Mrs Augusta Innes Withers The Nursery

Signed and inscribed on pink ribbon: Mrs Withers 26 Grove Place. Delt., watercolour with gum arabic12 x 23.9 cm; 4 3⁄4 x 9 3⁄8 inchesProvenance: 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.

Black and red chalk on laid paperOval 15.3 x 11.5 cm.; 6 1/8 x 4 ½ inchesProvenanceBonhams, 19 February 2008, lot 144;Cyril Fry;Private collection U.K. until 2020The artist was the eldest daughter of John Carwardine of Thinghills Court, Withington, Herefordshire, and his wife Anne Bullock, a miniature painter. She also practised miniature painting, regarded as a genteel pastime for a woman. It seems that Penelope took up painting as a means of earning a living after her father ran into financial difficulties from around 1754. Cawardine exhibited at the Society of Artists in 1771 and 1772.Cawardine painted many fashionable sitters including Lady Anne Egerton, the Earl of Coventry, Maria Gunning, Countess of Coventry (Wallace Collection) and Alice, the Countess of Egremont (Kenwood). James Boswell the diarist visited her home on March 15, 1763 to call on Lord Eglington who was having a miniature done, and described her in his London Journal as a ‘a very good-looking, agreeable woman’.She moved in artistic circles and was painted by George Romney, John Downman and Thomas Bardwell. She is said to have been a friend of Sir Joshua Reynolds and his sister Frances, and apparently Reynolds painted a portrait of one of her sisters as a present for her. (The only record of this is in Algernon Graves and William Vine Cronin’s A History of the Works of Sir Joshua Reynolds P.R.A., 1899, where a brief entry for Miss Cawardine states ‘Sat in 1777’).Her brother Rev. Thomas Carwardine (1734-1824), was rector and clerk of Earl's Colne Priory, Essex and a close friend of Romney, who was godfather to his daughter Anne (b.1779) and a frequent visitor to their house. Romney painted his portrait in 1772.Penelope Cawardine married James Butler, organist of Ranelagh and St. Margaret's, and St. Anne's, Westminster in 1763 at St James’s, Piccadilly. After her marriage she worked much less, as the social customs of the day dictated.The National Museum of Sweden owns the only other recorded drawing by Cawardine, drawn in a very similar style to the present work. It shares the characteristic diagonal hatching of the red chalk, is on similar laid paper and is cut into a rough oval in the same way.Examples of her miniatures can be found in the Wallace Collection, the Victoria & Albert Museum, Kenwood House, the Museum of Fine Arts, Houston and the Tormey-Holder Collection.Cyril Fry (1918 -2010) was a dealer in British drawings who owned a gallery in Jermyn Street. Fry and his wife Shirley amassed a substantial private collection over the course of his career.

Inscribed on mount: Fairford/Miss Bosanquet, watercolour over traces of pencil19.5 x 30.5 cm; 7 3/4 x 12 1/8 inchesProvenanceAugusta Raymond-Barker, Fairford Park; By family descent until 2016Harriet Bosanquet, (1798-1830) daughter of William Bosanquet, a banker, married John Raymond-Barker of Fairford Park on 6 May 1823. They had two daughters, Augusta b. 1827 and Leonora, b. 1829, presumably the two girls in purple dresses in this watercolour. The drawing is by her sister Charlotte, the girls’ aunt. Charlotte Bosanquet was a talented artist of interiors and the Ashmolean Museum, Oxford have an extensive collection of her work. When their father William Bosanquet died in 1840 Charlotte was left unexpectedly impoverished and moved from house to house staying with members of her extended Hugenot family, building up what amounted to a pictorial diary of her movements amongst the many branches of the family, usually depicting the libraries, halls, or drawing rooms of their houses. One of her sketchbooks is entitled ‘The Bosanqueti – a selection of Several Mansion Houses, Villas, Lodges, Parks, etc., the principal residences of a distinguished Family with descriptive notes’ (see Cherry, Deborah. Painting Women: Victorian Women Artists. London: Routledge, 1993, p. 131).Fairford Park was built for Andrew Barker in 1661-2 by Valentine Strong (d.1662 and completed by Strong's eldest son Thomas) and the design is known only from Kip's engraved bird's eye view of about 1710. The house was altered circa 1740 and the grounds circa 1750-60 to Rococo taste.