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Rees was engaged to sculptor [[Daphne Mayo]], but it was broken off in 1925. He married Dulcie Metcalf in 1926. In 1927 Dulcie died in childbirth and Rees married again, in 1931, to Marjory Pollard, mother to his son Alan.<ref name="sketchbooks"/> Rees' wife died on 14 April 1988 and he died on 2 December of the same year.<ref>Renée Free and Lloyd Rees, ''Lloyd Rees: the last twenty years'', Craftsman House, Sydney, 1990, p. 171</ref>
From the 1940s until the 1960s Rees was part of the Northwood group, a small group of friends who would go on painting excursions around Sydney Harbor and northwestern Sydney. Regulars of the Northwood group were Lloyd Rees, [[Roland Wakelin]], [[George Lawrence (painter)|George ''Feather'' Lawrence]] and John Santry. Douglas Dundas, Wilmotte Williams and Marie Santry also associated with the Northwood group. These artists had no manifesto but were conservative, tending towards a neoimpressionist style of landscape painting with sinuous linework. The Northwood Group was active during the modishness of Sydney abstract expressionism in the 1960s and stalwart Melbourne postwar voices of disquiet such as [[Sidney Nolan]] and the [[Antipodeans]]. By the 1970s a young [[postmodern art]] scene emerged in Gallery A, Macquarie Galleries, and Watters Gallery. Celebrated painter [[Brett Whiteley]] was a member of this younger generation
{{Quote|text=The studio had a big window, which you passed when walking up the front of the house to the iron gates at the arched entrance. The window was splashed with paint because Lloyd would stand in front of his wet painting holding half a gallon of turps in one hand and put his other hand into the turps and throw it over the painting. As it ran down the painting, washing color with it, he would pick up a cloth and wipe back the selected areas. If you look carefully at his paintings of the eighties you will see where the paint has been handled in this fashion .|sign=[[John Santry]]|source=''John Santry, An Autobiography''}}
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