William Lee-Hankey stands as a significant figure in British art during the late nineteenth and early twentieth centuries. An accomplished painter in both oils and watercolours, as well as a highly regarded etcher and illustrator, Lee-Hankey captured the essence of rural life, the nuances of the British and French landscapes, and the intimate moments of domesticity. His work bridges the gap between Victorian sentiment and the burgeoning realism influenced by continental trends, securing his place as a versatile and sensitive observer of his time.
Early Life and Artistic Formation
Born in Chester, England, in 1869, William Lee-Hankey's journey into the art world began somewhat unconventionally. After completing his initial schooling, he first entered the workforce as a designer. However, his passion for the visual arts soon led him to pursue formal training. He enrolled at the Chester School of Art, laying the foundational skills that would underpin his long and successful career. His ambition and talent propelled him further, leading him to the prestigious Royal College of Art in London, where he studied under John Sparkes.
A pivotal moment in Lee-Hankey's artistic development occurred during his time spent studying and working in Paris. Like many British artists of his generation, he was drawn to the vibrant French art scene. There, he encountered the work of the French naturalist painter Jules Bastien-Lepage. The profound impact of Bastien-Lepage's style – characterized by its realistic depiction of rural peasantry, muted colour palettes, and emphasis on outdoor light – steered Lee-Hankey towards similar themes and a commitment to truthful observation in his own work.
Embracing Realism and Naturalism
The influence of Jules Bastien-Lepage was transformative for Lee-Hankey. He embraced a form of realism, often tinged with sentiment, focusing on the lives of ordinary working people, particularly those in rural settings. This approach aligned him with the broader Naturalist movement, which sought to depict subjects with objective reality and often focused on agrarian life. His paintings from this period often feature farm labourers, fisherfolk, and village scenes, rendered with a sensitivity to character and environment.
This commitment to realism placed Lee-Hankey alongside other British artists who were similarly looking towards French models to break away from stricter academic conventions. Figures like George Clausen and Henry Herbert La Thangue were also exploring themes of rural labour and employing techniques learned from French plein air painting. Lee-Hankey's contribution was marked by his particular skill in capturing atmospheric effects and the play of light, whether in the fields of England or the coastal towns of France.
Versatility in Mediums: Oils and Watercolours
Lee-Hankey demonstrated remarkable proficiency across different mediums. His oil paintings often possess a solidity and textural quality suitable for depicting the ruggedness of landscapes and the tangible presence of his figures. He handled paint with confidence, building up surfaces that conveyed both form and atmosphere. His subjects ranged from detailed figure studies and portraits to expansive landscape views.
He was equally celebrated for his work in watercolours. Lee-Hankey became a member of the Royal Institute of Painters in Water Colours (RI) in 1898 and later the prestigious Royal Watercolour Society (RWS) in 1936. His watercolours are often characterized by their luminosity and fluid handling, effectively capturing the transient effects of light and weather. Works depicting coastal scenes, such as those painted in Normandy and Brittany, showcase his ability to render the reflective qualities of water and the subtle shifts in coastal light. The Love Between Men and the Deep Blue Sea, depicting small fishing boats off the Normandy coast, exemplifies this aspect of his oeuvre.
Master of the Etching Needle
Beyond his painting, William Lee-Hankey achieved considerable fame as a printmaker, particularly in the medium of etching. He was a prominent figure during the period often referred to as the British Etching Revival. He became an Associate of the Royal Society of Painter-Etchers and Engravers (RE) in 1909 and a full Fellow in 1911. His technical skill was widely admired, and he experimented with various intaglio techniques, including drypoint, aquatint, and notably, soft-ground etching, which allowed for softer, more textural lines resembling pencil or chalk drawings.
His etchings often revisited the themes found in his paintings: mothers and children, pastoral landscapes, and scenes of French village life. The First Born (1905), a colour etching possibly using soft-ground techniques, tenderly depicts a mother cradling her infant in a garden setting, showcasing his ability to convey intimacy and domestic warmth through printmaking. Another notable etching, The Summer Moon (1905), demonstrates his skill in capturing nocturnal light effects, rendering the moon's reflection on water with delicate tonal variations. His work in etching stands comparison with contemporaries like Muirhead Bone and William Strang.
Themes of Rural Life and Labour
A recurring and central theme throughout Lee-Hankey's career was the depiction of rural life and labour. He possessed a deep empathy for his subjects, often portraying them with dignity amidst their daily toil or moments of rest. His time spent in the French coastal region of Étaples was particularly fruitful in this regard. The area was home to a thriving art colony, attracting international artists drawn to the picturesque scenery and the lives of the local fishing communities. Artists like the Australian Rupert Bunny and the American Max Bohm also worked there.
Lee-Hankey's paintings and etchings from Étaples and other parts of northern France capture the unique character of these communities. He depicted fisherwomen mending nets, market scenes bustling with activity, and quiet domestic interiors. Works like A Corner of the Fish Market (1919) provide a vivid snapshot of this environment. Similarly, his English rural scenes, such as Rest (circa 1906), showing a peasant woman reclining, or the narrative piece The Village Gossip (circa 1900), convey a strong sense of place and human connection.
Connection to the Newlyn School
William Lee-Hankey is sometimes associated with the Newlyn School, a significant art colony based in Cornwall, England, known for its plein air realism and focus on the lives of local fishing communities. Key figures included Stanhope Forbes and Frank Bramley. While Lee-Hankey shared aesthetic affinities with the Newlyn artists – particularly the influence of Bastien-Lepage and the commitment to depicting rural life realistically and often outdoors – he was not a long-term resident member of the core Newlyn group.
