Campbell Dodgson

Campbell Dodgson, CBE, FBA (13 August 1867–11 July 1948) was an art historian and museum curator. He was the Keeper of Prints and Drawings at the British Museum in 1912–32.[1]

Biography

Campbell Dodgson was the sixth son and seventh child of William Oliver Dodgson, a London stockbroker, and Lucy Elizabeth Smith, daughter of Henley Smith who owned the Priory on the Isle of Wight.[2] He was a distant cousin of Charles Lutwidge Dodgson, better known as author Lewis Carroll. Dodgson was a scholar at Winchester, 1880–86, and New College, Oxford University, 1886–91. He obtained a First in Greats (ancient history and philosophy) in 1890, and a Second in Theology in 1891.

Dodgson initially worked as a tutor, attempting to help his fellow Oxonian Lord Alfred Douglas. An active poet and not-so-active student, Lord Alfred had been sent down from Magdalen College in Hilary term, and the tutorship was a last-ditch attempt to assist the poet to restart his studies and take a degree. After this push failed, Dodgson was called later in 1893 to the British Museum, where he established his career as a librarian and became an art historian specializing in works on paper (1893–1932). He learnt German, 'writing German without difficulty' (DNB, 1941-50 : 215) and made many contributions to German periodicals (ibid.).

On the retirement of Sir Sidney Colvin[1] in 1912 Dodgson was appointed Keeper of Prints and Drawings. Dodgson specialized in early modern Flemish and German prints, and published extensively on the works of Albrecht Dürer, but he also applied his expertise to works of many other schools and periods. During the First World War (1914–18) he worked in Intelligence for the War Office; his 1918 CBE was a recognition of this work (DNB, 1941-50 : 216).

He was the editor, in the 1920s, of The Print Collector’s Quarterly. He was also a contributor to the Burlington Magazine and to the Dictionary of National Biography.[1] Dodgson married Frances Catherine Spooner, daughter of William Archibald Spooner (Warden of New College and the eponymous author of 'Spoonerisms'), in 1913 (DNB, 1941-50 : 216). Dodgson gave generously to the British Museum during his Keepership, but at the same time amassed a very large collection of over 5,000 prints which he bequeathed to the Museum.[3] This included the first works by Pablo Picasso and Salvador Dalí to enter that collection. The same bequest included also the box file Dodgson used to document his acquisitions, which have recently been added to the British Museum’s online database.[4]

References

  1. ^ a b c "Dodgson, Campbell". arthistorians.info. Retrieved 26 April 2011.
  2. ^ Birth certificate for Campbell Dodgson, Lucy Elizabeth Smith
  3. ^ British Museum Collection
  4. ^ Genevieve Verdigel, "Campbell Dodgson's box file", Print Quarterly, XXXV, no.4, December 2018, pp.446-448 http://www.printquarterly.com/8-contents/66-contents-2018.html

External links

  • Twohig, E. (2018) “Print REbels: “Haden - Palmer - Whistler and the origins of the RE” (Royal Society of Painter-Printmakers) by Edward Twohig RE. ISBN 978-1-5272-1775-1. Published by the Royal Society of Painter-Printmakers, London, in May 2018.
Arthur Mayger Hind

Arthur Mayger Hind (1880–1957) was a British art historian and curator, who usually published as Arthur M. Hind or A. M. Hind. He specialized in old master prints, and was Keeper of the Department of Prints and Drawings at the British Museum until he retired in 1945.

Many prints continue to be referred to by the numbers from his catalogue of Italian engravings in the British Museum, a work begun in 1910 and published in expanded form in four volumes in 1948, with another three in 1948. His classic introductory books A [Short] History of Engraving and Etching (1908) and An Introduction to a History of Woodcut (1935) continued to be reprinted for decades by Dover Publications. The former was described by a later curator as "perhaps the most influential general guide ever written to the history of printmaking".With Campbell Dodgson, his predecessor as Keeper, he participated in the "heated atmosphere of rumour and anticipation" (as Dodgson put it in 1927) around the major sales of first half of the century, many dispersing German aristocratic collections, with Berlin, Munich and Americans the main competitors.

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The publication is described as “A profusely illustrated journal containing catalogue raisonné and articles by recognized authorities on individual artists.” in A Guide to the Literature of Art History by Arntzen, E. & Rainwater, R. Publisher: American Library Association, Chicago, 1980 (Chamberlin 2315; Arntzen/Rainwater Q 281.)

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