The Horse, British Modernist Equestrian Oil Painting Attributed to Lionel Ellis
Attributed to Lionel Ellis (1903–1988) The Horse, British Modernist Equestrian Oil Painting c.1950–60
An atmospheric mid-century British horse portrait set before a rustic timber stable, with exceptional inscribed provenance recording its reported acquisition directly from Lionel Ellis in 1974.
Highlights
- Attributed to British painter Lionel Ellis (1903–1988)
- The Horse, circa 1950–1960
- Original oil on canvas
- Striking chestnut or reddish-bay hunter-type horse
- Atmospheric traditional timber stable setting
- British equestrian subject interpreted through a Modern British aesthetic
- Historic inscription identifies the painting as “THE HORSE / BY LIONEL ELLIS”
- Verso records its reported purchase directly from the artist by V. H. Cooper in 1974
- Subsequent Cooper and Cowill ownership recorded on the original stretcher
- Further family presentation inscription dated 19 June 2012
- Adam Partridge Auctioneers & Valuers, Devon, 21 September 2026, Lot 329
- Privately loaned and exhibited with The Famous Lord Hill Museum, late September–1 October 2026
- Cheshire Antiques Consultant LTD® inventory stamp verso
- Canvas 51 × 41 cm
- Framed 64.5 × 54 × 4.7 cm
- Particularly appealing to collectors of British Modernism, equestrian art and sporting paintings
Introduction
A characterful mid-20th-century British equestrian oil painting attributed to Lionel Ellis (1903–1988), depicting a mature chestnut or reddish-bay horse standing quietly before the weathered timber doors of a traditional stable.
Entitled The Horse according to an important historic inscription on the reverse, the work combines one of the enduring subjects of British sporting art with a distinctly twentieth-century approach to composition and paint.
The horse is not presented ceremonially or against an idealised landscape. Instead, it occupies its everyday stable environment, surrounded by timber doors, posts and muted architectural forms. This intimate treatment gives the painting considerable authenticity and visual character.
The reverse is particularly significant. Extensive handwritten inscriptions record the painting’s title, name Lionel Ellis as its artist and state that V. H. Cooper purchased it directly from Ellis in 1974. Later inscriptions provide a further chain of ownership into 2012.
Catalogue Details
Artist: Attributed to Lionel Ellis (1903–1988)
Title: The Horse
Date: Circa 1950–1960
School: British
Period: Mid-20th century / Modern British
Medium: Oil on canvas
Signature: No clearly visible signature presently identified on the painted surface
Subject: Mature chestnut or reddish-bay hunter-type horse standing before a timber stable
Frame: Gilt frame
Catalogue Note
The composition centres upon the horse, which stands in almost complete profile against a backdrop of aged timber stable architecture.
Warm chestnut and reddish-brown tones articulate the animal against the more subdued browns, ochres, greys and earthy colours of its surroundings.
The painter avoids the highly polished finish frequently encountered in traditional Victorian sporting portraits. Instead, the horse is constructed through controlled tonal modelling, selective highlights and comparatively economical brushwork.
The surrounding stable is similarly simplified. Strong vertical posts, horizontal timbers and broad doors establish a geometric structure behind the animal and contribute considerably to the painting’s Modern British character.
This combination of recognisable equestrian subject matter and twentieth-century simplification gives the painting an appealing position between traditional British sporting art and figurative Modernism.
The Horse and Stable Setting
The animal appears to be a mature chestnut or reddish-bay hunter-type riding horse.
Its fully developed proportions, substantial body and bone indicate an adult rather than a young horse.
It is not possible from the visible anatomical information to determine reliably whether the animal is a mare, gelding or stallion.
Likewise, no documentary evidence has presently been identified establishing the horse’s name, precise breed or owner.
The timber buildings strongly suggest a working stable or agricultural environment. Despite detailed research, the specific stable, estate or geographical location depicted has not presently been identified.
Dating the Painting
A date of circa 1950–1960 is proposed on stylistic and comparative grounds.
The historic inscription stating that V. H. Cooper purchased the painting from Lionel Ellis in 1974 is particularly relevant to its chronology.
The year 1974 records an acquisition rather than an execution date. If the inscription is accurate, however, it establishes a terminus ante quem: the painting necessarily existed by 1974.
The circa 1950–1960 dating should therefore be understood as a considered catalogue assessment rather than a documented date of execution.
