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]


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]


  1. ^ a b c "Dodgson, Campbell". 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

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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E.M.O'R. Dickey

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F. L. Griggs

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Born in Hitchin, Hertfordshire, he worked as an illustrator for the Highways and Byways series of regional guides for the publishers, Macmillans. In 1903 he settled at Dover's House, in the market town of Chipping Campden in the Cotswolds, and went on to create one of the last significant Arts and Crafts houses at 'New Dover's House'. There he set up the Dover's House Press, where he printed late proofs of the etchings of Samuel Palmer, amongst others. He collaborated with Ernest Gimson and the Sapperton group of craftsmen in architectural and design work in the area.

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István Szegedi-Szüts

István Szegedi Szüts (7 December 1893 Budapest - 1959) was a Hungarian painter and illustrator, a friend of the composers Béla Bartók, Zoltán Kodály and György Ránki. He served in World War I and his books include 'My War' and 'Letters from Stalingrad'. 'My War', two volumes of pen, ink and wash drawings, published in 1931 by John Lane, is a wordless novel of his wartime experiences. His economy of line has been compared with that of Eric Gill and Keith Vaughan.He visited England in 1929, holding a solo exhibition at the Gieves Gallery in London. In 1936 he moved to Cornwall with Gwynedd Jones-Parry, another painter, whom he married in 1937. One of their wedding presents was Alfred Wallis' 'Three Sailing Vessels on a River' given by Jim Ede, who was a junior curator at the Tate and purchased many of Wallis' paintings.

The couple lived at Caunce Head near Mullion, Cornwall on the Lizard Peninsula and stayed there for the rest of their lives. He exhibited with the Newlyn Society of Artists and the Penwith Society of Arts.

The mere fact that Mr Campbell Dodgson, the distinguished Keeper of Prints and Drawings at the British Museum, acts as sponsor to Mr István Szegedi-Szüts, is sufficient guarantee for the merit of the work shown by that young Hungarian artist at the Gieves Gallery in Bond Street. They seem, almost without exception, to be the work of inspired moments, in which the true significance of a scene, a type or movement is revealed to the artist in a flash and transferred to paper with a few vigorous strokes or accents. They are akin to Mr Paul Nash's memorable war drawings in intensity of realisation and simplicity of statement. Mr Szegedi-Szüts does not appear to belong to any particular group. His art bears no marked national characteristics, although it is inspired by profound sympathy with national characteristic life and scenery. His gifts of synthesis and swift notation are akin to Vaszary's, but unlike the older artist he has remained unaffected by Parisian influences.

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Even more than its more predecessors The Yellow Book and The Savoy (which mostly focussed on literature), The Dome dealt with both visual and verbal art, and it also covered music and theatre. It was known for its in-depth studies of painters which rose above the level of mere appreciations, and often championed promising talents such as Edward Elgar.

The Print Collector's Quarterly

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The Print Collector’s Newsletter 1978 vol 9, p. 22 stated, “The Print Collector’s Quarterly summed up the taste and concerns of many American and British print collectors of the first four decades of our (ie the 20th) century.”

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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