With sadness we report the passing of the following Old Carthusians.

We strive to ensure that every entry is as accurate as possible and that notifications are recorded in a timely and responsive manner. For further information and assistance, or to advise us of the death of an OC, please contact the OC Recorder: Obituaries published prior to 2016 will soon be accessible in digitised publications.

Please use the 'Keyword Search' box below to search the site.

Cary Gilbart-Smith


Brooke Hall 1966 - 2004

Cary Trevor Bewley Gilbart-Smith on 26 December 2019

Cary had suffered for some time with an aggressive form of Alzheimer’s disease.

Funeral details will be published when available.

A Valete was published in Carthusian 2004 upon his retirement:

“Cary Gilbart-Smith was educated at Elstree, Harrow and Gonville and Caius College, Cambridge, where he studied classics for Part 1 and English for Part 2 of the Tripos. He came to Charterhouse in 1966 and for many years his timetable was divided equally between English, Latin and Greek. He had long decided on a career in teaching and turned to English partly to add an extra arrow to his quiver at a time when classical studies were in decline. (They still are, though they refuse to lie down and die). In the event he need not have worried. On the retirement of Peter Baldwin, Cary became Head of Department for some five years and restricted himself to Latin and Greek. He led the department with efficiency and sound judgement, and handed it on to Jim Freeman as a thriving concern.

He taught English to A Level and also in the Fifth-form, taking over the top division from Philip Balkwill. This combination was very effective and will have contributed considerably to the vibrancy and distinction of the English Department of those days. At Harrow he was a classical prizewinner (though only, he says modestly, in his final year after his rival had left the school - Sampras to his Ivanisevic). His love of the subject was first fostered by inspirational teaching at Elstree and in turn his learning, intelligence, wit and feeling for style have inspired generations of Carthusians. Intelligence, style and wit certainly informed his reports, which are the envy of Brooke Hall. He could deftly criticise and praise in the same breath ('behind the matching handwriting and hairstyle there lies considerable linguistic ability.' 'With a whole hour of silence at her disposal she should be able to get it right.'). Master of the extended metaphor ('She is not as consistently switched on as I would like, and her intellectual lights flicker fitfully at times... (but) the prospect of a written test usually seems to repair the circuitry and restore the voltage.'), he is also adept at changing metaphor in mid stream ('.. .leaking marks like a cracked gutter; he is capable of writing decent Latin for about a line, but then a virus gets into the system and nonsense emerges.'). He has an enviable facility too for composing Latin elegiac couplets. The practice started with verses in memory of Philip Balkwill and then, as he says, the floodgates seemed to open. Most notable perhaps were lines he wrote on an ill-fated trip in incessant rain to an open air performance of the Hippolytus at Bradfield.

Early on he helped out with hockey, a game of which he had little knowledge and minimal playing experience. But he approached the task with schoolmasterly panache and a hockey stick under his arm, and coped so well that on one occasion, the story goes, a pupil asked him whether Mike Bawden (master in charge and England Under 21 player) was as good as he was. He soon found himself running squash, which he ensured became a minor sport, and then racquets with Bill Hawes and Stephen Tulley. But perhaps his most impressive contribution has been to cricket about which he knows a great deal and where as a player he has met with much success both for Brooke Hall (taking a wicket with the first ball he bowled for the side) and for his local village. He began with the 2nd XI where, against RGS Guildford, he had the exhilarating, but no doubt unnerving, experience of watching a fast bowler, who turned out to be Bob Willis, demolish the Charterhouse batting order. The following year Cary was forewarned and nearly contained him - but not quite. After a brief spell with the Under 16s he moved on to the Under 15 side which he ran for twenty-seven years. Three first class players have felt the benefit of his coaching, a privilege for him and also for them. The words of Bob Noble at Cary's last OC cricket dinner this year cannot be bettered: 'He was and still is a proper cricketer - scrupulously honest, fiercely competitive. I don't think you would ever find anyone more intense and passionate about the game, nor anyone less likely to shout the meaningless froth that we are subjected to by the young of today.'

