91.3 × 74 cm.

• Substantial late-Victorian gilt frame beneath protective glazing.

• Framed dimensions: 99 × 81 × 2.5 cm.

Introduction

An exceptional subject within British Victorian sporting art, depicting one of the most celebrated partnerships in nineteenth-century horse racing.

Melton's victories in the Epsom Derby and St Leger of 1885 established him among the outstanding thoroughbreds of his generation.

His association with Fred Archer, one of the greatest jockeys in British racing history, gives the painting particular historical significance.

Signed and dated during the year of these victories, the work provides a compelling connection with the golden age of the Victorian Turf.

The painting's importance is further enhanced by its documented auction provenance, historic material evidence, National Trust comparisons and recent family correspondence.

Catalogue Details

Artist: F. S. Evans, British sporting painter, documented as active in 1885.

Title: Melton with Fred Archer Up.

Date: 1885.

Medium: Original oil on canvas.

Signature: F. S. Evans, dated 1885, lower right.

Subject: Melton, the bay thoroughbred, with jockey Frederick James Archer mounted.

Historical owner of Melton: George Manners Astley, 20th Baron Hastings.

Trainer: Mathew Dawson, Newmarket.

Historical context: Epsom Derby and St Leger victories, 1885.

Artistic classification: British Victorian sporting art, equestrian portraiture and thoroughbred painting.

Canvas supplier: Percy Young, Slade School Fine Art Depot, 137 Gower Street, London.

Frame: Late-Victorian gilt moulded frame with protective glazing.

Auction: Ewbank's, Silver & Fine Art, 21 March 2024, Lot 1178.

Recorded provenance: Estate of Stafford Ellerman (1928–2022).

Comparative institutional references: National Trust collection numbers 1276782 and 1276788.

Exhibition: The Famous Lord Hill Museum, October 2026.

Catalogue Note

Melton was one of the outstanding racehorses of the late-Victorian period.

Owned by George Manners Astley, 20th Baron Hastings, and trained by Mathew Dawson at Newmarket, Melton achieved his greatest successes during the 1885 racing season.

On 3 June 1885, he won the Epsom Derby after a dramatic contest with Paradox, ridden by Fred Webb.

The close finish became one of the memorable sporting events of the year.

Melton subsequently won the St Leger at Doncaster, completing an exceptional Classic double.

These achievements established his reputation and brought considerable prestige to Lord Hastings's racing establishment.

Fred Archer, who rode Melton, was already among Britain's most successful jockeys.

Born in 1857, Archer developed his career under Mathew Dawson and became famous for his exceptional judgement, determination and success in the principal British races.

His achievements included five Epsom Derby victories.

His death in November 1886, aged only 29, brought an extraordinary career to a tragic conclusion.

The present painting is signed and dated 1885, placing it during the final full racing season of Archer's life.

Evans depicts Melton standing in profile, his muscular bay form carefully observed and modelled against an expansive landscape.

Archer sits mounted in racing colours, adopting the relatively upright riding position characteristic of nineteenth-century British racing.

The horse's refined anatomy, carefully represented tack and the atmospheric treatment of the landscape reflect the established tradition of British sporting portraiture.

The painting's substantial scale and formal composition are consistent with the nineteenth-century practice of commemorating important racehorses through oil portraits.

Such works were frequently associated with aristocratic patrons and country-house collections.

Although the painting's subject strongly connects it with Lord Hastings's racing interests, its original commissioning patron has not yet been conclusively established.

Fred Archer – The Victorian Champion Jockey

Frederick James Archer was born on 11 January 1857 and became one of the most successful jockeys in British racing history.

His career was closely associated with trainer Mathew Dawson at Heath House, Newmarket.

Archer's extraordinary riding ability and competitive determination established him as one of the defining sporting personalities of Victorian Britain.

He won five Epsom Derbies during his career.

His partnership with Melton in 1885 produced victories in both the Derby and St Leger, adding to his exceptional record.

Archer died on 8 November 1886, aged 29.

His early death contributed to the enduring fascination surrounding his career.

Contemporary portraits, photographs and sporting records remain particularly important for understanding his appearance, achievements and place within British racing history.

Fred Archer's Family – Diana Reynolds and Historical Testimony

An especially significant development in the research has been correspondence with Diana Reynolds, Fred Archer's great-granddaughter.

In October 2026, Diana examined photographs of the painting and expressed particular admiration for the artist's representation of Archer.

She drew attention to the depiction of his mouth and teeth, recognising characteristics that reminded her of physical features inherited within her family.

