This late 19th-century watercolour by Edwin Ellis (1842-1895) depicts a boggy moorland under a brooding sky. Ellis was an accomplished English watercolourist, known predominantly for landscapes and maritime scenes.
Two horses, led by a figure, pull a laden haycart towards a distant farmhouse. The foremost horse, illuminated in white, draws the eye, providing a visual starting point. Overhead, the clouds partially break to reveal the glow of a retiring sun as it slips behind towering craggy peaks. It’s an exquisitely rendered scene.
In many ways, the atmosphere of this piece is an appropriate metaphor for the turbulent life of this underappreciated artist. It represents both the dark overtones of his troubles and the pockets of fleeting tranquillity, which were often transformed by drama.
Born in Nottingham, Ellis’ father worked as a lace manufacturer and, as such, encouraged his children to work alongside him. Nottingham was at the centre of the lace industry and renowned for its innovative approach. As a young man, Ellis was employed as a lace draughtsman and undoubtedly honed his skills whilst producing fine drawings ahead of production.
These early experiences encouraged him to pursue further tuition alongside his work, and he enrolled at Nottingham School of Art, which offered evening classes. Evidently blessed with significant talent, he was a medal student and, it’s believed, that he probably completed his training in France. It’s conceivable that he lived for a while in Paris as his style is somewhat influenced by the French Impressionists, who were emerging during this period.
In 1867, he debuted at London’s Royal Academy with a piece titled ‘In the Balder, Yorkshire’, and the following year, debuted at the Society of British Artists with ‘Departing Day - On the Moors, near High Force, Yorkshire’. The latter became a regular haunt, and over the course of his life, around 100 works were shown.
In 1868, Ellis married Catherine Alice Wood at St John’s Church, Carrington, Basford, and the pair began a relationship which would take them to numerous destinations. It appears, given their frequent relocations, that stability was little more than a fleeting privilege. Often, it’s the case that artists moved to a picturesque area to allow easier access to the scenery, while also connecting with local dealers.
For a time, he lived in Guernsey and worked for the French Romantic author, Victor Hugo (Les Misérables). It’s plausible that he did so upon commission as his works from this period include a series of watercolours depicting the interior of Hugo’s residence. He also toured North Wales, Surrey and Northumberland.
His raison d'être was maritime scenes - vessels battered by heaving waves, but he also produced landscapes as we see here.
At the peak of his career, in 1875, Ellis was elected a member of the Society of British Artists, and his prospects were increasingly rosy. He took a family house in Surrey, while retaining his London studio.
However, despite his burgeoning prosperity, towards the end of his career, life became increasingly difficult both on a professional and personal level. It was reported by the local press that he was found to be drinking heavily and declared bankrupt in 1887. A year before his death, his wife petitioned for divorce on the grounds of desertion.
Edwin Ellis remains underrated, given his apparent ability. His oeuvre represents his life, one filled with both calm and turbulent waters, set under an ever-changing, transient canopy.
The author, Steven Hickford, has published an extensive biography at edwinellis.co.uk.
Signed in the lower left and held in a later frame.
Learn more about Edwin Ellis in our directory.
Medium: Watercolour on paper
Overall size: 27½” x 20½” / 70cm x 52cm
Year of creation: c. 1880
Labels & Inscriptions: Name plaque.
Provenance: Private collection, UK.
Condition: Artwork presentable with no issues. Frame in excellent condition.
Artist’s auction maximum: £6,218 for ‘Mending the Nets’, Oil on canvas, Christie’s, British Pictures Of The 17th - 18th And 19th Centuries, London, 9 February 1990 (lot 72).
Our reference: BRV1997