His other contributions to the life of the school were many and varied. For a time he oversaw the running of public exams and he also held the office of (social) Secretary of Brooke Hall. Under his leadership committee meetings were brief and fruitful (an ideal combination) and he was calm and judicious in his dealings with colleagues. If on one occasion he omitted to renew the bar certificate, well, enforced abstinence did Brooke Hall no harm. Dear to his heart was Christian Union which he ran for many years. During his time the society has gathered every week of every school term and generally an outside speaker has been engaged. But this was a labour of love and no priority was high enough to persuade him to miss a meeting. In retirement Cary will be able to pursue a wide range of interests - antiquarian books, music, theatre, sport - and we all wish him well.”

Nicholas Charles Sheppard Mason


1938 - 2019

Nicholas Charles Sheppard Mason on 22 December 2019, aged 81

H OQ52 - CQ57

House Monitor, Library Monitor, 2nd XI Cricket


He entered Charterhouse from Epsom Grammar School on a County Scholarship and afterwards went up to Mansfield College, Oxford to read English.  Having gained experience on the student newspaper Cherwell and at the Oxford Times, he started as a reporter on the Evening Chronicle in Newcastle following graduation in 1961.

After five years he moved to the Sunday Times, initially working on the magazine before being appointed deputy editor of the newspaper’s sports section.  He left to become sports editor of Robert Maxwell’s London Daily News; when that ceased to publish after a few months in 1987 he was quickly recruited by The Guardian, where his distinguished career continued until retirement in 1999.

Nick was a joint editor of The Sunday Times Sports Book and also received plaudits for his own book -

Football! The story of all the world’s football games - a history of all types of footballing codes including Australian Rules and American football, which was published in 1975.

Alongside his encyclopaedic knowledge of sport, Nick was himself a keen golfer, cricketer and runner.  In 1978 he helped inaugurate the popular Sunday Times National Fun Run in Hyde Park in 1978, which continued annually until the London Marathon superseded.

Nick died suddenly just before Christmas and is survived by his wife Jane, their two sons and a daughter, eight grandchildren and two great-grandchildren.

Full obituaries were published in The Sunday Times on 29 December 2019 and The Guardian on 15 January 2020.

Nicholas Victor Leslie Henson

1945 - 2019


Hodgsonites 1961

Nicholas (Nicky) Victor Leslie Henson on 16 December 2019, aged 74

H  LQ59 - OQ61


The announcement from his family said:  “Nicky Henson has died after a long disagreement with cancer”.  

The 2010 edition of Carthusian magazine featured “An OC Interview” in which Nicky Henson gave a personal account of his life:-

“Proud to describe himself as a jobbing actor, Nicky has worked without ceasing since the day he left Charterhouse, and his fabulous technical skill has equipped him to ply his trade in theatre, television and film throughout five busy decades. He has worked with the greatest British actors of the age; he is highly rated and respected in the business. Henson's theatre credits ( read like a dictionary of drama - an exhaustive list of plays both mainstream and recondite. He has also done about 30 films and loads of television, including Eastenders, A Touch of Frost, and The Bill.

Born in the week of VE Day — the son of the legendary between-the-wars star of stage screen & radio Leslie Henson (who was also for a time in theatrical partnership with Ben Travers, D1904). Nicky's life 'in the family business' has kept him young. He exudes a rumpled 1960s cool: with his Aviator shades, richly modulated voice, and effortlessly imposing physical presence — he is relaxed and friendly, and yet beneath the mature repose there is an intense vitality; he has immense charm and a beguiling grace and agility in his manner — an impressive command, altogether. He is undoubtedly tough too — for acting is a notoriously tough business. "We have 47,000 members of Equity in this country, 87% of whom are out of work at any particular time; and it seems to me that it's the same 13% who work, most of the time... as you probably notice from the television. When I joined the union in 1961 there were 14,000 members and five times the work there is now: we had the reps, movies, B-movies and television drama. That's all gone. There are now 47,000 members and a fifth of the work — also, you don't have to be a member now. Maggie Thatcher got rid of the closed shop — so now you've got all those Equity members, plus all those footballers & WAGs who also want to be at it. It's a cut-throat business. I've watched untalented actors make lots of money, and lots of hugely talented actors never get their break; it's a very unfair business in that way. Just look at all these reality TV shows: it's awful."

