Most scholarship has attributed Sudanese independence in 1956 to British dominance of the Condominium, historical animosity toward Egypt, or the emergence of Sudanese nationalism. Dividing the Nile counters that Egyptian entrepreneurs failed to develop a united economy or shared economic interests, guaranteeing Egypt’s ‘loss’ of the Sudan. It argues that British dominance of the Condominium may have stymied initial Egyptian efforts, but that after the First World War Egypt became increasingly interested in and capable of economic ventures in the Sudan. However, early Egyptian financial assistance and the seemingly successful resolution of Nile waters disputes actually divided the regions, while later concerted efforts to promote commerce and acquire Sudanese lands failed dismally. Egyptian nationalists simply missed opportunities of aligning their economic future with that of their Sudanese brethren, resulting in a divided Nile valley. Dividing the Nile will appeal to historians, social scientists, and international relations theorists, among those interested in Nile valley developments, but its focused economic analysis will also contribute to broader scholarship on nationalism and nationalist theory.

Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo’s Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo’s then relatively modest Armenian community reach such heights of artistic and creative endeavor? Drawing on eighteenth-century deeds relating to al-Armani and other members of his social network recorded in the registers of the Ottoman courts, Magdi Guirguis offers a fascinating glimpse into the ways of life of urban dwellers in eighteenth-century Cairo, at a time when a civilian elite had reached a high level of prominence and wealth. Illustrated with 28 full-color reproductions of al-Armani’s icons, An Armenian Artist in Ottoman Egypt is a rich and compelling window on Cairene social history that will interest students and scholars of art history, Coptic studies, or Ottoman history.