{"product_id":"charles-bilger-spalding-a-chestnut-hunter-in-a-stable-1843-british-sporting-oil","title":"Charles Bilger Spalding A Chestnut Hunter in a Stable 1843 British Sporting Oil","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eCharles Bilger Spalding A Chestnut Hunter in a Stable 1843 British Sporting Oil\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned Early Victorian Equestrian Portrait by Royal Academy Exhibitor Charles Bilger Spalding (1810–1871)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHighlights\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e• Original signed and dated 1843 oil painting by Charles Bilger Spalding (1810–1871)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• A Chestnut Hunter in a Stable\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Early Victorian British equestrian and sporting subject\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Mature chestnut hunter portrayed at rest within its stable\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Painted during an early documented period of Spalding’s career\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• First exhibited at the Royal Academy in 1840\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Professional association with S. \u0026amp; J. Fuller sporting publications\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Spalding’s sporting oeuvre represented in British public collections\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Documented provenance through Mallams, Oxford\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Canvas 53 cm wide × 41 cm high\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Framed 66.5 cm wide × 54 cm high × 2.5 cm deep\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• Later decorative gilt moulded frame\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e• A historically engaging painting for collectors of British sporting, equestrian and Victorian art\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIntroduction\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA characterful signed and dated 1843 equestrian oil painting by British sporting artist Charles Bilger Spalding (1810–1871), presenting a mature chestnut hunter standing quietly within the atmospheric surroundings of its stable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting belongs to the long British tradition of treating important horses as individual portrait subjects. Spalding avoids the narrative excitement of riders, hounds and open countryside, instead concentrating upon the animal itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe hunter’s richly coloured chestnut coat forms the visual centre of the work. Warm russet and mahogany passages are carefully modelled against the softer ochres, creams and greys of the stable interior.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe horse’s alert eye gives the otherwise tranquil composition a subtle sense of personality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned and dated 1843, the work was painted close to the beginning of Spalding’s documented exhibition career and was later offered through Mallams, Oxford.\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: Charles Bilger Spalding (1810–1871)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTitle: A Chestnut Hunter in a Stable\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDate: 1843\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSchool: British\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePeriod: Early Victorian \/ mid-19th century\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMedium: Oil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSignature: Signed\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDate inscription: Dated 1843\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSubject: Chestnut hunter standing at rest within a stable\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCanvas: 53 cm wide × 41 cm high\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrame: Later decorative gilt moulded frame\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\u003eSpalding gives the horse an imposing but composed presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShown almost completely in profile, the animal extends across much of the canvas, its body carefully articulated through changes in warm colour and light.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHighlights define the neck and shoulder before travelling across the barrel and hindquarters. Darker tones establish the mane, tail and shadowed underside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stable provides a contrasting environment of subdued colour and broader handling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than recording every architectural detail, Spalding allows the background to remain atmospheric, strengthening the visual prominence of the horse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the foreground, scattered straw is indicated through lively strokes of ochre, cream and brown.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe work consequently operates both as a sporting picture and as an individual portrait of a horse observed within its familiar environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Chestnut Hunter and Stable Setting\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe subject is best described as a mature chestnut hunter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts developed physique and balanced sporting proportions are consistent with the type of horse traditionally associated with nineteenth-century British hunting and country pursuits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe available documentary evidence does not presently establish the horse’s name, precise breed or historic owner.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLikewise, no secure identification of the stable has been discovered.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe catalogue therefore avoids assigning unsupported identities while recognising the clear sporting character of the animal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stable setting is nevertheless important. By showing the horse privately rather than in action, Spalding emphasises its individuality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour and Technique\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is executed in oil on canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWarm chestnut, mahogany and russet dominate the horse, complemented by quieter ochres, umbers, creams and greys throughout the stable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding concentrates his most controlled modelling upon the animal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCarefully positioned highlights describe its musculature and create a convincing impression of light reflecting from the coat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe background is handled more broadly, creating an atmospheric setting without competing for attention.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe resulting balance gives the painting both descriptive clarity and considerable decorative warmth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDating the Painting\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is dated 1843.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMallams, Oxford, catalogued the work as A Chestnut Hunter in a Stable, signed and dated 1843.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis date places the painting only three years after Spalding’s first recorded Royal Academy exhibition in 1840.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt therefore belongs to the early phase of his documented professional career and to a period in which equestrian and sporting imagery was already established within his work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEarly Victorian Sporting Art\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe individual horse portrait formed an important strand of British sporting art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eValued hunters, racehorses and riding horses could be commemorated through paintings that recorded their appearance and character independently of the sporting events in which they participated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA Chestnut Hunter in a Stable belongs naturally to this tradition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts restraint is particularly effective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith no rider, pack of hounds or extensive landscape to compete for attention, the horse becomes the undisputed subject of the painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Artist\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCharles Bilger Spalding (1810–1871) was a British painter specialising in sporting and country scenes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUniversity of the Arts London records that he first exhibited at the Royal Academy in 1840.