Henson's three sons are not — he is relieved to say — actors. He has two by his first wife - the actress Una Stubbs: Christian (a film composer) and Joe (a TV composer). He is now married to Marguerite Porter, the ballerina; their son (named Keaton — after Buster, the silent comedy genius) is an illustrator, designer & recording artist.

In Henson's day Charterhouse was austere: "it had one foot in the past; it certainly wasn't swinging into the 60s in any way at all. There was a classics beak who wore his OC tie every day. I found it restrictive until I met Geoffrey Ford." Ford (BH 1956-92) frequently went up to see shows in London and brought back a whiff of the outside world — and his own shows in Hall were wonderful outlets for creative Carthusians... an early platform for, among others, the boys who went on to form Genesis.

When Nicky Henson left Charterhouse he, like many another Carthusian who had acquired a taste for the stage in Geoffrey Ford's productions, declared that he intended to pursue a career in the theatre. Ford's response to such enthusiastic declarations was nearly always a kind but firm 'no'; but to Henson he said, 'you might as well, mightn't you?' "I couldn't do anything else", Henson admits.

"Geoffrey put me in a lot of plays; my voice broke quite late - and eventually I refused to play any more girls." As well as insisting on playing men, Henson was now instinctively developing his flair for comedy: "Geoffrey let me play 1st Gravedigger; I managed to find some extra skulls and kept throwing them out while Hamlet was doing 'Alas, poor Yorick!' — and I got a lot of laughs."

He was, in fact, a jack-of-all-trades: "On my last night here I was in one of Geoffrey's reviews. I played guitar in all the bands, and I sang in all the vocal groups, and I was in most of the sketches." In the audience that evening was the famous agent Richard Stone - father of Barry Stone (L 63), a fellow performer. Richard Stone came backstage to congratulate Henson, who told him: 'I think I want to go on the stage, sir.' "He's been my agent ever since." Stone was not the only one to spot Henson's talent; Henson recalls Headmaster Brian Young's valedictory quip: "Are you going to be doing this banjo stuff for a living?" Only a few years later Carthusians of the sort Henson had most disliked at school would turn up at his dressing-room door; one such OC remarked, 'all that showing-off paid off then, didn't it?'; this was no doubt kindly meant.

Henson has one thing to say about Charterhouse now: "You know when you come back, everything generally seems much smaller? Well, this is still huge - but a lot more civilised."

Before leaving school he auditioned for RADA, but was far too young ("sixteen going on twelve, actually"). Henson was desperate to leave school after O levels, and he had to prove to his guardian that he was going on into further education - so RADA offered him a year on the stage-management course and then the chance to re-audition for the acting course. Meanwhile Richard Stone had arranged an audition with EMI. Henson got a recording deal (including a three-year contract writing songs for The Shadows and Cliff Richard), and he cut his first single in 1961: 'Till I see you cry'. He finished the stage-management course and went on the road with his band (The Wombats, featuring his great friend Ian Ogilvy) and so he never studied acting. After touring with the band, Henson returned to London and went into cabaret — stand-up comedy, playing the guitar and singing: "again, I was far too young. 1 remember coming out of the kitchens of the Blue Angel Club in Mayfair at one o'clock in the morning and thinking, T should be tucked up at home in bed — not facing all these drunks... upper-class twits and their deb girlfriends...' and this was just the first show of the night! One winter I never saw daylight: there was a show at 10 and a show at 2; afterwards we'd go bowling and then fall into bed for the day."

