Cahn's Quarterly 4/2020 - Galerie Cahn
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Cahn’s Quarterly 4/2020
Deutsche Ausgabe
Editorial
Liebe Leserinnen und Leser
Im vergangenen Oktober haben wir auf der Monaten unsere Website überarbeiten, unsere lungen auf diese Weise zu begleiten. Der Kata-
HIGHLIGHTS Internationale Kunstmesse in Online-Präsenz stärken und vieles mehr. Wir log wurde von Friederike Naumann-Steckner,
München ausgestellt. Es war eine sehr ange- freuen uns darauf, Ihnen im Frühjahr unser der langjährigen stellvertretenden Direktorin
nehme Erfahrung: Die Messe war klein, aber neues digitales Gesicht zu präsentieren. des Römisch-Germanischen Museums in Köln
fein, wirklich sehr charmant und exklusiv, und ausgewiesene Kennerin antiken Silbers,
und die Sicherheits- und Hygienemassnah- Erfreulich war, dass Cahn Contemporary (un- rezensiert. Wie üblich enthält die Zeitschrift
men wurden konsequent durchgesetzt. Unser ter schwierigsten Umständen) eine erfolgrei- den von Ulrike Haase zusammengestellten
Stand erhielt einen wunderbaren Platz in der che Ausstellung in Paris mit wichtigen Ein- Verkaufskatalog; des Weiteren werden ver-
prächtigen Eingangshalle der Residenz aus zelbesuchen führender Persönlichkeiten der schiedene Stücke von Gerburg Ludwig, Martin
dem späten 16. Jahrhundert, und so konn- zeitgenössischen Kunstszene hatte. Ich bin Flashar und mir ausführlicher besprochen.
te unsere antike Skulptur des Dionysos auf besonders dankbar, dass Cahn Contemporary
höchst suggestive Weise ihren Blick auf eine nun offizielles Mitglied des Comité Professi- Im Mittelpunkt dieser Ausgabe steht jedoch
grosse Renaissancebronze der Artemis rich- onnel des Galleries d’Art ist und bereits in die- eine 8-seitige Hommage an unseren geschätz-
ten. Der Empfang war sehr positiv und das sem Jahr in das digitale Programm der FIAC ten Freund und Kollegen John Robert Guy, der
Geschäft verlief solide. Dies zeigte deutlich, aufgenommen wurde. Ein spannendes Projekt am 4. Juli 2020 verstorben ist. Mein aufrichti-
dass Messen unersetzbar sind, obschon es in diesem Winter ist die Vorbereitung eines ger Dank gilt allen Autorinnen und Autoren,
vielleicht in Zukunft wenigere sein sollten. neuen, grossen Ausstellungsraumes im Herzen die Texte und Fotografien beigesteuert haben.
Einige Wochen später präsentierten wir im Basels, in dem zeitgenössische Kunstprojekte Mit dieser kleinen Gedenkschrift hoffen wir,
Rahmen von Antike in Basel die Ausstel- in Kombination mit archäologischem Material zwar kein monumentum aere perennius zu er-
lung Tiere und Mischwesen in unseren Gale- verwirklicht werden können. Wir werden Sie richten, aber doch zumindest die wichtigsten
rieräumlichkeiten. Es war eine grosse Freude, darüber auf dem Laufenden halten. Stationen in Roberts Leben und einige seiner
alte Freunde wiederzusehen. herausragenden Errungenschaften für die
Einen Schwerpunkt dieser Ausgabe von Nachwelt festzuhalten.
Es ist klar, dass für Kunstliebhaber selbst die Cahn’s Quarterly bildet die bedeutende Samm-
anspruchsvollste Online-Plattform keinen lung antiker Silberobjekte von Christian und
vollwertigen Ersatz für die echte, unmittel- Hedy Schmassmann. Sie publizierten diese in
bare Begegnung mit den Objekten sein kann. einem schönen, von unserer ehemaligen Mit-
Dennoch legen wir grossen Wert auf die Di- arbeiterin, der Archäologin Gerburg Ludwig,
gitalisierung und werden in den kommenden verfassten Katalog. Es ist eine Freude, Samm-
Unsere Ausstellung in der Residenz an der HIGHLIGHTS Internationale Kunstmesse, München 2020. Foto: Michael Aust
CQ 1
Cahn’s Quarterly 4/2020
Für Sie entdeckt
Dem Meister über die Schulter geschaut
Antike Goldschmiedetechniken
Von Gerburg Ludwig
Abb. 2: BÜGELOHRRINGE. H. 4,1 cm. Gold, Sardonyx.
