Collector of drawings and connoisseur; worked on a universal history of art. An annotated translation of his life of Bernini was annotated and translated into German by the eminent Austrian art historian Aloïs Riegl, published in 1912.

Early collector of Egon Schiele, wrote a memoir of the artist. Benesch was a railroad administrator in Vienna for the southern line. Although the position was not a particularly lucrative one, he collected contemporary Austrian art. Early on he befriended the Austrian expressionist artist Egon Schiele and became one of his earliest patrons. Schiele painted a combined portrait of him and his son in 1913 (Doppelbildnis H. Benesch und Sohn, Neue Galerie der Stadt Linz, Wolfgang Gurlitt Museum, Inventory 12).

Poet; Assistant Keeper of Prints and Drawing, British Museum. Binyon's father was Frederick Binyon (1838-1900), a minister, and mother Mary Dockray (Binyon), the daughter of Robert Benson Dockray (1811-1871), principal engineer of the London and Birmingham Railroad. He attended St. Paul's School before pursuing Classics at Trinity College, Oxford University. In 1890 he made a first in classical moderations, and in 1892, a second in litterae humainoires. He joined the Department of Printed Books at the British Museum beginning in 1893.

Director of the Amsterdam Rijksprentenkabinet; connoisseur of drawings and prints. Boon studied art history at Amsterdam University, with professor Ferrand Whaley Hudig (1883-1937), and at the Sorbonne in Paris. He finished his studies at the école du Louvre with a thesis on the relationship between the School of Cologne and Netherlandish painting in the second half of the fifteenth century, Les rapports entre l'école de Cologne et la peinture néerlandaise dans la deuxième moitié du quinzième siècle.

First director of the Fitzwilliam Museum in Cambridge University; British Museum Keeper of Prints and Drawings (1883-1912). Colvin was the son of Bazett David Colvin (1805-1871), a commercial agent in India, and Mary Steuart Bayley (1821-1902). Colvin was raised and privately tutored the family home, The Grove, Little Bealings, near Woodbridge, east Suffolk. As a boy he knew John Ruskin, whose work he emulated. He entered Trinity College, Cambridge, in 1863 graduating at the top of his class in Classics in 1867. The following year he was appointed a fellow.

Drawings scholar, especially of the Italian Renaissance; Pisanello expert. Degenhart's father was a high school (Gymnasium) teacher. Degenhart began his dissertation work in 1931 at the University in Munich, researching Lorenzo di Credi under August Liebmann Mayer. Mayer, a Jew, was denounced by many in Munich, including Degenhart, and after Mayer's dismissal, he completed his dissertation under Wilhelm Pinder.

Historian of German and Flemish drawings, Keeper of the Department of Prints and Drawings, British Museum. Dodgson came from a middle-class investment family, distantly related to Lewis Carroll (née Charles Lutwidge Dodgson). He attended Winchester and then New College, Oxford, where he read in Classics and Theology. His intention to be ordained changed after college (perhaps because of his realization of latent homosexuality). Dodgson assisted Oscar Wilde's friend Lord Alfred Douglas at Oxford, spending a well-documented weekend with Wild and Douglas at Babbacombe near Torquay.

Artist, art critic and art historian. Born the son of a graphic designer and chromolithographer, Gaunt dabbled in drawing and writing as a youth. In 1914, after winning a literary contest in the Connoisseur for an essay on Shakespeare's The Tempest, his thoughts seriously turned to criticism. He served briefly in World War I, fighting in the Durham Light Infantry, 1918, until the war ended that year. The following year he attended Worcester College, Oxford, where he read modern history and participated in the Art Society.

British Museum curator and connoisseur of sixteenth-century Italian drawings. Gere was born to Edward Arnold, a British patent examiner, and Catherina Giles (Gere). His artistic interests and passion as a collector were strongly influenced by his upbringing. His father’s half-brother Charles March Gere (1869-1957), and two sisters were artists at the Birmingham school and his mother was associated with the Vorticist circle of Wyndham Lewis.

Keeper (Curator) of prints and drawings at the Victoria and Albert Museum, 1921-1935; bibliophile. Hardie was the son of James Hardie, a headmaster at Linton House, a grammar school in London, and Marion Pettie. He attended Linton House and then St. Paul's School, London, were he won prizes for drawing. In 1895 Hardie entered Trinity College, Cambridge, graduating in1898. He joined the South Kensington Museum (later Victoria and Albert Museum) working in the library. He married Agnes Madeline Pattisson (b. 1876/7) in 1903.

history of art and architecture (Bazin calls his writings those of an amateur); published collection of detailed Portuguese architectural drawings

Prints and drawings authority (especially Italian); Keeper of the Department of Prints, British Museum, 1933 -1945. Hind's father was Henry Robert Hind, a school principal, his mother, Sarah Mayger, and his grandfather the illustrator Robert Neal Hind (1817-1879). After attending the City of London School he entered Emmanuel College, Cambridge University, graduating with honors in 1902. Though music was a serious option, Hind chose the study of prints. He traveled to Dresden to study under the engraving history scholar Max Lehrs.

