C1885 Victorian Sporting Oil Painting Melton Derby Winner Fred Archer Signed F S Evans

1885 Victorian Sporting Oil Painting Melton Derby Winner Fred Archer Signed F S Evans An important original nineteenth-century British sporting oil painting signed and dated 1885 by F. S. Evans, depicting the celebrated thoroughbred Melton with legendary champion jockey Fred Archer mounted. Painted during the year of Melton's historic Epsom Derby and St Leger victories, the work represents a significant example of Victorian equestrian portraiture. The painting retains its historic Percy Young canvas supplier's stamp, published auction provenance from the estate of Stafford Ellerman, and important comparative associations with two works by F. S. Evans in the National Trust collection. Further historical research includes correspondence and family photographs supplied by Fred Archer's great-granddaughter, Diana Reynolds, together with the painting's private exhibition at The Famous Lord Hill Museum in October 2026. Highlights - Original British Victorian oil on canvas, signed and dated 1885. - Depicts Melton, winner of the 1885 Epsom Derby and St Leger. - Features Frederick James Archer (1857–1886), five-time Epsom Derby-winning jockey. - Signed *F. S. Evans / 1885*, lower right. - Melton was owned by George Manners Astley, 20th Baron Hastings. - Painted during the final full racing season of Fred Archer's life. - Important comparison with the National Trust's *Melton, a Bay Racehorse, with Fred Archer Up*, collection number 1276782. - Second related painting by Evans, *Master Kildare*, National Trust collection number 1276788. - Original canvas supplier's stamp associated with Percy Young, Slade School Fine Art Depot, 137 Gower Street, London. - Published auction provenance from the estate of Stafford Ellerman (1928–2022). - Ewbank's, *Silver & Fine Art*, 21 March 2024, Lot 1178. - Reported earlier historical connection involving Stafford Thomas Cass (1849–1934) and Lord Hastings, requiring further documentary verification. - Historical family photographs and testimony supplied by Diana Reynolds, Fred Archer's great-granddaughter. - Family recollections concerning Archer's likeness, inherited facial characteristics and Lord Hastings. - Photographs documenting the Archer family memorial and its restoration. - 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 important original Victorian sporting portrait commemorating one of the most celebrated partnerships in the history of British horse racing. The painting depicts Melton, the Derby and St Leger-winning thoroughbred, with champion jockey Fred Archer mounted. Signed and dated 1885, the work was executed during the year of Melton's greatest racing achievements and the final full racing season of Archer's life. Its historical interest is enhanced by the original signature, surviving canvas supplier's stamp, documented auction provenance, National Trust comparisons and recent correspondence with Archer's descendants. 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 / 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 beneath protective glazing. Auction reference: 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 among the outstanding thoroughbreds of late-Victorian Britain. Owned by George Manners Astley, 20th Baron Hastings, whose family was associated with Melton Constable Hall in Norfolk, the horse was trained by Mathew Dawson at Newmarket. Melton achieved national prominence during the 1885 racing season. His victory in the Epsom Derby on 3 June 1885 followed a dramatic contest with Paradox, ridden by Fred Webb. The close finish became one of the memorable sporting moments of the Victorian Turf. Melton subsequently won the St Leger at Doncaster, completing an exceptional Classic double. These achievements established his reputation among the leading thoroughbreds of his generation and brought considerable prestige to Lord Hastings's racing establishment. Fred Archer, who rode Melton to both victories, was already one of the most successful jockeys in British racing history. His exceptional riding ability, competitive determination and success in the principal British races made him a celebrated sporting personality. The present painting was signed and dated during the same year as Melton's Derby and St Leger victories. Its historical significance is heightened by the fact that 1885 was the final full racing season of Archer's life. Evans depicts Melton standing in profile, his muscular bay form carefully modelled against an expansive landscape. Archer sits upright in the saddle wearing racing colours, adopting the relatively long riding position characteristic of nineteenth-century British racing. The horse's refined anatomy, carefully represented tack and the atmospheric landscape reflect the established tradition of British sporting portraiture. The painting's formal composition is consistent with the nineteenth-century practice of commemorating important racehorses through substantial oil portraits. Such works were frequently associated with aristocratic racing patrons and country-house collections. Although the painting's subject is closely connected with Lord Hastings's racing interests, its original commissioning patron has not yet been conclusively established. Fred Archer – The Celebrated Victorian Jockey Frederick James Archer was born on 11 January 1857 and became one of the most successful jockeys in British racing history. He developed his riding career under the guidance of Mathew Dawson at Heath House, Newmarket. Archer's extraordinary achievements included five victories in the Epsom Derby. His success made him one of the most recognisable sporting figures of Victorian Britain. His partnership with Melton during the 1885 racing season represented one of the outstanding episodes of his career. The Derby and St Leger victories added to an already remarkable record. Archer's life ended tragically on 8 November 1886, when he was only 29 years old. His early death contributed to the enduring fascination surrounding his career. Contemporary portraits, photographs and sporting records remain particularly important sources for understanding his appearance, achievements and place within British racing history. 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 thoroughbred and jockey. The second, *Master Kildare, a Chestnut Hunter, in a Loose Box*, collection number 1276788, portrays another horse associated with Lord Hastings. Both works are signed and dated 1885. These institutional paintings 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 comparable 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 / 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. 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. 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. 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. 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. Cheshire Antiques Consultant LTD® Specialising in carefully curated British and European fine art, antiques and historic works of art. Every 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. 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