Römisch, 3. Jh. n. Chr. CHF 3’800
schmolz er abgeschnittene Drahtstückchen auf
einem Holzkohlestaubbett zu Kügelchen. Diese
und die Zierdrähte fixierte er ornamental mit
einem Klebstoff-Kupfersalz-Gemisch auf dem
Abb. 1: TUTULUSFIBEL. B. 3,3 cm. Gold, Bronze, Karneol. Römisch, 4.-5. Jh. n. Chr. CHF 4’600 Schmuckstück. Etrusker führten diese Kunst
mit feinsten bis grossen Kugeln zur Perfektion.
Die Argonauten-Sage von Iason, der aus römischer Schmuck hat einen Feingehalt von
Kolchis (heutiges Georgien) das Goldene Vlies 85%–99% (Ogden, 1992, 261–264). Einzelteile konnten durch Schweissung, Nie-
mit Hilfe der kolchischen Königstochter Medea tung oder Scharniere miteinander verbunden
raubt und nach Thessalien zurückbringt, re- Mit selbstgefertigten Werkzeugen bearbeiteten werden. Abgerundete Werkzeuge glätteten un-
flektiert die Bedeutung von Gold in der Antike, antike Goldschmiede vor allem Goldblech, das verzierte Flächen; als Politur diente ein Gemisch
aber auch die Konflikte, die sein Besitz auslö- sie in die Form schmiedeten und mit dem Mes- von Speichel und Ton, Kreide oder feinem Sand.
sen konnte. König Pelias entlohnt ihn nicht ser oder einem feinen Meissel zurechtschnit- Die Tragweise des Schmucks ist auf schwarzfi-
mit dem versprochenen thessalischen Thron, ten. Das Vollgussverfahren kam wegen der gurigen Vasen, Münzen, bei Skulpturen, Reliefs
woraufhin Iason ihn töten lässt, schlussend- Gussüberstände kaum in Frage, zu teuer das oder Wandmalerei gut zu beobachten.
lich aber mit Medea vertrieben wird. häufig vom Kunden mit Gewichtsvorgabe/als
Münzen gelieferte Material. Weitere Techniken Von der Galerie Cahn hier angebotene
Herrscher und Heiligtümer horteten Gold, z. B. zur Formgebung, Vervielfältigung, Verzie- Schmuckstücke stellen einige Techniken vor:
in Form gegossener Gefässe. Das sog. Zwölfta- rung: das Treiben mit dem Hammer in eine Die ovale Fibel (Abb. 1) wurde aus Goldblech
felgesetz (5. Jh. v. Chr.) spiegelt die Bedeutung Negativform oder über ein positives Modell, formgetrieben und um eine Bronzeplatte mit
in Rom: Im Todesfall war Gold dem Verstorbe- das Modellieren mit Rundgriffel über einem Nadelspirale, Nadel und Nadelrast zur Fixati-
nen abzunehmen, mit einer Ausnahme: Gold positiven Modell, das Ausstanzen mit scharfen on gebördelt. Um den Karneol in Kastenfas-
zur Fixation eines Zahns. negativen Stempeln (Durchbruchstechnik) so- sung liegt oval angelegte Filigranarbeit und
wie das Prägen mit positiven Stempeln. Granulation: innen ein Spiralspuldraht mit
Antike Goldlagerstätten befanden sich u. a. Kügelchen, dann eine Reihe Kugeln, z. T. von
in Oberägypten, Nubien, Lydien, im Bal- Andere Verzierungen arbeitete der Meister ein Runddraht gerahmt. Die übrige Fläche zieren
kan- und Alpenbereich und in Spanien. In oder trug sie auf: Spanabhebend gravierte er schuppenartig gelegte Runddraht-Bögen und
Sakdrisi/Georgien entdeckten Forscher der mit dem Stichel Linien in kräftige Werkstü- bes. in den Zwickeln aufgesetzte Kügelchen.
