William Lee RI was an accomplished English watercolourist with a particular specialism for wholesome family scenes.
During the early to mid-Victorian period, emerging industry within towns and cities, created opportunities for social mobility and fostered a new generation of canny entrepreneurs. Often dubbed ‘new money’, these 19th-century industrialists established comfortable homes, and often sought to elevate their standing via the development of their cultural knowledge. Prior to the industrial revolution, the arts were exclusive to those of aristocratic lineage, but the wider distribution of wealth led to a boom in the arts, particularly for writers and painters.
William Lee was at the heart of these changing times and produced delicate portrayals, which captured the imagination of middle-class patrons. Many of his themes were derived from popular subjects within Victorian literature and, as such, were of great interest. Although he didn’t directly reference scenes from novels, his general tone and narrative met with the middle-class tendency to romanticise those living in poorer conditions. It’s interesting to consider why ‘new money’ looked upon the working class in such a way, and it's easy to be skeptical. However, by focusing on the lighter side of life, the arts became a celebration of integrity, determination, and love.
Lee elevated the moral virtues within families - mothers cradle newborns, grandmothers pray for their kin, young women work tirelessly in the fields to feed their siblings. The suggestion is that, despite the conditions, love for one’s family can overcome even the grittiest of realities.
William Lee RI, Mother & Child In A Landscape (1851)
Lee’s training is unclear but it’s likely that his aptitude for drawing began in childhood and, like many, he was probably tutored by a local drawing master. During his 20s or 30s, he became part of the ‘Langham Sketching Club’, which met regularly for discussion, mutual artistic development and a convivial supper. Along with bringing opportunities to learn from others, it also enhanced one’s circle of likeminded friends, and ultimately, provided access to generous patrons.
In 1844, he debuted at both London’s Royal Academy and the Royal Society of British Artists, while residing at 15 Foley Place, London. This was followed, a few years later, by his election to the New Watercolour Society. He remained in London throughout his life and little is recorded about the details of his career. But it’s apparent, from both the exhibition records and the census, that he continued to work until at least 1861.
He’s represented at the V&A Museum and the Ashmolean Museum.
Exhibited
Royal Academy, Royal Society of British Artists, New Watercolour Society.
Public Collections
V&A Museum, Ashmolean Museum.
Timeline
1809
Born in Southwark, Surrey, to William Lee, a customs official, and Jane Elizabeth Lee (nee Hill).
Became a member of, and later the secretary of, the Langham Sketching Club.
1844
Debuted at the Royal Academy with ‘The Pets’. Address recorded as ‘15 Foley Place’.
Debuted at the Royal Society of British Artists with ‘The Cottage-Gate’, and ‘Time Not Thrown Away’, both watercolours.
1845
Elected an associate of the New Watercolour Society.
Address recorded at the Royal Academy as ‘16 Howland Street’.
1848
Elected a member of the New Watercolour Society.
1851
Prints issued of his ‘The Gleaners’.
1852
Married Harriett Sophia Gregson at Old Church, Saint Pancras, London.
1854
Address recorded at the Royal Academy as ‘3 Euston Place, New Road’.
1861
Lived at 177 Euston Road, London, with his wife, two children, and staff. Occupation recorded as ‘Artist (Painter)’.
1865
Died in Marylebone, London. Final address recorded by the press as 177 Euston Road, London.