Question: At what point did the British museum begin to grow their collection?
About the article "British Museum", section "Collecting from the wider world (1850–75)".

Candidate passages:
After Meyrick's death in 1848, Goodrich Court and the Meyrick collection passed to his cousin Augustus Meyrick, who exhibited the collection in 1869 at what is now the Victoria and Albert museum.
He disposed of the collection to a number of private purchasers after first offering it to the British Government, as well as donating some objects to the British Museum.
Many of the important items in Meyrick's collection were purchased by the antiquarian, Augustus Wollaston Franks, who later also donated them to the British Museum.
Some of the best pieces of his collection can also be found in the Wallace Collection in London. 
By 1937 the collection was growing too large for Wood to keep at home and he began looking for a permanent location for it.
Still trying to obtain Ferguson's collection he approached a New York City company Ferguson had been associated with, E.R.
Squibb and Sons, and suggested that the museum could be located in vacant space in their office building.
As bait he proposed that it be called the Robert H. Ferguson Memorial Library.
Ferguson didn't take the bait but Squibb did, and the Wood Library-Museum was moved to their building.
More books were donated, including 30 from Ferguson, and the collection continued to grow.
The larger location had space for more apparatus and members soon started making gifts of their old equipment, including some very early anesthetic delivery systems.
The ASA was also now funding the collection through voluntary donations from members.
In 1950 the Wood Library-Museum of Anesthesiology was officially incorporated in New York as a nonprofit educational institution.
It moved to its permanent location at 520 North Northwest Highway, Park Ridge, Illinois in 1963.
In 1971 the New York incorporation was dissolved, making the Library-Museum officially part of the ASA, and in 1987 it was incorporated in Illinois as a nonprofit under ASA auspices. 
In his later years, he developed a greater awareness of his Jewish heritage, which found expression in his works, with reference to the Holocaust and influences from Jewish writers such as Kafka and Walter Benjamin, and he came to consider himself to be a "wandering Jew".
In 1989, Kitaj published ""First Diasporist Manifesto"", a short book in which he analysed his own alienation, and how this contributed to his art.
His book contained the remark: "The Diasporist lives and paints in two or more societies at once."
And he added: "You don't have to be a Jew to be a Diasporist.
"A second retrospective was staged at the Tate Gallery in 1994.
Critical reviews in London were almost universally negative.
British press savagely attacked the Tate exhibit, calling Kitaj a pretentious poseur who engaged in name dropping.
Kitaj took the criticism very personally, declaring that “anti-intellectualism, anti-Americanism, and anti-Semitism” had fueled the vitriol.
Despite the bad reviews, the exhibition moved to the Metropolitan Museum of Art in New York and afterwards to the Los Angeles County Museum of Art in 1995.
His second wife, Sandra Fisher died of a brain aneurysm in 1994, shortly after his exhibition at the Tate Gallery had ended.
He blamed the British press for her death, stating that “they were aiming for me, but they got her instead.” David Hockney concurred and said that he too believed the London art critics had killed Sandra Fisher.
Kitaj returned to the US in 1997 and settled in Los Angeles, near his first son.
"When my Wife died", he wrote to Edward Chaney, "London died for me and I returned home to California to live among sons and grandsons - It was a very good move and now I begin my 3rd and (last?)
ACT!
hands across The Sea."
Three years later he wrote: "I grow older every day and rather like my hermit life."
The "Tate War" and Sandra's death became a central themes for his later works: he often depicted himself and his deceased wife as angels.
In "Los Angeles No.
22 (Painting-Drawing)" the beautiful young (and naked) girl records the shadow of her aged lover (on whose lap she sits) in a pose directly taken from the Scots Grand Tourist David Allan's "Origin of Painting".
The latter was included by Ernst Gombrich in his 1995 National Gallery exhibition (and catalogue) on "Shadows" so that Kitaj would have seen it two years before he left England for ever.
In 2000, Kitaj was one of several artists to make a post-it note for an internet charity auction held by 3M to celebrate the 20th anniversary of their product.
The charcoal and pastel piece sold for $925, making it the most expensive post-it note in history, a fact recorded in the "Guinness Book of World Records".
Kitaj was elected to the Royal Academy in 1991, the first American to join the Academy since John Singer Sargent.
He received the Golden Lion at the Venice Biennale in 1995.
He staged another exhibition at the National Gallery in 2001, entitled "Kitaj in the Aura of Cézanne and Other Masters".
In September 2010, Kitaj and five British artists including Howard Hodgkin, John Walker, Ian Stephenson, Patrick Caulfield and John Hoyland were included in an exhibition entitled "The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie," at the Yale Center for British Art.
In October 2012 a major international symposium was held in Berlin to mark what would have been Kitaj's 80th birthday.
It accompanied "Obsessions", the first comprehensive exhibition of Kitaj's work since his death, held at the Jewish Museum, Berlin.
The title is partly in reference to what he dubbed his "erratic Jewish obsessions".
The exhibition was shown in the UK in two parts at Pallant House Gallery, Chichester (23 February to 16 June 2013) and the Jewish Museum London (21 February to 16 June 2013). 
Ben Nock has been a Radio Amateur since the late 1960s and started in the hobby, as many did in those days, using surplus radio equipment from the second world war.
After years of simply playing with the hobby there came a turning point in the 1980s when the thought of collecting this equipment for future preservation occurred and the process of collecting was begun.
After 20 years the collection has grown to around 700 sets and countless additional items of military hardware.
The Virtual Museum web site was conceived in the late 1990s and the site is expanded daily.
The museum continues to grow at around 2 to 3 sets a month.
Plans are in hand to move the collection to a site more suitable for physical display where the equipment and artefacts can be laid out for better presentation and for greater accessibility by the public and those interested in the subject.
Ben Nock continues to write articles on the subject of Military Wireless with many appearing in the Practical Wireless magazine and Radio Bygones magazine while others have been published in the American CQ magazine and even the RAFA magazine.
The museum is always pleased to give talks and displays to clubs or groups or events relating to the field of militaria or communications. 
The Augusteum is an extension to the Lutherhaus that was commissioned by Augustus of Saxony in 1564 as a library, although actual work did not begin until 1579 under the direction of Hans Irmisch.
The building was mainly ready for use in 1598, when the University library was moved there from the nearby castle.
In 1686 an anatomical theater was added.
was followed, in 1736, by a museum called "Anatomicum", which was essentially a collection of prepared samples and anatomical oddities, most of which were gifts from King August III.
The Augusteum continued to gain in importance for the University and the city of Wittenberg.
More literary collections were added, bringing the total collection to 16,000 books by the middle of the 18th century.
A gallery of the Electors of Saxony was added, including genealogical charts for the Kings of Denmark, Braunschweig, and Brandenburg.
Many more student rooms and offices were added, beginning in 1725.
The Augusteum was also affected by the decay of the Lutherhaus, although not to the same degree.
It was part of the military hospital during the Seven Years' War, and was at one point used to grow corn.
However, it was able to be used as part of the Royal Seminary, in contrast to the Lutherhaus, and thus was spared most of the entropy.
It continued to operate throughout the 19th century as a seminary, and was also used to safeguard the archives from the Schloßkirche, which had nearly been destroyed during the Seven Years' War.
It is still used today as a Lutheran seminary.