Henson then went into review-work: his first west end show was All Square, with Beryl Reid in 1963 at the Vaudeville. For the rest of the 60s, Henson worked in musicals: Camelot (Drury Lane 1964), Passion Flower Hotel (Prince of Wales 1965), Canterbury Tales (Phoenix 1968). When Frank Dunlop founded the Young Vic in 1970, a theatre for young audiences, he wanted actors from light entertainment and musicals because he thought they would be sufficiently disciplined to cope with the rapid-fire schedule - putting on shows in only a week or two. Henson was recruited with the likes of Jim Dale, Sam Kelly & Denise Coffey from the fields of review and comedy work, "because it was a three-sided theatre, and we could work directly to an audience — look an audience in the eye. We were doing the classics, and modern classics, for young audiences — and that was the first time I'd done Shakespeare; I'd never trained as an actor at RADA, and I never thought I'd do the classics. I was very lucky: I just kind of fell into it. 1 had a chip on my shoulder about it... until, years later, 1 was doing A Ride Across Lake Constance by Peter Handke at Hampstead Theatre Club; I was sharing a dressing-room with Alan Howard & Nigel Hawthorne — and I was going on about how I wasn't a proper actor because I had never trained. It turned out that neither of them had trained either... so I didn't have that excuse any more: I just had to get on and do it"

After three years at the Young Vic, appearing in everything from Shakespeare and Restoration comedy to Waiting for Godot, and playing Jimmy Porter in Look Back in Anger, Henson went on to the National Theatre and the Royal Shakespeare Company. "I learned it all on the shop floor - and worked with amazing actors... with my absolute hero, Sir Ralph Richardson."

Henson is now relishing the task of passing on what he has learned: "I teach Restoration comedy at LAMDA. I've acted an awful lot of it, but I don't know an awful lot about it... but every Friday I take the class to the pub and buy them all a drink and tell them what it's like to be in the business. I'm a working actor; there are very few working actors who teach." In fact, Henson does know an awful lot about Restoration drama, and his passion for it is threefold: first, it is not done often enough any more — "the casts are too big, and young actors have no experience of it"; second, "it leads to Wilde, Ben Travers & Joe Orton; it's about unlearning all the subtlety"; third, "it's all about sex."

As for the business itself: "English actors work primarily in the theatre; we do film and television as well, but we are rooted in the theatre. English theatre is a team sport. I've worked a lot in America, and it's completely different: it's a competitive sport there... mainly because they're not based in theatre; they mainly do film and television, where all the work is done the night before on your own in your hotel room — and it's all about what you're going to get out it. It's much more of a family atmosphere in English theatre.

The English are not terribly good film actors. There have been exceptions: Alan Bates, Michael Kitchen. We get very little practice at it; we make two or three films a year and there's very little drama on television — so we're all based in theatre. In this country theatre is becoming much more important now: the television audience has fragmented because of all the new channels; the audiences don't have what the Americans call a 'water-cooler moment' any more... where they're all talking (the next day) about what they watched the night before, which they used do with English television. Audiences want a shared experience. It's thrilling at the moment to see young people back in the audiences." Nicky Henson's experience as a founder member at the Young Vic — which attracted crowds of new young theatre-goers, chiefly in school parties... including coach-loads of Carthusians on theatre trips organised by Geoffrey Ford — informs his work now directing young companies, such as Love & Madness, and The Factory. "Young kids come out of drama school and say, 'I see... we've got to do it ourselves' — and they buy a van and stick some scenery in it, and it's like the old days again." Henson also directs at Sheringham every summer, where they do an old-fashioned three-month season of weekly rep. "The standard of the young actors who audition is very good; they get £235 per week — it's in Norfolk, so you can't get casting directors to come and look at you — but they still want to do the work. In the heyday of rep, with a company based in a town for months on end, the audience would get to know the actors — the actors would become their actors; and after doing an Agatha Christie, a Restoration comedy and a Shakespeare, you could take a chance on something new like The Caretaker — and the audience would come, because they knew the actors already. With pick-up shows in the provinces these days — one-off productions with a bespoke cast for the one show — you don't get that happening."

