The Mating of Lydia (1913). By

Mary Augusta Ward CBE (nee Arnold; 11 June 1851 - 24 March 1920) was a British novelist who wrote under her married name as Mrs Humphry Ward. Mary Augusta Arnold was born in Hobart, Tasmania, Australia, into a prominent intellectual family of writers and educationalists.Mary was the daughter of Tom Arnold, a professor of literature, and Julia Sorrell. Her uncle was the poet Matthew Arnold and her grandfather Thomas Arnold, the famous headmaster of Rugby School.Her sister Julia married Leonard Huxley, the son of Thomas Huxley, and their sons were Julian and Aldous Huxley.The Arnolds and the Huxleys were an important influence on British intellectual life.Mary's father Tom Arnold was appointed inspector of schools in Van Diemen's Land (now Tasmania) and commenced his role on 15 January 1850.[8] Tom Arnold was received into the Roman Catholic Church on 12 January 1856, which made him so unpopular in his job (and with his wife) that he resigned and left for England with his family in July 1856.Mary Arnold had her fifth birthday the month before they left, and had no further connection with Tasmania. Tom Arnold was ratified as chair of English literature at the contemplated Catholic university, Dublin, after some delay.Mary Augusta Ward died in London, England, and was interred at Aldbury in Hertfordshire, near her beloved country home Stocks......... Charles Edmund Brock (5 February 1870 - 28 February 1938) was a widely published English painter, line artist and book illustrator, who signed most of his work C. E. Brock. He was the eldest of four artist brothers, including Henry Matthew Brock, also an illustrator.Brock was born on 5 February 1870 in Holloway, London. The family later settled in Cambridge. He studied art briefly under sculptor Henry Wiles.[1] He received his first book commission at the age of 20 in 1890. He became very successful, and illustrated books for authors such as Jonathan Swift, William Thackeray, Jane Austen, Charles Dickens, and George Eliot. Brock also contributed pieces to several magazines such as The Quiver, The Strand, and Pearsons. He used the Cambridge college libraries for his "picture research." In illustration Brock is best known for his line work, initially working in the tradition of Hugh Thomson, but he was also a skilled colourist. As a painter he received plaudits for his realism and vibrancy he created in his work. Only a small quantity of his known paintings have been located which is why their prices have been so high. He and his brothers maintained a Cambridge studio filled with various curios, antiques, furniture, and a costume collection. They owned a large collection of Regency era costume prints and fashion plates, and had clothes specially made as examples for certain costumes.Using these, family members would model for each other. Unequivocally the most famous and valuable paintings in Brocks career were his golf paintings - The Bunker; The Drive; and The Putt - all of which were painted in 1894 as part of the same series. These paintings were famously acquired together by a Japanese collector in 1991 for $1.5 million. The most valuable of these is The Putt, which is famously was repainted due to the position of the caddy and bystander as the commissioner of the painting wanted to bring himself, the putter, more into the fore front of the painting. Interestingly the initial unsigned painting is considered to be the more impressive of the two versions, and is even used as the print for postcards and posters sold in many Golf Museums.