Mrs Augusta Innes Withers

Signed and inscribed on pink ribbon: Mrs Withers 26 Grove Place. Delt., watercolour with gum arabic 12 x 23.9 cm; 4 3⁄4 x 9 3⁄8 inches Provenance: Henry Rogers Broughton, 2nd Baron Fairhaven (1800– 1973) Augusta Innes Withers, the daughter of a Chaplain to the Prince Regent, was born in Cheltenham. She was well known to contemporaries and widely praised for her botanical and bird pictures, characterised by her meticulously detailed and accurate work which is beautifully exemplified in the present drawing. Withers exhibited widely, at the Royal Academy in London from 1829 to 1846, the Royal Society of British Artists where she showed sixty-eight works between 1832–65 and the New Society of Painters in Water Colours. She was one of the earliest members of the Society of Women Artists where she exhibited forty-three works from 1857–75. Withers was appointed flower painter to Queen Adelaide in 1833, flower and fruit painter to Queen Victoria in 1864 and is listed as a painter to the Horticultural Society. In 1822 she married Theodore Withers (1782–1869), an accountant from Middlesex. The couple lived mainly in London and had at least two children, Theodore (b. 1823) and Augusta (b. 1825). Withers contributed to a large number of publications including The Botanist, John Lindley’s Pomonological Magazine and Curtis’s Botanical Magazine. She illustrated Robert Thompson’s The Gardener’s Assistant, 1859 and collaborated with Sarah Drake on James Bateman’s Orchidaceae of Mexico and Guatemala. Three of Withers’ works are in the Natural History Museum, London, and a large number of her original watercolours are held in the Lindley Library of the Royal Horticultural Society. Henry Rogers Broughton succeeded his older brother Urban Huttlestone Broughton as the 2nd Lord Fairhaven in 1966. He was born in the United States and educated at Harrow, before joining the Royal Horse Guards in 1920. Both brothers were great collectors and Henry put together one of the largest twentieth century collections of paintings, drawings, gouaches and miniatures. He left a large bequest of one hundred and twenty ower paintings, over nine hundred watercolours and drawings and forty- four volumes of drawings by botanical artists such as Redouté and Ehret to the Fitzwilliam Museum, Cambridge in the Broughton Bequest.

Watercolour over traces of pencil with gum arabic 25.2 x 31.6 cm.; 9 7/8 x 12 3/8 inches Provenance David Cornwell (aka John Le Carré, 1931-2020) Augusta Innes Withers, the daughter of a Chaplain to the Prince Regent, was born in Cheltenham. She was well known to contemporaries and widely praised for her botanical and bird pictures, characterised by her meticulously detailed and accurate work, which is beautifully illustrated in the present watercolour of canaries. The bird food is in an octagonal trencher salt made of French faience or Dutch delft. Withers enjoyed a successful career and exhibited widely, at the Royal Academy in London from 1829 to 1846, the Royal Society of British Artists where she showed sixty-eight works between 1832-65 and the New Watercolour Society. She was one of the earliest members of the Society of Women Artists where she exhibited forty-three works from 1857-75. Withers enjoyed Royal patronage and was appointed flower painter to Queen Adelaide in 1833, and flower and fruit painter to Queen Victoria in 1864. She is also listed as a painter to the Horticultural Society. In 1822 she married Theodore Withers (1782-1869), an accountant from Middlesex. The couple lived mainly in London and had at least two children, Theodore (b. 1823) and Augusta (b. 1825). Withers contributed to many publications including The Botanist, John Lindley’s The Pomological Magazine and Curtis’s Botanical Magazine. She illustrated Robert Thompson’s The Gardener’s Assistant, 1859 and collaborated with Sarah Drake on James Bateman’s Orchidaceae of Mexico and Guatemala. Three of Withers’ paintings are in the Natural History Museum, London. The Fitzwilliam Museum, Cambridge has a good holding of her watercolours, as does the Lindley Library of the Royal Horticultural Society. David Cornwell is better known by his pen name of John Le Carré, whose spy novels are internationally renowned, and many have been adapted for film and television. He worked for the Security Services in the 1950s and 1960s before turning to writing full time.

Watercolour over traces of pencil heightened with gum arabic and white, with framing instructions in pencil, verso, inscribed with title on original label attached to backboard 31.6 x 41.4 cm.; 12 ½ x 16 ¼ inches See The Nursery for the artist’s biography. Both drawings have a painted marble ledge on which the birds are arranged, a compositional device favoured by the artist and used in Dutch still lifes. The combination of birds and flowers in an elaborate arrangement in this and The Nursery were subjects which Withers favoured in 1840s and a departure from her botanical work. The embossed and moulded milk glass of the vase and urn were popular in the early 19th century and have been beautifully rendered by Withers.The introduction of a window, here delicately drawn with a cracked pane and bubble in the glass, looks back to the Old Masters. The landscape beyond suggests a freedom not enjoyed by the captive birds and is a reminder of the interior world inhabited by women of the mid-Nineteenth century. Withers forms part of a distingished cohort of female artists who drew natural history subjects in inventive and diverse ways. Predecessors such as Rachel Ruysch (1664 - 1750) or Barbara Dietzsch (1706 - 1783) had similarly scientific approaches to their subjects and her work merits consideration in this broader context (see Catherine Powell-Warren, Making her Mark, A History of Women Artists in Europe 1400-1800, 2023, ‘Scientific and Natural Illustration’, p. 225-228).