His connection is more accurately described as sharing a similar artistic spirit and timeframe. He certainly knew the work of the Newlyn painters and exhibited alongside them. His focus on similar subject matter, particularly scenes involving working-class figures rendered with naturalistic light and detail, places him firmly within the broader movement of British realism that the Newlyn School exemplified. Other artists associated with the Newlyn ethos include Walter Langley and Norman Garstin.
Exhibitions, Recognition, and Memberships
Lee-Hankey enjoyed considerable success and recognition during his lifetime. He began exhibiting at the prestigious Royal Academy of Arts in London in 1896 and continued to show his work there frequently. He also exhibited regularly with the major art societies to which he belonged, including the RI, ROI (Royal Institute of Oil Painters, elected 1901), RWS, and RE. His work was shown at leading commercial galleries like the Leicester Galleries and Lefevre Gallery in London.
His reputation extended internationally. He participated in numerous exhibitions abroad and received several awards for his work. Notably, he was awarded a Gold Medal at the Barcelona International Exhibition in 1936 and a Silver Medal in Chicago. These accolades confirmed his standing not just within Britain but on a wider stage. His active participation in the London Sketch Club, serving as its President from 1902 to 1904, further highlights his engagement with the London art scene.
Wartime Service and Later Career
The outbreak of the First World War interrupted Lee-Hankey's artistic pursuits, as it did for many artists of his generation. He volunteered for service and joined the Artists' Rifles, a distinguished regiment that included many creative individuals (Paul Nash and John Lavery were also associated with it at different times). Lee-Hankey served actively in France from 1915 to 1918, reportedly seeing action in the Verdun sector. While the direct impact of the war on his art is not always overt, the experience undoubtedly shaped his perspective.
After the war, Lee-Hankey resumed his prolific career. He continued to paint and etch, maintaining studios both in London and, for a time, in Étaples at the 'Ateliers d’Art'. His subject matter largely remained focused on the pastoral and coastal scenes he favoured, though his style may have subtly evolved over the decades. In the 1940s, he took on an administrative role, serving as President of the Empire Art Council, demonstrating his continued commitment to the arts community.
Personal Life and Artistic Circles
William Lee-Hankey's personal life was also intertwined with the art world. His first wife was Mabel Emily Lee-Hankey (née Hobson), a noted painter of miniatures. After her death, he married Edith Mary Garner, who was herself a landscape painter. These connections placed him firmly within artistic circles, fostering exchanges of ideas and mutual support among fellow practitioners. His teaching role at Goldsmiths' College, University of London, also allowed him to influence a younger generation of artists.
His interactions extended beyond his immediate family. Through his memberships in various societies and his time spent in art colonies like Étaples, he would have known and interacted with a wide range of contemporary artists. While specific collaborations might not be extensively documented, his shared exhibitions and participation in group activities suggest a lively engagement with peers who shared his artistic inclinations, such as the aforementioned George Clausen, H. H. La Thangue, Stanhope Forbes, and fellow printmakers.
Representative Works: A Closer Look
Several works stand out as representative of Lee-Hankey's style and thematic concerns. The Village Gossip (Christchurch Art Gallery Te Puna o Waiwhetū) captures a moment of social interaction in a rural setting, rendered with attention to character and narrative detail. The composition draws the viewer into the scene, highlighting the artist's skill in figure painting and storytelling.
The First Born (etching, 1905) exemplifies his tender depictions of motherhood, a recurring theme. The use of soft-ground etching contributes to the gentle atmosphere, emphasizing the bond between mother and child within a peaceful garden environment. It showcases his mastery of printmaking techniques to achieve specific emotional effects.
Rest (circa 1906) is a powerful example of his engagement with the theme of rural labour, influenced by Bastien-Lepage. The painting portrays a peasant woman taking a break from her work, depicted with realism and empathy. The handling of light and the solid rendering of the figure convey both physical presence and a sense of quiet dignity.
His French coastal scenes, often painted in watercolour or oil, capture the specific light and atmosphere of places like Normandy and Brittany. Works depicting harbours, fishing boats, and local markets demonstrate his keen observational skills and his ability to translate the vibrancy of these locations onto canvas or paper. A Corner of the Fish Market (1919) is a dynamic example of this genre.
Legacy and Conclusion
William Lee-Hankey passed away in London in 1952, leaving behind a substantial body of work across multiple mediums. His legacy rests on his skill as a painter and etcher, his sensitive portrayal of rural and coastal life in Britain and France, and his contribution to the British Realist movement. He successfully navigated the transition from Victorian art traditions to embrace modern influences, particularly French Naturalism, while retaining a distinctly personal style characterized by technical proficiency and empathetic observation.
His work continues to be appreciated for its evocative depiction of a way of life that has largely disappeared, captured with honesty and artistry. He remains an important figure for understanding British art in the early twentieth century, particularly the enduring appeal of realist representation and the flourishing of printmaking during the Etching Revival. His paintings and etchings are held in numerous public collections, including the British Museum, the Victoria and Albert Museum, and galleries across the UK and internationally, ensuring his contribution to art history is remembered. William Lee-Hankey was, in essence, a dedicated craftsman and a poetic chronicler of the everyday.