[ ’This almost perfect Restoration composition was however much altered in the C18; the house c. 1740 and the grounds c. 1750-60 to Rococo taste ...' (D.Verey & A. Brooks, Gloucestershire 1: the Cotswolds, 3rd ed., 1999, pp.369-70].Soane remodelled the house for John Raymond Barker in 1789-90. His Journal No. 1, in the Sir John Soane’s Museum, has an entry for 22 May 1789: 'Sanders went to Fairford this Eveng / to take plans of the House / & Offices; retd the 26', other entries follow and finish with 'Received in full April 1791 £227:8:6’. Soane’s changes to this room seem to have been restricted to the chimney piece and the cornice, and the bookcases seen framing the composition of this watercolour. (A drawing for the chimneypiece of the drawing room is in the Sir John Soane's Museum).After use as an American military hospital during the war, the family sold Fairford House in 1945 and the house (not the estate) was eventually bought by Gloucestershire County Council and became the site for Farmor's Comprehensive School.

Signed l.r.: Louisa Seyffarth, watercolour heightened with white and gum arabic and stopping out24.3 x 33.5 cm.; 9 ¾ x 13 ¼ inchesProvenanceThomas Baring (40 Charles Street, Berkely [sic] Square, London)ExhibitedThe Society of Painters in Water-Colours, 1841, no. 266 (12 guineas)Louisa Sharpe, the daughter of William Sharpe, an engraver, was the most talented of four sisters, Eliza, Charlotte and Mary Ann, all of whom became artists. Raised in Birmingham, the sisters were encouraged to travel to France and Germany to visit galleries and were taught engraving. In 1816 the family moved to London.Ellen Clayton, the Victorian chronicler of female artists, mentions the present work by name and records its date as 1841 (see E. Clayton, English Female Artists, 1876, Vol. 1 pp. 379-80.)The artist exhibited over thirty miniature portraits at the Royal Academy from 1817. Louisa developed her practise as a watercolourist and made highly finished costume subjects and domestic scenes such as the present work. Many of her drawings were engraved in popular annuals such as The Keepsake and the Forget-Me-Not Annual and Heath’s Book of Beauty. Her work was engraved by Charles Heath, John Henry Robinson and Francis Engleheart. In 1829 she was elected as a member of the Old Water-Colour Society, where she was to exhibit thirty-eight works.Roget notes that her choice of subjects show a ‘taste for dramatic point, and a search for anecdote of a telling kind as well as a picturesque capacity’, extremely long titles and not a little humour (J.L. Roget, History of the Old Water-Colour Society, vol. II, reprint 1972, pp. 42-3).In 1834 Louisa Sharpe married Professor Woldemar Seyffarth and moved to Dresden. The couple had two daughters, one of whom, Agnes, also became an artist. Her work continued to be exhibited in London until her death. Her husband was the King of Saxony’s Commissioner to the Great Exhibition in 1851.Ellen Clayton describes the Sharpe sisters as ‘among the most remarkable figure painters’ and notes that the Duke of York, George III’s second son, was their first patron. She states that they were ‘among the first to originate the modern bold style of water-colour drawing’ (ibid Vol. 1 pp. 379-80).Anna Bronwell Jameson (1794-1860) the British writer, art historian and feminist who visited Dresden in 1830s wrote of Sharpe’s work in the same breath as that of Elizabeth Sirani and Angelica Kauffman and remarked that it was supremely feminine (see Sketches of Art, Literature and Character, Harper and Brothers, 1834, p. 221).Thomas Baring (1799-1873), the first owner of this watercolour was the son of Sir Thomas Baring (1772-1848) and a partner in Baring’s bank from 1828 and until his death in 1873.