Nicky Henson loves theatre — and most of all he loves Shakespeare comedy; he's played all the clowns and two of the three fools. He argues from experience with those who (like his friend Derek Jacobi, and Globe Director Mark Rylance) say that Shakespeare did not write Shakespeare: "there's no way those parts weren't written by an actor; there's no way those parts were written by the Earl of Oxford. You come across a line and say, 'why's it written like this? It's stupid... I'm having such trouble learning this line: he's put the words in the wrong order.' Then you hit the first preview, and you get this huge laugh at the end of a line — and you think, 'that's it! He knows the laugh's going to come there, so he's put that word at the end of the line... whereas if you put that word in the middle of the line you'd ruin the line: they'd laugh, and they'd not hear the rest of the line.' It's an actor's done that! Also Shakespeare uses the magic rule of three all the time: you do a joke, a joke and then another joke... and then no more. That's an absolute magic theatrical rule. There's no way the Earl of Oxford would know that; I'm sorry! Who did Shakespeare think wrote those plays he was putting on and being in?"

Henson's fellow-feeling for Shakespeare is as one jobbing actor for another. Alongside all the high-minded (and low paid) work at the Young Vic (£35 a week), Henson was working incredibly hard out at Shepperton: "We still had a B-movie industry in this country - so from time to time Frank Dunlop would leave me out of the next show; I would still be in the show at night, but not rehearsing for the next one. Filming was still very unionised at that time — so it used to stop at 5.30 pm on the dot, so that I could finish there and go on stage at the Young Vic in the evening. Some of those B-movies were so bad that thev have become cult-classics... they come back to haunt me on late-night television. In Psychomania Henson is the leader of a motorcycle gang who commits suicide and is buried sitting upright on his motorcycle; he comes back to life as a zombie, rides out of the ground and goes around terrorising the neighbourhood. Henson get invited to address university film societies about it. "Time Out always describes it as 'one of the greatest comedy-horror pictures of all time': I have to point out that we didn't make it as a comedy: it was supposed to be for real!" On the other hand, Witchfinder General (1968 - with Vincent Price, Hilary Dwyer & Ian Ogilvy) in which he played Trooper Robert Swallow, is a straight piece of high quality. It was the director Michael Reeves's third film; he was only 24 at the time - and he died less than a year later, early in 1969: "he would have been huge."

More recently Henson has appeared in Syriana (2005) with George Clooney, playing an American (Sydney Hewitt) — "which was scary"; Henson wryly alleges that he felt during the making of this film (his 30th) he was "beginning to get the hang of film-acting."

Many years before, Henson had turned down a lucrative Hollywood film contract in order to fulfil his prior commitment to the National Theatre: "so there I was in one of those brown rehearsal rooms at the National on a rainy winter's day — the day I'd been due to fly out to California — and I looked across the room and saw Ralph Richardson, Dorothy Tutin & Ben Kingsley and thought, 'ah! There's no choice is there, really?' And Peter Hall was directing, too!" Henson rates Hall as the best verse-teacher in the world; from him he learnt apposition and breath-control when Hall directed him as Malcolm in the Scottish Play. Henson also rates ex-actor directors — like Michael Grandage & Michael Blakemore: "they know when you're trying to get away with something... being lazy"; but Henson has no time for the sort of ex-university director who doesn't really understand how actors operate. The actors are working morning noon and night — rehearsing one show by day, putting on another in the evening and trying to remember what they're doing. Enter the shiny star director: "he has an air ticket in his backpocket for Italy, where he is off to direct some opera as soon as he's disappeared after the first night... and you're left doing his play. Directors who have not acted tend not to understand the process actors are going through."