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding also worked for S. \u0026amp; J. Fuller, important London publishers associated with sporting imagery, contributing a portrait of Satirist, winner of the 1841 St Leger.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis documented subjects encompass horses, hounds, hunting scenes and other aspects of nineteenth-century country life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRoyal Academy Exhibition History\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding’s Royal Academy activity provides an important chronological framework for the present painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis first recorded exhibition took place in 1840.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA Chestnut Hunter in a Stable is dated 1843 and therefore belongs to the early years of this documented exhibition career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding is appropriately described as a Royal Academy exhibitor. The available evidence does not establish his election as a Royal Academician, and the post-nominal letters RA are therefore not used.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSporting Publications and S. \u0026amp; J. Fuller\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding’s association with S. \u0026amp; J. Fuller demonstrates that his equestrian imagery reached audiences through sporting publishing as well as original paintings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe firm was prominent within the nineteenth-century market for racing, hunting and equestrian prints.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding’s documented portrait of Satirist, the 1841 St Leger winner, provides particularly relevant evidence of his involvement with horses immediately before the present work was painted.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMuseum Collections\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding’s sporting oeuvre is represented within British public collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Walker Art Gallery, Liverpool, holds A Huntsman with His Horse and a Group of Hounds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat work presents a broader sporting narrative involving horse, rider and hounds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present painting provides an intimate counterpart, concentrating entirely upon the individual horse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eComparable Works\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding’s documented sporting paintings reveal sustained engagement with equestrian subjects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Meet of the Hambledon Hounds at Preshaw House, Hampshire, the Seat of Walter Long in 1844 is particularly relevant chronologically.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainted only one year after A Chestnut Hunter in a Stable, the substantial composition demonstrates how Spalding moved between intimate animal portraiture and ambitious hunting narratives during the same period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCollecting History\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSpalding’s sporting paintings have appeared through established auction houses and specialist British picture sales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis documented market includes individual horses, hounds, huntsmen and large-scale hunting compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese records demonstrate continuing collector interest in the artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDifferences in subject, scale, condition and provenance mean that individual auction results should be understood as market context rather than direct valuation comparisons.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSignature and Date\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is signed and dated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMallams catalogued the date as 1843.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe surviving inscription, documented auction attribution, equestrian subject and relationship with Spalding’s known sporting oeuvre collectively support the present catalogue identification.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe individual identity of the horse has not presently been established through documentary evidence.\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\u003ePrivate collection, United Kingdom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMallams, Oxford; Affordable Art – Timed, January 2025; catalogued as Charles Bilger Spalding (1810–1871), A Chestnut Hunter in a Stable, signed and dated 1843, oil on canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcquired by Cheshire Antiques Consultant LTD®, 2025.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal Mallams purchase documentation retained.\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:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWidth: 66.5 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHeight: 54 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDepth: 2.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximately 26.2 × 21.3 × 1 inches.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCanvas:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWidth: 53 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHeight: 41 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximately 20.9 × 16.1 inches.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrame\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented in a later decorative gilt moulded frame.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe scrolling and foliate ornament provides a sympathetic traditional setting for the early Victorian equestrian subject.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe frame is not represented as original to the painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMinor marks, rubbing and surface variations are present consistent with manufacture, handling and use.\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 painting is offered in country-house condition commensurate with its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe canvas appears to retain an older, apparently unlined presentation based upon the available visual examination and photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is widespread age-related craquelure throughout the painted surface, together with scattered staining, surface wear, abrasion, small areas of paint loss and evidence of historic retouching or previous intervention.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStretcher-bar lines \/ impressions are visible through the painted surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stable background displays areas of age-related discolouration and surface marking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe darker passages of the horse also show craquelure and wear, although its principal modelling, warm chestnut colouring and anatomical detail remain clearly legible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe later decorative gilt frame displays minor marks, rubbing and imperfections consistent with handling and use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease examine the extensive close-up photographs carefully, as these form an integral part of the condition description.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCollecting Interest\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis signed and dated 1843 equestrian portrait combines several characteristics of interest to collectors of nineteenth-century British sporting art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts identified artist, early Victorian date, Royal Academy exhibition context, classic horse subject and documented Mallams provenance provide a strong historical framework.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe quiet stable setting also distinguishes it from Spalding’s larger hunting compositions, presenting the horse as an individual subject worthy of portraiture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts moderate scale and warm palette make it equally effective as a scholarly collecting piece and as a distinctive work within a traditional or layered interior.\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 historic 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 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 statements of fact or guarantees of authorship, attribution, date, origin, provenance, identity of the horse, stable location or historical interpretation. As with all historic works of art, future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise 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":55027320619386,"sku":"CAC-SK-0324","price":8000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/equine-c1843-oil-painting-chestnut-horse-hunter-stable-by-charles-bilger-spalding-ra-382487.jpg?v=1791221556","url":"https:\/\/cheshireantiquesconsultantltd.com\/products\/charles-bilger-spalding-a-chestnut-hunter-in-a-stable-1843-british-sporting-oil","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}