Modern British Context
Although entirely figurative, The Horse displays several characteristics associated with Modern British painting.
The stable architecture is reduced to strong planes, spatial depth is comparatively compressed and unnecessary descriptive detail has been removed. Colour and tonal relationships are given greater visual importance than meticulous surface description.
The painting can consequently be described as a Modern British equestrian work with modernist characteristics, while remaining rooted in the established tradition of British horse portraiture.
The Artist
Lionel Ellis (1903–1988) was a British painter, printmaker and teacher born in Plymouth.
He studied at Plymouth School of Art before attending the Royal College of Art, subsequently undertaking further artistic study in Paris and Italy.
Ellis later taught painting at Wimbledon School of Art from 1937 until 1968.
His artistic output encompassed portraits, landscapes, flowers, figures and equestrian subjects. Horses constitute an established element within his recorded oeuvre, making the subject of the present painting consistent with his known interests.
Works by Ellis are represented in British institutional collections, and his career is documented by national resources including Art UK, the British Museum and the Victoria and Albert Museum.
The Verso Inscription and Documentary Evidence
The wooden stretcher preserves an unusually detailed sequence of handwritten inscriptions.
The principal inscription reads:
“THE HORSE
BY LIONEL ELLIS
PURCHASED FROM
THE ARTIST BY V. H. COOPER 1974.”
A later inscription states:
“PURCHASED BY D. COWILL 30/5/2012
FROM MRS P. M. COOPER.”
A further family dedication records:
“TO STEVEN
ON HIS 52ND BIRTHDAY
JUNE 19TH 2012 FROM MUM + DAD.”
These inscriptions provide important traditional provenance and establish a recorded ownership narrative extending back to the reported direct acquisition from Lionel Ellis in 1974.
No separate receipt, invoice or correspondence from Ellis confirming the 1974 transaction has presently been identified. The painting is therefore conservatively catalogued as Attributed to Lionel Ellis (1903–1988).
The reverse additionally bears the Cheshire Antiques Consultant LTD® inventory stamp, applied following acquisition in 2026 as part of the painting’s continuing dealer and provenance record.
Provenance
V. H. Cooper; reportedly purchased directly from Lionel Ellis in 1974, according to the historic stretcher inscription.
Mrs P. M. Cooper.
D. Cowill; purchased from Mrs P. M. Cooper on 30 May 2012, according to inscription.
Presented to Steven by his parents for his 52nd birthday on 19 June 2012, according to inscription.
Private collection, United Kingdom.
Adam Partridge Auctioneers & Valuers, Devon, 21 September 2026, Lot 329; catalogued as Attributed to Lionel Ellis, oil on canvas, a horse.
Acquired by Cheshire Antiques Consultant LTD®, 2026.
The historic inscriptions remain preserved on the stretcher as an integral part of the painting’s provenance.
Exhibition History
The Famous Lord Hill Museum; privately loaned and exhibited, late September–1 October 2026.
Dimensions
Framed:
Width: 64.5 cm
Height: 54 cm
Depth: 4.7 cm
Approximately 25.4 × 21.3 × 1.85 inches.
Canvas:
Width: 51 cm
Height: 41 cm
Approximately 20.1 × 16.1 inches.
Condition Report
The painting is offered in presentable vintage condition commensurate with its age.
Age-related craquelure and surface wear are present, together with some minor paint loss. Stretcher-bar lines / impressions are visible through the painted surface.
The reverse retains the aged canvas, wooden stretcher, keyed corner construction and historically important handwritten provenance inscriptions.
No obvious full relining is apparent from the available examination and photographs.
The associated gilt frame displays rubbing, marks and general age-related surface wear. It complements the painting well but is not represented as demonstrably original to the work.
The historic inscriptions should be preserved and not removed or cleaned, as they form an important component of the painting’s provenance.
Please examine the extensive photographs carefully, as they form an integral part of the condition description.
Shipping
Worldwide shipping is available.
The painting will be professionally packaged using appropriate fine-art protective materials and dispatched fully insured.
International buyers are welcome. Please contact us for destination-specific shipping information or to discuss individual delivery requirements.
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, stated provenance, exhibition history and details of the sale. This document accompanies the work as part of its continuing 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 and our experience within the international fine art market.
These observations should be understood as professional opinions rather than definitive statements of fact or guarantees of authorship, attribution, date, origin, provenance, identity of the horse, stable location or historical interpretation. Future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise current interpretations.
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