{"product_id":"victorian-oil-painting-derby-winner-melton-with-champion-jockey-fred-archer-c1885","title":"Victorian Oil Painting Derby Winner Melton With Champion Jockey Fred Archer C1885","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eF S Evans 1885 Melton Derby Winner With Fred Archer Original Victorian Sporting Oil Painting\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eContinuing 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHighlights\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal Victorian British oil on canvas, signed and dated 1885.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eDepicts Melton, winner of the 1885 Epsom Derby and St Leger.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eFeatures Fred Archer (1857–1886), five-time Epsom Derby-winning jockey.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eSigned F. S. Evans and dated 1885, lower right.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eMelton was owned by George Manners Astley, 20th Baron Hastings.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eTwo important comparative paintings by Evans in the National Trust collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal Percy Young, Slade School Fine Art Depot, canvas supplier's stamp.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eDocumented auction appearance at Ewbank's, 21 March 2024, Lot 1178.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eProvenance from the estate of Stafford Ellerman (1928–2022).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eReported historical connection involving Stafford Thomas Cass, subject to verification.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eCorrespondence and historical photographs supplied by Diana Reynolds.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eFamily testimony concerning Archer's likeness and the historical significance of Melton's Derby victory.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003ePrivately loaned and exhibited at The Famous Lord Hill Museum, October 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eOriginal canvas measuring 91.3 × 74 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eSubstantial late-Victorian gilt frame beneath protective glazing.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eFramed dimensions: 99 × 81 × 2.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIntroduction\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn exceptional subject within British Victorian sporting art, depicting one of the most celebrated partnerships in nineteenth-century horse racing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMelton's victories in the Epsom Derby and St Leger of 1885 established him among the outstanding thoroughbreds of his generation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis association with Fred Archer, one of the greatest jockeys in British racing history, gives the painting particular historical significance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned and dated during the year of these victories, the work provides a compelling connection with the golden age of the Victorian Turf.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting's importance is further enhanced by its documented auction provenance, historic material evidence, National Trust comparisons and recent family correspondence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCatalogue Details\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist: F. S. Evans, British sporting painter, documented as active in 1885.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTitle: \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMelton with Fred Archer Up\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDate: 1885.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMedium: Original oil on canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSignature: F. S. Evans, dated 1885, lower right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSubject: Melton, the bay thoroughbred, with jockey Frederick James Archer mounted.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical owner of Melton: George Manners Astley, 20th Baron Hastings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTrainer: Mathew Dawson, Newmarket.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical context: Epsom Derby and St Leger victories, 1885.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtistic classification: British Victorian sporting art, equestrian portraiture and thoroughbred painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCanvas supplier: Percy Young, Slade School Fine Art Depot, 137 Gower Street, London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrame: Late-Victorian gilt moulded frame with protective glazing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAuction: Ewbank's, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSilver \u0026amp; Fine Art\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, 21 March 2024, Lot 1178.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded provenance: Estate of Stafford Ellerman (1928–2022).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eComparative institutional references: National Trust collection numbers 1276782 and 1276788.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExhibition: The Famous Lord Hill Museum, October 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCatalogue Note\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMelton was one of the outstanding racehorses of the late-Victorian period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOwned by George Manners Astley, 20th Baron Hastings, and trained by Mathew Dawson at Newmarket, Melton achieved his greatest successes during the 1885 racing season.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn 3 June 1885, he won the Epsom Derby after a dramatic contest with Paradox, ridden by Fred Webb.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe close finish became one of the memorable sporting events of the year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMelton subsequently won the St Leger at Doncaster, completing an exceptional Classic double.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese achievements established his reputation and brought considerable prestige to Lord Hastings's racing establishment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFred Archer, who rode Melton, was already among Britain's most successful jockeys.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in 1857, Archer developed his career under Mathew Dawson and became famous for his exceptional judgement, determination and success in the principal British races.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis achievements included five Epsom Derby victories.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis death in November 1886, aged only 29, brought an extraordinary career to a tragic conclusion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present painting is signed and dated 1885, placing it during the final full racing season of Archer's life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvans depicts Melton standing in profile, his muscular bay form carefully observed and modelled against an expansive landscape.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArcher sits mounted in racing colours, adopting the relatively upright riding position characteristic of nineteenth-century British racing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe horse's refined anatomy, carefully represented tack and the atmospheric treatment of the landscape reflect the established tradition of British sporting portraiture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting's substantial scale and formal composition are consistent with the nineteenth-century practice of commemorating important racehorses through oil portraits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSuch works were frequently associated with aristocratic patrons and country-house collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough the painting's subject strongly connects it with Lord Hastings's racing interests, its original commissioning patron has not yet been conclusively established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFred Archer – The Victorian Champion Jockey\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrederick James Archer was born on 11 January 1857 and became one of the most successful jockeys in British racing history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis career was closely associated with trainer Mathew Dawson at Heath House, Newmarket.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArcher's extraordinary riding ability and competitive determination established him as one of the defining sporting personalities of Victorian Britain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe won five Epsom Derbies during his career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis partnership with Melton in 1885 produced victories in both the Derby and St Leger, adding to his exceptional record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArcher died on 8 November 1886, aged 29.