Stamped with estate stamp l.l., watercolour and pencil on tan paper, numbered verso in pencil: 67 (twice)16.2 x 12.9 cm.; 6 3/8 x 5 1/8 inchesProvenanceThe Estate of the artist, by descentIn February 1904 Gwen John and Dorelia McNeill left Toulouse for Paris where they took a room in the Hôtel de Mont Blanc at 19 Boulevard Edgar Quinet in the 14th arrondissement. They acquired a female tortoiseshell cat with a white breast which Gwen John named after the street and drew frequently, and which would appear to be the subject of the present drawing which dates from around 1905-1908.Gwen John had many cats throughout her life, and when Edgar Quinet disappeared in 1908 she wrote a poem in her memory entitled Au Chat which she sent to Rodin. Her remarkable cat drawings capture the personality of the animals and are understandably acclaimed.

Signed l.l.: Louise Rayner, watercolour over pencil heightened with bodycolour and gum arabic46.5 x 33 cm.; 18 3/8 x 13 inchesThe artist was born in Matlock Bath, Derbyshire, the daughter of Samuel and Ann Rayner who were both professional artists. The most talented of six children, who all worked as artists, Louise studied painting from the age of fifteen, first with her father, and subsequently with George Cattermole, Edward Nieman, David Roberts and Frank Stone.She specialised in watercolour and her streetscapes capture the flavour of city life in 1870s and 1880s and are architecturally detailed.In 1851, when Louise was ten, the family moved to London and, except when travelling, she spent much of her life there. She would often accompany her architect brother Richard on his business trips and paint . As a result, Louise was widely travelled, both in Britain and in northern France. She most enjoyed visiting old cathedral cities and market towns, and is acclaimed for her views of Chester, London, Hastings, Tewksbury, Warwick, Edinburgh, Wrexham, Shrewsbury as well as Salisbury.By 1865 she had moved to Chester where she spent many years working and teaching painting. She lodged at the home of Robert Shearing (who owned a chemist's shop in Watergate Street) and his wife Mary Anne at 2 Ash Grove, in what was then a secluded rural location outside the city.In 1910, she and her sister Margaret, who had lodged with her for a time in Chester, moved to Tunbridge Wells. When Margaret died, in 1920, Louise moved for the last time to Southwater Road, St Leonard's-on-Sea, Sussex, and died there on 8th October 1924, aged 92. She never married.For over half a century, Louise was a regular exhibitor at the Royal Academy, the Old and the New Watercolour Societies, the Society of British Artists, Suffolk Street Gallery, the British Institution, the Society of Female Artists, the Dudley Gallery, the Birmingham Society of Artists and the Walker Art Gallery, Liverpool.Her work can be found in many public collections including the Grosvenor Museum, Chester, the Russell-Cotes Art Gallery and Museum, Bournemouth, Derby Museum and Art Gallery and the Salisbury Museum.

Pastel over traces of pencil, signed in pen and ink on backboard: Anna Tonelli/fece in Londra/1794, inscribed on labels attached to backboard with details of sitters and its provenanceOval, in the original frame25 x 30 cm; 9 ¾ x 11 5/8 inchesProvenanceRichard Curzon-Howe, 1st Earl Howe (1796-1870)Lady de la Zouche, Hagley Hall, Rugeley, Staffordshire (according to a label on reverse of frame);Edward Curzon, 6th Earl Howe of Gopsall Park and Penn House (1906-1984), Buckinghamshire;Thence by family descent until 2023LiteratureN. Jeffares, Dictionary of Pastellists before 1800, online, J.722.1373The charmingly drawn sitters are the young children of the Hon. Penn Assheton Curzon (1757-1797) and Lady Sophia Charlotte Howe, Baroness Howe of Langar (1762-1835). George Augustus William Curzon (1788-1805) died aged 16 and is buried in Penn, Buckinghamshire where he shares a memorial in the church of the Holy Trinity, Penn, with his parents. His younger sister Marianne (1790-1820) was also buried at Penn.This branch of the Curzon family had houses at Penn House, near Amersham in Buckinghamshire, and Hagley Hall at Rugeley in Staffordshire, near Cannock Chase.