In 2003 Henson was diagnosed with cancer; his treatment was successful, but it returned in 2006 when he was rehearsing as Sir Toby Belch in Twelfth Night at Stratford. Belch is the longest part in the play, and the comic motor for the second act. By the end of the first night Henson's voice had gone; he went to bed and knew he couldn't do it again: "the worst night of my professional life". He has never been able to act on stage since. He has enjoyed the teaching all the more because of this - being in the company of actors, seeing a play develop: "...and what's more, you can have a drink on the first night."

"Actors are nice people: actors are very brave, very tolerant, very reliant upon each other — and that's why actors become very close. We're all working in the theatre and building towards this traumatic experience, which is the first night. Apparently an actor on a first night produces the same about of adrenalin as someone in a major car smash. The rest of the cast becomes more important to you than your family and friends, because you all go through this traumatic experience together. I'm sure that's where this 'luvvie' business comes from — because you are so close. You might be sharing a dressing-room with someone for eighteen months; you very rarely work with the same people again — and two years later you might be walking down the street, and suddenly there's this man coming towards you (with whom you've been through this major car smash) and you can't just say: 'I'm terribly sorry, I can't remember your name' — so you say 'hullo, love.'

Nicky Henson is an actor by instinct and by experience; he learned his trade on the job. "I was never a method actor. Beryl Reid would buy the shoes first and find the walk; Sir Laurence Olivier did the same. I do it from here" — he points to his guts, not to his head. Henson's 'method' is to find a connection with his audience. Here's how he kept going through gruelling runs month after month; here's why he always chose theatre over film work: "When I was at the National I did three or four plays at once... In Canterbury Tales I did an 18-month run: I'd put my make-up on and go and listen to the house filling up. The theatre takes you by surprise. Once in a while something extraordinary happens: you all come off stage and say to each other, 'what the hell happened tonight?' Every audience is a different animal. Some nights things just come together."

Nicky Henson is currently working on a Feydeau farce with his old friend and colleague John Cleese. Henson played the leather-trousered rock star who smuggles a girl into his room under Fawlty's nose in The Psychiatrist episode of Fawlty Towers). Henson is frequently called upon these days to recall the experience of being a key player in the greatest episode of the greatest sitcom of all time. "I knew something extraordinary was happening — but it was forty years ago and five days' work." This great jobbing actor, with credits to make your head spin, expresses mild and genial bemusement: "When I die I'll just be the man who hid his girlfriend in his room."

Interview conducted by Emily Stovold (S11) & Jeremy Wong (S11)


Thomas Cecil Hook Pearson

1914 - 2019


Robinites 1931

General Sir Thomas Pearson KCB, CBE, DSO & Bar on 15th December, aged 105

R  LQ28-OQ31

1st XI Football


General Sir Thomas Pearson was a senior officer of the British Army who served as Commander-in-Chief of Allied Forces Northern Europe from 1972-1974.  At the time of his death he was the oldest living British full general.  A summary of his distinguished military career and appointments provided by Regimental HQ is shown below. 

He died peacefully at home in Weston under Penyard, Herefordshire, survived by sons Johnny (H66) and Sherwin (G68), grandchildren Charlotte and Jamie and great grandson Tom. His wife Aud (Nutti) Skjelkuale, whom he married in 1947, predeceased him in 2013.

Extensive obituaries were published in The Times of 17 December and Daily Telegraph of 20 December.

In retirement he devoted his time and energy on the preservation of salmon stocks in the River Wye.

RMC Sandhurst, 1933 -1934; Staff College Haifa Jan 1942 – May 1943; JSSC 1950; NDC Canada 1956/7 

Promotions and Appointments:

2Lt 30/8/1934

Brevet Lt Col 1/7/51

Lt 30/8/1937

Col 17/6/1954

Capt 30/8/42

Brig 3/4/1955

Maj W/S 28/1/43

Maj Gen 10/2/1961

Maj Subs 30/8/1947

Lt Gen 12/6/1966

Lt Col W/S 8/12/1944

Gen 9/2/1972



Pl Comd 1RB, Gosport 1934/36

CO 7 Para Jul 1946 – Jul 1947

Pl Comd  2RB, Malta & India 1936/39

GSO1 LAW2 War Office – 1947/50

IO 2RB 1939/40, Palestine, North Africa

Joint Service Staff College Student 1950

Coy Comd 2 RB 1940/41 (1st DSO Feb 1941 Sidi Salah, North Africa)