Diana explained that her eldest brother had possessed similar teeth, although they had subsequently been straightened.

This observation provides a valuable personal perspective on the painted likeness.

Diana also supplied historical family photographs, including a photographic portrait of Archer and images documenting the Archer family memorial.

She explained that she had arranged for the grave of Fred Archer and his wife, Helen Rose, to be cleaned and restored.

Her correspondence included a family recollection passed down through her mother, Susan Tosetti, and her grandmother Nellie.

According to the story, Lord Hastings's wife was unable to attend Melton's Derby victory because she was heavily pregnant.

The child born subsequently was reportedly given the name Charles Melton Ashley in commemoration of the celebrated racehorse.

Diana recalled that Fred Archer was particularly pleased when informed of the naming.

The story is recorded as family oral history rather than independently verified documentary evidence.

The precise spelling of the child's name and associated genealogical details remain subjects for further verification.

Diana kindly granted permission for her contribution to the research to be acknowledged.

Her observations and family recollections provide valuable historical context but do not independently establish the painting's original commission, authorship or provenance.

The Artist – F. S. Evans

F. S. Evans was a nineteenth-century British sporting painter whose documented works include representations of horses associated with George Manners Astley, 20th Baron Hastings.

The National Trust records two important paintings by Evans, both dated 1885, at Seaton Delaval Hall, Northumberland.

The first, Melton, a Bay Racehorse, with Fred Archer Up, collection number 1276782, depicts the same celebrated horse and jockey.

The second, Master Kildare, a Chestnut Hunter, in a Loose Box, collection number 1276788, portrays another horse associated with Lord Hastings.

Both paintings are signed and dated 1885.

These institutional works provide important comparative evidence for Evans's artistic activity during the same year as the present painting.

The National Trust's Master Kildare also retains a canvas supplier's stamp associated with the Slade School Fine Art Depot.

The presence of a related supplier's stamp on the present painting offers an interesting material comparison.

However, similarity between the marks does not independently establish a shared commission, common ownership or identical artistic authorship.

Evans's full forenames, biographical dates, artistic training and wider exhibition history remain incompletely documented.

Further research into nineteenth-century exhibition catalogues, artists' directories, contemporary newspapers and archival records may clarify his identity and career.

Original Signature and Inscriptions

Signed F. S. Evans and dated 1885, lower right.

The signature and date are visible in the detailed photographs and correspond with the artist identification recorded in Ewbank's March 2024 auction catalogue.

The National Trust's separately catalogued painting of Melton records the inscription F S EVANS / 1885.

The reverse of the present canvas bears a historic supplier's stamp associated with:

Percy Young

Slade School Fine Art Depot

137 Gower Street

London W.C.

The stamp provides valuable material evidence concerning the canvas support and the nineteenth-century London artists' materials trade.

The National Portrait Gallery's British artists' suppliers directory identifies Percy Young in connection with the supply of artists' materials and the Slade School of Fine Art.

A comparable Slade School Fine Art Depot supplier's stamp is recorded on the National Trust's Master Kildare.

The marks provide a useful basis for future comparative research into canvas manufacture, supply and the working materials associated with Evans.

The supplier's stamp does not independently establish the painting's original commission, ownership or artistic attribution.

Provenance

F. S. Evans, 1885.

Original commissioning patron and earliest ownership not conclusively established.

Reported historical association involving Stafford Thomas Cass (1849–1934), requiring further documentary verification.

Later Ellerman family ownership, according to the provenance supplied to Ewbank's.

Estate of Stafford Ellerman (1928–2022), United Kingdom.

Ewbank's, Silver & Fine Art, Surrey, 21 March 2024, Lot 1178.

Acquired at Ewbank's in March 2024.

Cheshire Antiques Consultant LTD®, United Kingdom.

The Ewbank's catalogue records that the painting passed to the auction vendor from the estate of Stafford Ellerman.

An earlier reported provenance narrative connects the painting with Stafford Thomas Cass and George Manners Astley, 20th Baron Hastings.

The documentary basis for this earlier connection remains under investigation.

No original commission document, contemporary gift record or uninterrupted chain of ownership from 1885 has yet been established.

Further enquiries concern the Astley family archives, Melton Constable estate records, original auction vendor documentation and potential Cass family papers.

Exhibition History

The Famous Lord Hill Museum, United Kingdom, October 2026.

Privately loaned and exhibited at The Famous Lord Hill Museum in October 2026.

This exhibition history is recorded from information supplied by Cheshire Antiques Consultant LTD®.

No independently verified nineteenth-century exhibition history has presently been established.