Signed l.l.: Kate Gardiner Hastings, red and black chalk46.7 x 36.9 cm.; 18 ½ x 14 ½ inchesEllen Terry (1847 - 1928) is portrayed against a background of blossom. Her hair is pinned behind and she wears a blouse with a frilled collar and a knotted scarf. The background, costume and pose bear a strong resemblance to other portraits of Terry as Ophelia.The famous actress was born in Coventry in actors’ lodgings, where her parents were on tour, and she started acting as a child. She married the much older artist, George Frederick Watts in 1864, but they separated within a year. He painted her in many guises, including as Ophelia and Joan of Arc. Terry became known as the Painters’ Actress and was painted and photographed by Julia Margaret Cameron, John Singer Sargent and Aubrey Beardsley, amongst many others.Terry and the architect and designer Edward William Godwin (1833-1886) had two children, Edith Craig and Edward Gordon Craig. She returned to the stage in 1872 to establish herself as a leading actress with the Bancroft's and John Hare’s company. In 1878, Terry joined Henry Irving's company at the Lyceum Theatre as its leading lady, playing Ophelia opposite Irving's Hamlet. Her acting career became increasingly successful with tours of America and ventures into theatre ownership and management. In 1907, Ellen Terry married her third husband, the American actor James Carew (1876–1938) in Pittsburgh, Pennsylvania, whom she first met at the Royal Court and with whom she toured America in George Bernard Shaw’s Captain Brassbound’s Conversion. She graduated successfully to film and continued her career after the First World War on both stage and screen.In later life she continued to act, but also produced plays, lectured and wrote. Terry moved in artistic and literary circles, and her friends included Henry James, George Bernard Shaw and Oscar Wilde. Her great-nephew was the actor, Sir John Gielgud (1904-2000).Born in London in 1837, as Katherine Carr, Kate Gardiner Hastings received her artistic education at the Slade School in London. From 1871 - 1876 she studied with John Poynter and upon the completion of her studies, in 1877, she married Alfred Gardiner Hastings. For the next few years she exhibited regularly showing her work at the Dudley Gallery and the Walker Gallery.The artist drew a series of portraits of Terry’s family circa 1890 which are now part of the National Trust Collection and held at Terry's former home, Smallhythe Place in Kent (NT/SMA/D/20, 21, 22, and 23). These portray Benjamin and Sarah Terry, (the actress’s mother and father) and her children Edith, the theatre director and activist and Edward Gordon Craig, the theatre designer. The pastel of Sarah Terry (1817-1892) was exhibited at the Summer Exhibition of 1890 at New Gallery, London.Another red chalk portrait of the actress as Ophelia in Hamlet c. 1878 by the artist is in the collection of the Victoria & Albert Museum (S.1484-2014).