GSO1 HQ Malaya Nov 1950 – Nov 1951


Staff Capt Q Plans Middle East, Cairo 1941/42

GSO1 Plans HQ FARELF Nov 1951 – Sep 1953


Short Staff Course Haifa 1942

GSO1 Plans HQ FARELF Nov 1951 – Sep 1953

DAQMS 1st Armoured Div 1942

Instructor JSSC Oct 1953

2ic 2RB Sep 1942 (Oct 1942 took over command from Lt Col Vic Turner VC who was injured in the “Snipe action” at Kidney Ridge for which Turner was awarded the VC)

COMD 45 Para Bde (TA) - May 1955


CO 2RB Nov 1942-Nov 1943 Western Desert, Tripolitania, Tunisia (2nd DSO May 1943)

Student National Defence College (Cse No 10), Canada - Aug 1956 – Jul 1957


AA&QMG HQ Aegean Area – Nov 1943

COMD 16 Indep Para Bde Gp – Nov 1957

AQMG – later GSO1 Force 133/266, Italy – Nov 1943 – Jun 1944

COS/D Ops Cyprus – Feb 1960


Dep Comd 2 Indep Para Bde Gp – Jun 1944 –

Jan 1945, Italy, South of France & Greece

Chief of the British Military Mission to Soviet Forces Germany (BRIXMIS), Berlin - Nov 1960

Dep Comd Airborne Bde UK and Norway Jan - Oct 1945

GOC 1st Division BAOR (Verden/Aller) - Nov 1961

GSO1 1st Air Landing Bde Oct 1945 – Jan 1946

COS Northern Army Group – Dec 1963

CO 1 Para Jan – Jul 1946

Comd Far East Land Forces – Feb 1967 – Nov 1968

Military Secretary MOD – Jan 1969 – Feb 1972

C in C Allied Forces Northern Europe (Oslo, Norway) – Feb 1972 – Feb 1974

Retired 27 Dec 1974


Honours and Awards:

MID (LG.26/07/1940)

OBE (LG.27/10/1953)

DSO (LG.9/05/1941)

CBE (LG.01/01/1958)

Bar to DSO (LG. 19/08/1943)

CB (LG.01/01/1964)

King Haakon VII Liberty Cross (Norway) (LG.19/03/1948)

KCB (Birthday Honours 1967 (L.G.10/06/1967)

French Legion d’Honneur 2015 


Honorary appointments:

Colonel Commandant 1st Bn The Royal Green Jackets RGJ 1970 - 1977

Chairman Rifle Brigade Club 1971-1982


Representative Colonel Commandant The Royal Green Jackets  Dec 1973 – Dec 1977

Fisheries Member of the Welsh Water Auth 1980

ADC (Gen) to HM The Queen  6 Feb 1974 – 27 Dec 1974

DL Hereford & Worcester 1975-1985




His son Major Johnny Pearson also served in the Royal Green Jackets; uniquely they are the only father and son combination to both serve in BRIXMIS*, albeit not at the same time.  (*The military liaison mission which existed from 1946 operating behind the Iron Curtain in East Germany during the Cold War, until the eve of the reunification of Germany in 1990)  



Timothy John Spooner

1956 - 2019


Robinites 1974

Timothy John Spooner on 2 December 2019, aged 63

R  OQ70 - CQ74

2nd XI Football


His older brother, Mark, was also in Robinites (R73)


His wife, Sarah, wrote:

“It is with tremendous sadness I write to inform you of the sudden death of TJ Spooner. He passed away after a short battle with an aggressive stomach cancer. We are absolutely heartbroken.