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis early death contributed to the enduring fascination surrounding his career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eContemporary portraits, photographs and sporting records remain particularly important for understanding his appearance, achievements and place within British racing history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFred Archer's Family – Diana Reynolds and Historical Testimony\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn especially significant development in the research has been correspondence with Diana Reynolds, Fred Archer's great-granddaughter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn October 2026, Diana examined photographs of the painting and expressed particular admiration for the artist's representation of Archer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe drew attention to the depiction of his mouth and teeth, recognising characteristics that reminded her of physical features inherited within her family.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiana explained that her eldest brother had possessed similar teeth, although they had subsequently been straightened.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis observation provides a valuable personal perspective on the painted likeness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiana also supplied historical family photographs, including a photographic portrait of Archer and images documenting the Archer family memorial.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe explained that she had arranged for the grave of Fred Archer and his wife, Helen Rose, to be cleaned and restored.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHer correspondence included a family recollection passed down through her mother, Susan Tosetti, and her grandmother Nellie.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to the story, Lord Hastings's wife was unable to attend Melton's Derby victory because she was heavily pregnant.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe child born subsequently was reportedly given the name Charles Melton Ashley in commemoration of the celebrated racehorse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiana recalled that Fred Archer was particularly pleased when informed of the naming.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe story is recorded as family oral history rather than independently verified documentary evidence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise spelling of the child's name and associated genealogical details remain subjects for further verification.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDiana kindly granted permission for her contribution to the research to be acknowledged.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHer observations and family recollections provide valuable historical context but do not independently establish the painting's original commission, authorship or provenance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Artist – F. S. Evans\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eF. S. Evans was a nineteenth-century British sporting painter whose documented works include representations of horses associated with George Manners Astley, 20th Baron Hastings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe National Trust records two important paintings by Evans, both dated 1885, at Seaton Delaval Hall, Northumberland.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMelton, a Bay Racehorse, with Fred Archer Up\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, collection number 1276782, depicts the same celebrated horse and jockey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe second, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMaster Kildare, a Chestnut Hunter, in a Loose Box\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, collection number 1276788, portrays another horse associated with Lord Hastings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth paintings are signed and dated 1885.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese institutional works provide important comparative evidence for Evans's artistic activity during the same year as the present painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe National Trust's \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMaster Kildare\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e also retains a canvas supplier's stamp associated with the Slade School Fine Art Depot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe presence of a related supplier's stamp on the present painting offers an interesting material comparison.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, similarity between the marks does not independently establish a shared commission, common ownership or identical artistic authorship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvans's full forenames, biographical dates, artistic training and wider exhibition history remain incompletely documented.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFurther research into nineteenth-century exhibition catalogues, artists' directories, contemporary newspapers and archival records may clarify his identity and career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal Signature and Inscriptions\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned F. S. Evans and dated 1885, lower right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe signature and date are visible in the detailed photographs and correspond with the artist identification recorded in Ewbank's March 2024 auction catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe National Trust's separately catalogued painting of Melton records the inscription \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eF S EVANS \/ 1885\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse of the present canvas bears a historic supplier's stamp associated with:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePercy Young\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSlade School Fine Art Depot\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e137 Gower Street\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLondon W.C.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stamp provides valuable material evidence concerning the canvas support and the nineteenth-century London artists' materials trade.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA comparable Slade School Fine Art Depot supplier's stamp is recorded on the National Trust's \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMaster Kildare\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe marks provide a useful basis for future comparative research into canvas manufacture, supply and the working materials associated with Evans.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe supplier's stamp does not independently establish the painting's original commission, ownership or artistic attribution.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eProvenance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eF. S. Evans, 1885.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal commissioning patron and earliest ownership not conclusively established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReported historical association involving Stafford Thomas Cass (1849–1934), requiring further documentary verification.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLater Ellerman family ownership, according to the provenance supplied to Ewbank's.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEstate of Stafford Ellerman (1928–2022), United Kingdom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEwbank's, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSilver \u0026amp; Fine Art\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Surrey, 21 March 2024, Lot 1178.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcquired at Ewbank's in March 2024.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCheshire Antiques Consultant LTD®, United Kingdom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ewbank's catalogue records that the painting passed to the auction vendor from the estate of Stafford Ellerman.