Signed and dated l.r.: S:Stone 1788, inscribed in pen and brown ink verso: Sam: Lysons., watercolour with gum arabic and touches of bodycolour on wove paper37 x 30 cm.; 14 1⁄2 x 11 3⁄4 inchesProvenanceProbably Samuel Lysons, FSA (1763-1819);Henry Rogers Broughton, 2nd Baron Fairhaven (1900-1973);By family descent;Sotheby’s, London, sale of the Library of Henry Rogers Broughton, 2nd Baron Fairhaven, Part II, 29 November 2022, lot 478Sarah Stone was the first female British painter of birds and animals to achieve professional recognition. Her drawings of birds are a highly important visual record of the specimens held in collections in late eighteenth-century England, and include some of specimens collected on the voyages of Captain Cook.The Mandarin drake from China (Aix galericulata) is shown raising the fan-shaped, cinnamon coloured innermost pair of secondary wings on his back like sails in a courting gesture. Stone evidently admired the Mandarin duck as she made several versions of the present drawing. One is in the Natural History Museum, London (see Christine Jackson, Sarah Stone Natural Curiosities from the New Worlds, 1998, p. 113, NHML no. 54, ill. Pl. 54 p. 81). Another, smaller version dated 1781 (in poor condition) was sold at Bonhams, London, 12 October 2022, lot 3.Stone was employed when she was still in her mid-teens to draw the objects in the Holophusican or Leverian Museum, a major cultural institution of the day housed in the former royal palace of Leicester House. She was to work there for nearly thirty years. Its owner, Sir Ashton Lever (1729-1788) commissioned her by 1777 to record specimens and ethnographic material brought back by British expeditions to Australia, the Americas, Africa and the Far East.For financial reasons, Lever had to dispose of his collection in the 1780s, by lottery. Before doing so, he apparently commissioned Sarah Stone to depict the birds, ethnography and antiquities. From January to March 1784 Lever exhibited Stone’s work, advertising the show as:‘a large Room of Transparent Drawings from the most curious specimens in the collection, consisting of above one thousand different articles, executed by Miss Stone, a young lady who is allowed by all Artists to have succeeded in the effort beyond imagination. These will continue to be open for the inspection of the public until they are removed into the country. Admittance HALF-A-CROWN each...Good fires in all the galleries.’ (See C. Jackson, ibid, p. 22).Lever kept Stone’s drawings after the exhibition. The Leverian Museum continued to grow under new ownership through the 1780s and 1790s, and Stone continued to work there.Stone drew items from other private collections and the British Museum. As most of the actual specimens have not survived, her drawings are a vital record of contemporary collections, few of which produced catalogues, and give valuable insight into the collecting practises of Enlightenment museums.Sarah’s father James Stone was a fan painter, and it is likely that Sarah assisted him. As a child she was taught to make her own pigments using natural ingredients. She practised working in bodycolour as well as watercolour as a child, and the exquisite brushwork which can be seen in the drawing of the feathers of the duck demonstrates her skill at using bodycolour and gum arabic to intensify the colours.Stone exhibited at the Royal Academy, London in 1781, 1785 and 1786. She exhibited paintings of birds at the Society of Artists in 1791. She married John Langdale Smith, a midshipman, on 8 September 1789; she exhibited as a ‘painter’ before her marriage and in her married name as an ‘Honorary Exhibitor.’ She painted less after her marriage, predominately drawing live birds which her husband, also an artist, brought back from his travels.Stone was twenty seven when she married. A, daughter Eliza, who probably died in infancy, was baptised in September 1792 at St John the Evangelist, Westminster. A son, Henry Stone Smith (1795-1881) was baptised in the same church in March 1795. The family has a note by him recording a bird ‘Topial’, probably a troupial, which was brought back from the West Indies by his father and lived with the family (see C. Jackson, ibid, p. 30).Further examples of Stone’s watercolours can be found in the British Museum, the Natural History Museum, London, the Art Gallery of Ontario, the National Gallery of Australia, the National Library of Australia, the State Library of New South Wales, the Yale Center for British Art, the Getty, the Bernice Pauahi Bishop Museum, Honolulu, Hawaii and the Alexander Turnbull Library, New Zealand.Paris Spies-Gans has written about Stone’s participation in the imperial project in Paul Mellon Centre Notes, No. 20, ‘Colonialism in the Photographic Archive’, January 2022, pp. 11-12).Samuel Lysons, FSA (1763-1819)The inscription on the reverse of the drawing suggests it was owned by Samuel Lysons, FSA. Lysons was a Gloucestershire antiquarian, engraver and archaeologist, whose interests centred on Roman archaeology and mosaics and Gloucestershire church architecture. He was the Director of the Society of Antiquaries from 1798 to 1809. He illustrated his brother Daniel Lysons’ Environs of London, and the two collaborated on Magna Britannia, Being a Concise Topographical Account of the Several Counties of Great Britain, published in several volumes from 1806 to 1822.Henry Rogers Broughton (1900-1973)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. Their father, English emigré Urban Broughton (1857-1929), had a successful career building sewerage systems in the USA in the 1890s and married Carla Leland Rogers (1867-1939). She was the daughter of the wealthy oil and railroad tycoon Henry Huttlestone Rogers (184-1909). In 1912 the family moved to London. The title Lord Fairhaven was awarded to Urban for his political activities, but he died before he could use it and his eldest son Huttlestone became the first Baron Fairhaven.Both brothers were great collectors and Henry put together one of the largest twentieth-century collections of depictions of natural history. He left a large bequest of one hundred and twenty flower 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 (the Broughton Bequest). The brothers’ home, Angelsey Abbey near Cambridge, with its large natural history collection, was left to the National Trust in 1966.

