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Artists’ Printed Portraits and Manuscript Biographies in Rylands English MS 60
Edward Wouk

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.

Bulletin of the John Rylands Library
Abstract only
Andy Campbell

150 7 Bound together Attached to history Artwork: Nayland Blake, FREE!LOVE!TOOL!BOX!, 2012 ‘Dust,’ writes Carolyn Steedman, ‘is about circularity, the impossibility of things disappearing, or going away, or being gone.’1 A pulverized, dry matter, agitated dust suspends in clouds and eventually settles in thin, even coats. Sure, dust may be vacuumed, wiped, and thrown away in good turn, in deference to cleanliness and in obeisance to a persnickety order, but dust never really departs in an existential sense. It always winds up somewhere else. The endurance of

in Bound together
Andrew Patrizio

‘The real revolution is internal … the most effective action is molecular.’ (Herbert Read, ‘Anarchism Past and Present’, 1947) This chapter looks at anarchist-related ideas of mutualism and nonhierarchy with an eye on what kind of art history has and could in future be written using such principles. There is a particular focus on the work of Herbert Read, not only as a well-known figure in our discipline but as a public intellectual who shaped postwar anarchist writing beyond art history, criticism and poetry. In the main, anarchist inflections

in The ecological eye
Christian Marclay’s Guitar Drag
Ming-Yuen S. Ma

History, noise, violence: Christian Marclay’s Guitar Drag Historian Mark M. Smith writes in his introduction to Hearing History that, ‘historians are listening to the past with an intensity, frequency, keenness, and acuity unprecedented in scope and magnitude’, and that ‘this intensification holds out the prospect of helping to redirect in some profoundly important ways what is often the visually oriented discipline of history’.1 In the recent publications of Rick Altman, Alain Corbin, Veit Erlmann, Ana Maria Ochoa Gautier, James Lastra, Jonathan Sterne, Emily

in There is no soundtrack
H. J. Perkin
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Roger Forshaw

Hesyre was a high court official in ancient Egypt and lived about 2650 bc during the reign of King Djoser. He managed to combine religious as well as secular posts, and has the distinction of being the first recorded physician and firstknown dentist in history. Healthcare developed at an early period in ancient Egyptian history as is supported by the evidence from the skeletal and mummified remains, from the artistic record, as well as from inscriptional and textual sources. These textual sources, the medical papyri, provide details of medical procedures undertaken, drugs employed and treatments provided - some of which have influenced modern medical practice. What we know about Hesyre comes from his impressive tomb at Saqqara, the walls of which are brightly decorated with items of daily life. Additionally, the tomb contained six fine wooden panels listing Hesyres titles, among them those relating to his practice of medicine and dentistry.

Bulletin of the John Rylands Library
Zheng Yangwen

With the help of the Jesuits, the Qianlong emperor (often said to be Chinas Sun King in the long eighteenth century) built European palaces in the Garden of Perfect Brightness and commissioned a set of twenty images engraved on copper in Paris. The Second Anglo-Chinese Opium War in 1860 not only saw the destruction of the Garden, but also of the images, of which there are only a few left in the world. The John Rylands set contains a coloured image which raises even more questions about the construction of the palaces and the after-life of the images. How did it travel from Paris to Bejing, and from Belgium to the John Rylands Library? This article probes the fascinating history of this image. It highlights the importance of Europeans in the making of Chinese history and calls for studies of China in Europe.

Bulletin of the John Rylands Library
Bulletin of the John Rylands Library