Chief curator of paintings and drawings at the Louvre; employed a psychological methodology for a universal history of art. Huyghe was born to Louis Huyghe, a journalist, and Marie Delvoye (Huyghe), a university professor. He was trained at the Lycée Montaigne, Michelet, and Louis-le-Grand. Huyghe graduated at the Sorbonne (licencié ès lettres) and took a three-year course at the école du Louvre, where he was a pupil of Louis Hautecoeur, then adjunct curator at the Louvre. In 1927, Hautecoeur offered him a position at the Conservation Department.

Museum curator at the Art Institute of Chicago; specialist in drawings, particularly Italian and French of the 17th and 18th centuries. Joachim was born in Göttingen in 1909 to Dr. Johannes Joachim, a librarian, and Else Gensel; his grandfather was the noted violinist Joseph Joachim. Joachim attended school at a classical Gymnasium in Göttingen, completing his abitur in 1927.

Art collector, cataloger and connoisseur of Netherlandish drawings and prints. Lugt began his career at age twelve in 1899 when he constructed a catalog of the print collection in Rijksprentenkabinet in Amsterdam. By age fifteen, he had written a biography of Rembrandt, illustrated with photographic reproductions and with his own copies of etchings and drawings by Rembrandt (published 1997, Fondation Custodia). Lugt cut short his formal education to become an employee at the auction house Frederik Muller in Amsterdam in 1901.

First woman museum curator at Harvard University's Fogg Art Museum; authority on drawings, especially Ingres. Mongan's father was a prosperous Somerville, MA physician, Charles Mongan. She received a BA at Bryn Mawr in 1927, and afterward, at her father's insistence, spend a year abroad. She chose to study Italian art in a Smith College Seminar in Florence and Paris, then traveling to northern Italy and central Europe, giving her early experience in examining original art. She received her MA two years later from Smith.

Historian of Venetian architecture, painting, and drawing. A student of Giuseppe Fiocco, Muraro received his degree from the University of Padua in 1937, and later studied at the Scuola Archaeological Italiana in Athens, and the Scuola e Filologica delle Venezie. At the end of World War II, Murano dedicated himself to the preservation of Venetian architecture, organizing exhibitions that highlighted the Renaissance villas in the Veneto.

Brithish curator and drawings collector; scholar of Raphael and Botticelli, later British artists. Oppé was the son of Siegmund Armin Oppé, a silk merchant, and Pauline Jaffé (Oppé). He attended St. Andrews University and then New College, Oxford, where he majored in classics. After graduation, he was appointed a professor's assistant in Greek in 1902 at St. Andrews, advancing to lecturer in 1904 and Lecturer in ancient history at Edinburgh University.

Drawings authority and Keeper of the Ashmolean Museum 1945-1962; edited a series on master drawings for the British Museum with Hugh Popham. Parker's father, R. W. Parker, was a surgeon decorated by the King of Bavaria for his part in medical mission (later named the International Red Cross) of Franco-Prussian war of 1870-1871. His mother, Marie Luling, came of a distinguished American family. Parker studied at Bedford until 1912 when the family moved to Germany.

British Museum Keeper of Prints and Drawings; scholar of Italian art. Popham was son of Arthur Frederick Popham, a failed architect who worked in the bookbinding division of the Doves Press, and Florence Radford Popham. Both parents were connected to the draper's firm of Popham and Radford, Plymouth. Popham's parents both had died by 1908. He was educated at Dulwich College and University College, London before being sent to King's College, Cambridge, by his guardian, where he graduated with a second-class in classics in 1911.

Curator and historian of Italian drawings. Pouncy was the son of Reverend George Ernest Pouncey, a banker who had taken clerical vows, Madeline Mary Roberts (Pouncy). He attended Marlborough College and Queens' College, Cambridge. After viewing the 1930 "Italian Art, 1200-1900" exhibition at the Royal Academy in London, he decided to pursue art after college. He graduated in1931 and volunteered at the Fitzwilliam Museum from 1931-1933, making short trips to Italy in between. He was appointed as an assistant keeper in the National Gallery in London in 1934, where he remained until 1939.

Connoisseur of drawings, curator of various print rooms, professor of art history. Van Regteren Altena studied at the Academy for Visual Arts at Amsterdam and spent two years in Italy, intending to be a painter. Visits to Raimond van Marle in Perugia and G. J. Hoogewerff in Rome changed his mind to art history. Upon his return in The Netherlands, he became an assistant of Frits Lugt, who was commissioned to compile the inventory of Dutch and Flemish drawings in the Louvre.

Curator of Prints and Drawing, British Museum. He commissioned Frederic George Stephens to write the initial volumes of the collection, which began appearing in 1870.

Dealer, collector and historian of 19th-century panting and drawings. Ring studied with Heinrich Wölfflin at Munich University, completing a thesis on early Netherlandish portrait painting. She became interested in 19th century drawings while working at the Alte Pinakothek in Munich and the Nationalgalerie in Berlin. Ring began working for the firm of Paul Cassirer in 1919, and became a partner in 1924. After working with Helmuth Lutjens in Amsterdam, she established the Paul Cassirer Gallery in London in 1938.

Museum curator, private scholar, and German drawings expert with a vast knowledge and collection of old German prints and hand drawings, especially those of Albrecht Dürer and his contemporaries. Edmund Schilling was born in 1888 to Edmund Friedrich Schilling, who was a practicing Protestant and merchant, and Ernestine Rosenstiel (Schilling). Schilling himself was raised a Protestant.