The related National Trust paintings provide important institutional comparisons but do not establish an earlier exhibition history for the present work.

Frame and Presentation

Presented in a substantial late-Victorian gilt moulded frame beneath protective glazing.

The decorative gilt finish complements the rich colouring of Melton's bay coat and the atmospheric landscape.

The frame displays age-related characteristics consistent with historic use.

The painting's generous horizontal composition is particularly suitable for a country-house interior, traditional library, private sporting collection, study or historically furnished reception room.

The precise date and original association of the frame have not been independently established through technical examination.

Dimensions

Framed: 99 cm Wide × 81 cm High × 2.5 cm Depth.

Canvas: 91.3 cm Wide × 74 cm High.

Framed in inches: Approximately 38.98 inches Wide × 31.89 inches High × 0.98 inches Deep.

Canvas in inches: Approximately 35.94 inches Wide × 29.13 inches High.

The canvas width has been confirmed by Cheshire Antiques Consultant LTD® through direct measurement.

Ewbank's published the canvas dimensions as approximately 91 × 74 cm in March 2024.

Condition Report

The original Victorian oil painting is presented in attractive antique condition, commensurate with its age.

The painted surface exhibits age-related craquelure, light foxing and minor surface wear.

The principal composition retains clear definition, with rich colouring and a visible original signature and date.

The gilt frame displays age-related rubbing, surface marks and minor losses.

The painting remains beneath protective glazing.

The reverse retains the historically significant canvas supplier's stamp associated with Percy Young of Gower Street, London.

No independent technical conservation examination, pigment analysis, ultraviolet examination or scientific authentication is represented as having been undertaken.

The observations are based on the available photographic, catalogue and historical evidence and should not be interpreted as a formal conservation assessment.

Please examine the detailed photographs, which form an integral part of the condition description.

Additional photographs and further condition information are available upon request.

Published References and Primary Sources

Ewbank's, Silver & Fine Art, 21 March 2024, Lot 1178, recording the painting, artist, signature, date, canvas dimensions and Stafford Ellerman estate provenance.

National Trust Collections, Melton, a Bay Racehorse, with Fred Archer Up, F. S. Evans, 1885, collection number 1276782.

National Trust Collections, Master Kildare, a Chestnut Hunter, in a Loose Box, F. S. Evans, 1885, collection number 1276788.

National Portrait Gallery, British artists' suppliers directory, Percy Young, 137 Gower Street, London.

Historical racing records documenting Melton's victories in the 1885 Epsom Derby and St Leger.

Contemporary biographical and sporting records concerning Frederick James Archer (1857–1886).

Correspondence with Diana Reynolds, Fred Archer's great-granddaughter, October 2026, concerning the painted likeness, inherited family characteristics and historical family recollections.

Historical family photographs supplied by Diana Reynolds, including a photographic portrait of Fred Archer and photographs of the Archer family memorial.

Original canvas supplier's stamp associated with Percy Young, Slade School Fine Art Depot, 137 Gower Street, London.

Norfolk Record Office, Astley family and Melton Constable estate papers, accession ACC 2002/272, identified for further archival investigation.

British Library, manuscript reference Add MS 69411, identified as a potentially relevant archival research lead.

Further potential research sources include original Ewbank's vendor documentation, Astley family inventories, estate accounts, racing correspondence and nineteenth-century exhibition catalogues.

The archival sources identified for further investigation are not represented as having established the painting's original commission or complete ownership history.

Shipping

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Owing to the framed presentation of the artwork, it will be professionally packaged using appropriate protective materials and dispatched fully insured.

International buyers are welcome. Please contact us for a destination-specific delivery quotation or to discuss any particular shipping requirements.

Certificate of Sale & Dealer Attribution

The artwork will be supplied with a Certificate of Sale & Dealer Attribution issued by Cheshire Antiques Consultant LTD®, recording the artwork's catalogue details, attribution, provenance as stated, exhibition history and details of the sale. This document accompanies the work as part of its ongoing ownership and provenance record.

Attribution and Research

The historical observations, provenance research, attribution analysis, dating and contextual commentary presented within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®. They are offered in good faith as informed scholarly assessments based upon the available physical evidence, historic inscriptions, comparative research, published reference material, firsthand correspondence from the artist's family and our experience within the international fine art market.

These observations should be understood as professional opinions rather than definitive guarantees of authorship, attribution, date, origin, provenance or historical interpretation. The identification of the ponies, original location and circumstances of creation is supported by firsthand correspondence from the artist's wife, dated 25 October 2026. As with all works of art, future documentary discoveries or additional information may refine or expand current interpretations.

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