TJ was an outstanding man, my beloved husband, father to Richard (who tragically died at the age of 22 months in 1984), Harriet, Thomas and Amelia.

In 1990 our family migrated to Perth Western Australia, where we lived very happily. TJ was a well respected  partner in Nexia Perth, an international firm of accountants. He had a very strong faith in Jesus and an elder in the church. He had a great love for his family, music and wine.  He is missed by everyone who knew him.”


His firm paid this tribute:

“Our long-term Director of Audit and Assurance and Corporate Advisory, TJ Spooner, was more than a trusted advisor - he was a friend and mentor to many, devoting much of his professional life to developing high quality and upstanding individuals.

A man of considerable intellect and accomplishment, TJ was a sought-after sounding board who offered considered opinions which helped guide clients and colleagues with his unique and worldly perspectives.

A devoted family man with a strong moral and ethical compass that saw him and his family champion many causes to help make the world a better place.   Nexia Perth extends its heartfelt condolences to Sarah and the Spooner family.”

Stephen George Garrett

1922 - 2019


Hodgsonites 1941

Stephen George Garrett  on 2 December 2019, aged 96

H  OQ36 - CQ41

House Moniter


Extracts from on-line tributes posted by Artforum International an Artfix Daily:

British architect and veteran museum director Stephen Garrett, became the first to lead the Getty Museum in Los Angeles after the death of founder of J.Paul Getty in 1976.

He went up to Trinity College, Cambridge but his Architecture studies were interrupted when he joined WW2 war effort in the Royal Navy, which included three separate landings at Sword Beach on D-Day.  After demobilisation he returned to complete his degree and graduated in 1950.  He started a private architectural practice in London and taught at the Inchbald School of Design.

Stephen was first hired by Getty to renovate a villa off the coast of Naples. The project went well and he became a consultant architect during the construction of the Getty Villa Museum in Malibu, the home of Greek, Roman and Etruscan antiquities. When the project was complete he was named as deputy director, then director upon Getty’s death.  He led the institution until 1984, when he moved to become director of the Long Beach Museum of Art.  He ended his museum career helping to complete and open the Hammer Museum in Los Angeles.

The current director of the Getty Museum said “Stephen Garrett will always have an important place in the Getty’s history and will be much missed by all who knew him and remember so well his expansive personality and wonderful sense of humour”. 

His longtime partner, Phyllis Nugent, survives him with three daughters and a son from two previous marriages.

Graham Robert Catterwell

1955 - 2019


Lockites 1973

Graham Robert Catterwell on 18 November 2019, aged 64

L  CQ70 - OQ73

Foundation Scholar


Graham died at his home in Thailand after suffering from ALS, a rare neurological condition.

His funeral will take place at Christ Church, Bangkok on 28th November.

David Stanley Evans

1935 - 2019


Hodgsonites 1953

Dr David Stanley Evans MS FRCS on 17 November 2019, aged 84

H  LQ49 - CQ53

House Monitor, 2nd XI Cricket, 3rd XI Football


David was the eldest of four brothers in Hodgsonites, Peter (H55), John (H58), Brian (H62) and Philip (H63), followed by a nephew Richard (H92).  Daughter Katie was in Gownboys (G90)

His wife Mary survives him with their son, three daughters and three grandchildren.

David’s autobiography “A Nurtured Passion, a Surgeon’s Life in Two Halves” was published 2017. It covers his career as a surgeon at a time when the scope of general surgery advanced to enable operations previously too risky for patient survival, in open-heart surgery, joint replacements and transplantation.

While involved in research he authenticated an examination for Deep Vein Thrombosis which remains at the front line of clinical investigation and has saved countless lives over the years. He was also a pioneer of Minimally Invasive (Keyhole) surgery, becoming a major exponent and teacher of surgery in this new dimension.

The book relates his time at Charterhouse, medical training and progression to Consultant, working with some of the best surgeons in the country and describes challenges faced and benefits gained by patients.