Derby Day. The Derby Day is a large oil painting showing a panoramic view of The Derby, painted by William Powell Frith over 15 months from 1856 to 1858.
It has been described by Christie's as Frith's undisputed masterpiece and also arguably the definitive example of Victorian modern-life genre. The original version is in Tate Britain in London.
As with many of Frith's works, he painted a second version many years later, which is now in the Manchester Art Gallery. A much smaller but well-finished oil study was sold in 2011.
The painting measures 40 inches by 88 inches and gives a satirical view of Victorian society. It includes three main scenes, during the annual spectacle of the Derby, when large numbers of Londoners left town for the day to visit the races on Epsom Downs, presenting a cross-section of society in a contemporary saturnalian revel.
Earlier pictures of the Derby crowds were drawn by illustrators such as John Leech or Dickie Doyle. On the left, near the private tent of the Reform Club, rich city gentlemen in top hats surround the table of a thimble-rigger who is busy cheating them out of their money. To the right, one stands with his hands in his empty pockets, and shirt gaping, having gambled away his pocketwatch, its curb chain and his shirt-studs. In Frith's 1895, My Autobiography and Reminiscences, the painter-turned-memorialist leaves a charming account of his encounte
It has been described by Christie's as Frith's undisputed masterpiece and also arguably the definitive example of Victorian modern-life genre. The original version is in Tate Britain in London.
As with many of Frith's works, he painted a second version many years later, which is now in the Manchester Art Gallery. A much smaller but well-finished oil study was sold in 2011.
The painting measures 40 inches by 88 inches and gives a satirical view of Victorian society. It includes three main scenes, during the annual spectacle of the Derby, when large numbers of Londoners left town for the day to visit the races on Epsom Downs, presenting a cross-section of society in a contemporary saturnalian revel.
Earlier pictures of the Derby crowds were drawn by illustrators such as John Leech or Dickie Doyle. On the left, near the private tent of the Reform Club, rich city gentlemen in top hats surround the table of a thimble-rigger who is busy cheating them out of their money. To the right, one stands with his hands in his empty pockets, and shirt gaping, having gambled away his pocketwatch, its curb chain and his shirt-studs. In Frith's 1895, My Autobiography and Reminiscences, the painter-turned-memorialist leaves a charming account of his encounte
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