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David Morris

George Clough‘s donation of old master prints raised the Whitworth Institute‘s collection to international standing. Simultaneously, it presented Manchester with a viewing experience that was possibly unique in Britain, and placed on permanent display one of the nations finest collections of engravings, etchings and woodcuts so as to offer a visual history of the medium of print. Clough had a special interest in Marcantonio Raimondi, collecting over forty prints by him at a time when such works commanded high prices. This article examines the history and composition of Clough‘s collection and its place in the collecting culture of northern England, and of Manchester in particular, around 1900.

Bulletin of the John Rylands Library
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The stories behind Egyptian mummies in museums

Two mummies buried in a museum garden … a coffin that rotates … skulls amassed for dubious research … What if the most interesting stories about Egyptian mummies are not the ones you know?

Mummified explores the curious, unsettling and controversial stories of the Egyptian mummies held by museums in France and Britain. From powdered mummies consumed as medicine, to mummies unrolled in public, dissected for race studies and DNA-tested in modern laboratories, there is a lot more to these ancient human remains than meets the eye. Following mummies on their journeys from Egypt to museums and private collections in Paris, London, Leicester and Manchester, the book revisits the history of these bodies that have fascinated Europeans for so long.

Mummified explores stories of life and death, of collecting and viewing, and of interactions – sometimes violent and sometimes moving – that raise questions about the essence of what makes us human.

Angela Stienne

‘To turn round a dead … or a living mummy … touch and twirl the proper Spring’. In the eighteenth century, detailed instructions were given to help you make a mummy inside the British Museum come to life. It

in Mummified
John H. Taylor

for other objects, but the present example is unusual in having been carved in a single piece, without a cavity. Its date and possible function will be considered below. It is a pleasure to dedicate this article to Rosalie David, whose pioneering multidisciplinary research has inspired a generation of younger scholars to apply innovative scientific methods to the study of mummies and grave goods to enhance our understanding of life and death in the ancient Nile valley. Acquisition The figurine entered the collections of the British Museum, London, in 1915, when it

in Mummies, magic and medicine in ancient Egypt
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The illustrator as archivist
Bethan Stevens

consequences. Finally, I consider the way Dalziel’s work has been collected by two major memorialising institutions, the British Museum and the Victoria and Albert Museum. The archive – it’s about time: from Alice to Ally Sloper The archive sustains that which time threatens and attacks. It also functions through temporal structures, producing a complex form of narrative that is

in The wood engravers’ self-portrait
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Objects, empire and museums
Sarah Longair
John McAleer

. Wherever they are located, however, these objects and the changing interpretations they have been subject to over the intervening period clearly illustrate how the meanings of objects are modified and altered in response to external influences and changing political priorities. The process of understanding these shifting patterns highlights the fact that ‘curating empire’ is still a pertinent concern for museum professionals today. The British Museum and the National Maritime Museum, Greenwich – the two national museums

in Curating empire
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Children’s encounters with ancient Egypt in the long nineteenth century
Virginia Zimmerman

The anonymous author of ‘At the British Museum’, published in Charles Dickens's All the Year Round in August 1869, describes the visit of a group of working-class families to the British Museum: adults and children alike are bewildered, perplexed and puzzled. 1 The author asserts that while the ‘man of education is thoroughly provided for at the British Museum, to the less well-educated, the Museum is an appalling enigma.’  2 Though the

in Pasts at play
The diverse origins of the municipal art gallery movement
James Moore

substantial state subsidy and become part of a national network of art education, there was no provision for central support of regional museums, however large and successful they were. For a time the Salford museum claimed more visitors than South Kensington and the British Museum, yet unlike these metropolitan institutions, it had to rely entirely on local sources of support.5 For smaller towns, a halfpenny rate generated insufficient funds to cover annual costs, let alone the necessary capital expenditure. Even in Warrington, a relatively wealthy town with established

in High culture and tall chimneys
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The continuing rise of the British Museum (Natural History)
Henry A. McGhie

11 The 1890s: the continuing rise of the British Museum (Natural History) H enry Dresser was fifty-two in 1890; through the decade, he and Eleanor lived a comfortable life in Farnborough. They suffered a great tragedy when their nine-year-old daughter Phyllis died of mumps in 1893. This had a tremendous impact on both Henry and Eleanor: she often spent time away from home in London on charitable work (‘mission work’), while he would take trips away (to Lilford Hall in 1895 for example) so as not to be left alone at Topclyffe Grange.1 The Bowling Iron Company

in Henry Dresser and Victorian ornithology
Mervyn Harris

British Museum, the World Museum in Liverpool and the Rijksmuseum van Oudheden in Leiden) that were previously examined during the 1960s (Gray 1967; Gray and Slow 1968) and which appear to demonstrate radiographic evidence of osteoporosis. By looking for radiographic skeletal markers of ageing, this chapter seeks to determine whether the condition occurred at a younger age in ancient Egypt than in present-day individuals. There are two types of osteoporosis. The first is post-menopausal osteoporosis, which is the result of a decrease in oestrogen levels accompanying the

in Mummies, magic and medicine in ancient Egypt