Signed twice l.r.: Mary and M.Perrin, watercolour over traces of pencil with bodycolour and gum arabic, inscribed verso: The Flamingo Fan/by/Miss Mary Perrin,/Fortfield House/Terenure/Co Dublin/From Professor McHardy F.R.C.S./March 1911/Exhibition picture Royal Academy, further inscribed on fragments of original label attached to backboard: Miss Mary P….n/Fortfield House/Terenure Co. Dublin/No:2/The Flamingo Fan/…Dubli/…House/…/ure/DublinCircular, 21 cm diam.; 8 ¼ inches, on artist’s board measuring 22.5 x 22 cm.; 8 ¾ x 8 5/8 inchesFrame size 35.5 x 35.5 cm.; 14 x 14 inchesExhibitedRoyal Academy, London, 1905, no. 929Mary Perrin specialised in intense watercolour portraits of female subjects, often drawing them with elaborate hats or coiffures. She also painted landscapes.Her work is recorded frequently in Irish exhibitions. Perrin exhibited at the Water Colour Society of Ireland (WCSI) which was founded in 1870 as the Amateur Drawing Society by an informal group of six well-connected women from Co. Waterford, Baroness Pauline Prochazca, Miss Harriet Keane, Miss Frances Keane, Miss Henrietta Phipps, Miss Fanny Currey and Miss Fanny Musgrave. Eight years after its founding, the organisation briefly became the "Irish Fine Art Society" before settling to its current name in 1888. It held (and still holds) an Annual Exhibition of the work of its members.Perrin started to exhibit at the Royal Institute of Painters in Watercolour in London in 1896 at their galleries at 195 Piccadilly. Perrin also showed regularly at the Royal Academy, the Society of Women Artists and the Walker Art Gallery in Liverpool.Perrin’s work was frequently praised by contemporary critics who remarked on the ‘richness and power’ of her watercolour (Freeman’s Journal, 8 March 1886, in a review of The Irish Fine Art Society exhibition) and she won many prizes at various Irish societies.The backboard labels on this work records her Irish address Fortfield House, Terenure, Co. Dublin. Another work by her has a partial address in London, …s (Hans?) Crescent, London SW., suggesting that she moved between the two cities.Perrin took an active part in the social life of Dublin and is often mentioned in contemporary newspapers as attending charitable and major social events such as the Viceregal Drawing Room in Belfast and costume balls.The artist’s family home, Fortfield House in Dublin, was bought by the Rt. Hon. John Hatchell (1788-1870) in 1858. He was an Irish lawyer and politician and his daughter Penelope married John Perrin. The house remained in the Perrin-Hatchell family until the death of Mary Perrin in 1929. In her will she left her estate to George Hatchell of Tanganyika. The house was demolished in 1834.This work may have belonged to Professor Malcolm McHardy, FRCSE (d.1912) who was Professor of Ophthalmology at King’s College and Ophthalmic Surgeon to King’s College Hospital. He published extensively on ophthalmic surgery.