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn earlier reported provenance narrative connects the painting with Stafford Thomas Cass and George Manners Astley, 20th Baron Hastings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe documentary basis for this earlier connection remains under investigation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo original commission document, contemporary gift record or uninterrupted chain of ownership from 1885 has yet been established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFurther enquiries concern the Astley family archives, Melton Constable estate records, original auction vendor documentation and potential Cass family papers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExhibition History\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Famous Lord Hill Museum, United Kingdom, October 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrivately loaned and exhibited at The Famous Lord Hill Museum in October 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis exhibition history is recorded from information supplied by Cheshire Antiques Consultant LTD®.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo independently verified nineteenth-century exhibition history has presently been established.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe related National Trust paintings provide important institutional comparisons but do not establish an earlier exhibition history for the present work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrame and Presentation\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented in a substantial late-Victorian gilt moulded frame beneath protective glazing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe decorative gilt finish complements the rich colouring of Melton's bay coat and the atmospheric landscape.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe frame displays age-related characteristics consistent with historic use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting's generous horizontal composition is particularly suitable for a country-house interior, traditional library, private sporting collection, study or historically furnished reception room.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe precise date and original association of the frame have not been independently established through technical examination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFramed: 99 cm Wide × 81 cm High × 2.5 cm Depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCanvas: 91.3 cm Wide × 74 cm High.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFramed in inches: Approximately 38.98 inches Wide × 31.89 inches High × 0.98 inches Deep.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCanvas in inches: Approximately 35.94 inches Wide × 29.13 inches High.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe canvas width has been confirmed by Cheshire Antiques Consultant LTD® through direct measurement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEwbank's published the canvas dimensions as approximately 91 × 74 cm in March 2024.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original Victorian oil painting is presented in attractive antique condition, commensurate with its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painted surface exhibits age-related craquelure, light foxing and minor surface wear.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe principal composition retains clear definition, with rich colouring and a visible original signature and date.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe gilt frame displays age-related rubbing, surface marks and minor losses.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting remains beneath protective glazing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse retains the historically significant canvas supplier's stamp associated with Percy Young of Gower Street, London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNo independent technical conservation examination, pigment analysis, ultraviolet examination or scientific authentication is represented as having been undertaken.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe observations are based on the available photographic, catalogue and historical evidence and should not be interpreted as a formal conservation assessment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease examine the detailed photographs, which form an integral part of the condition description.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdditional photographs and further condition information are available upon request.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePublished References and Primary Sources\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEwbank's, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSilver \u0026amp; Fine Art\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, 21 March 2024, Lot 1178, recording the painting, artist, signature, date, canvas dimensions and Stafford Ellerman estate provenance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNational Trust Collections, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMelton, a Bay Racehorse, with Fred Archer Up\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, F. S. Evans, 1885, collection number 1276782.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNational Trust Collections, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMaster Kildare, a Chestnut Hunter, in a Loose Box\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, F. S. Evans, 1885, collection number 1276788.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNational Portrait Gallery, British artists' suppliers directory, Percy Young, 137 Gower Street, London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical racing records documenting Melton's victories in the 1885 Epsom Derby and St Leger.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eContemporary biographical and sporting records concerning Frederick James Archer (1857–1886).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCorrespondence with Diana Reynolds, Fred Archer's great-granddaughter, October 2026, concerning the painted likeness, inherited family characteristics and historical family recollections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical family photographs supplied by Diana Reynolds, including a photographic portrait of Fred Archer and photographs of the Archer family memorial.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal canvas supplier's stamp associated with Percy Young, Slade School Fine Art Depot, 137 Gower Street, London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNorfolk Record Office, Astley family and Melton Constable estate papers, accession ACC 2002\/272, identified for further archival investigation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritish Library, manuscript reference Add MS 69411, identified as a potentially relevant archival research lead.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFurther potential research sources include original Ewbank's vendor documentation, Astley family inventories, estate accounts, racing correspondence and nineteenth-century exhibition catalogues.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe archival sources identified for further investigation are not represented as having established the painting's original commission or complete ownership history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eShipping\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWorldwide shipping is available.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOwing to the framed presentation of the artwork, it will be professionally packaged using appropriate protective materials and dispatched fully insured.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInternational buyers are welcome. Please contact us for a destination-specific delivery quotation or to discuss any particular shipping requirements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artwork will be supplied with a Certificate of Sale \u0026amp; 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAttribution and Research\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCheshire Antiques Consultant LTD®\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpecialising in carefully curated British and European fine art, antiques and historic works of art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvery artwork is professionally researched and catalogued using comparative scholarship, published reference material and more than two decades of experience within the international fine art market. We are committed to offering collectors works of artistic and historical merit accompanied by transparent provenance research, detailed catalogue descriptions and professional, client-focused service.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdditional photographs and further information are available upon request.\u003c\/span\u003e\u003c\/p\u003e","brand":"Cheshire Antiques Consultant LTD","offers":[{"title":"Default Title","offer_id":45346688336125,"sku":"CAC-SK-0192","price":110000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/Fred_Archer.jpg?v=1718641724","url":"https:\/\/cheshireantiquesconsultantltd.com\/it-it\/products\/victorian-oil-painting-derby-winner-melton-with-champion-jockey-fred-archer-c1885","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}