150 Journal of Museum Ethnography, no.28 (March 2015), pp. 150–172 © Museum Ethnographers Group 2015 ‘DRESSED AS A NEW ZEALANDER’, OR AN ETHNOGRAPHIC MISCHMASCH? NOTES AND REFLECTIONS ON TWO PHOTOGRAPHS BY CHARLES DODGSON (LEWIS CARROLL) JEREMY COOTE and CHRISTOPHER MORTON Introduction For reasons that will become obvious, in September 2012 the University of Oxford’s Pitt Rivers Museum (hereafter PRM) purchased the photographic print illustrated here (Figure 1). 1 It is not part of the PRM’s remit to collect prints of photographs taken by Charles Lutwidge Dodgson (1832–1898)— better known, of course, as Lewis Carroll; nor could it afford to do so if it wanted to. In this case, however, there was a particular reason why the print was of interest. For some of the ‘props’ in the image had been identified as artefacts that had been in the PRM since 1886 when they were included in the ‘anthropological’ objects transferred from the Ashmolean Museum to the University Museum to join the newly arrived Pitt Rivers Collection (see, for example, Petch 2007: 104). Moreover, at least one of the objects had been identified as being part of the well-known Forster collection of objects collected on James Cook’s second famous voyage to the Pacific of 1772–1775 (see, for example, Coote et al. 2000). At the time of the purchase, it was thought that this was the only surviving print of the photograph. However, further research has established that another print of it (Figure 2) survives in an album held at the University’s Bodleian Library, 2 along with a print of another photograph (Figure 3) taken during the same session and featuring some of the same objects and a few others. For convenience’s sake, we will refer to the photograph from which the print now held at the PRM was made as A (i.e. Figures 1 and 2), and to the other photograph as B (Figure 3). Photograph A has been known to Dodgson scholars for some years, the other has only recently come to light and has not been published before now. Unsurprisingly, no previous author has been concerned to identify with curatorial precision the ‘props’ Dodgson used, or to reflect at any length on