Ruhr-Universität Bochum 2004 das bislang cke. Mit spitzem Griffel zeichnete er ein; zum
älteste Goldbergwerk (4. Jt. v. Chr.). Analysen Ziselieren bewegte er diesen mit dezenten Die Zierscheibe und den Quersteg der Ohr-
antiker Goldobjekte ergaben einen Silberanteil Hammerschlägen. Dreieckige, runde, ring-, ringe, miteinander verlötet, stanzte der Gold-
von 1%–25%. Lag er höher, war der Farbton mondförmige Ornamente hieb er mit der Pun- schmied in Durchbruchstechnik aus Goldblech
hellgelb – das sog. Elektron. Aus dem Zusatz ze. Zusätzlich belebten zwei alte östliche Tech- (Abb. 2). Mit dreieckigen und mondsichelför-
von Kupfer (25%, statt der natürlichen 2%) niken massgeblich die Ornamentik. Die Fi- migen Stempeln arbeitete er die Blütenkelche
resultierte der rötliche Farbton wie bei ägyp- ligranarbeit: Goldblechstreifen, zwischen Holz heraus, mit grossen kommaförmigen die Ran-
tischem Schmuck. Die gezielte Läuterung wird und harter Unterlage zu feinen Rund- oder ken des Querstegs. Mit spitzem Griffel zeich-
mit dem Beginn der Gold-Münzprägung (7./6. Flachdrähten und dann ein- oder zweiphasig nete er Mittelrippen und kleine Häkchen für
Jh. v. Chr.) verbunden. Bei Schmuck variierte zu Perlenreihen, Spiralen, Spulen oder Kor- die Staubblätter ein. Mittig in formgetriebener
der Reinheitsgrad weiter: Hellenistischer und deln geformt bzw. gelegt. Bei der Granulation Mulde eine auf Goldband gezogene Sardonyx-
2 CQ
Cahn’s Quarterly 4/2020
Perle. Rückseitig unterfängt ein Runddraht Meine Auswahl
vertikal die Mulde und bildet den Tragehaken.
Vier vertikale Goldblechstreifen münden in
Eine Bucchero-Hydria
Ösen mit je einem Ring, konischer Tülle und
Natur-Perlen auf Golddraht.
Der Kinder-Armreif (Abb. 3) wurde aus einem
Silberrohling zu mehr als einem Zweidrittel- Von Jean-David Cahn
kreis gehämmert, seine Enden zu Schlangen-
köpfen gerundet. Die weit geöffneten Augen
setzte der Meister mit der Ringpunze. Kontu-
ren aller Schuppen, eine Doppelzacke auf der
Abb. 3: KINDERARMREIF MIT SCHLANGENKÖPFEN. Dm.
max. 4,2 cm. Silber. Griechisch, 5. Jh. v. Chr. CHF 1’600
Kalotte, die Nasenöffnung gravierte er. Die
übrige Reiffläche wurde grob geglättet und
poliert. Punktuell ist eine geritzte Zickzack-Li-
nie zu beobachten. Für den Kinder-Finger-
ring (Abb. 4) formte der Goldschmied einen
schlichten Reif aus Goldblech und füllte ihn
zur Stabilisierung mit einem Sand- oder Ton-
kern. Dafür sprechen einige Druckstellen um
die angelötete Kastenfassung. Wegen der auf-
fallenden Grösse der oktogonal geschnittenen
Gemme ist das Gewicht des Reifs schwer ein-
HYDRIA MIT RELIEFDEKOR. H. 40 cm. Ton (Bucchero Pesante). Etruskisch, ca. 550 v. Chr. Preis auf Anfrage
zuschätzen, eine massive Fertigung also nicht
vollständig auszuschliessen. In die Fläche Wenn ich dieses aussergewöhnlich kräftige Ge- Technisch gesehen waren die Etrusker Meister
schnitt der Gemmenmeister einen schreiten- fäss betrachte, so frappiert mich jedes Mal seine der Perfektion, wählten jedoch häufig Propor-
den Adler mit Kranz im Schnabel. Fremdartigkeit. Die Wahl der Form – die drei- tionen, die dem zeitgenössischen griechischen
henklige Hydria ist eine wahrhaft griechische Geschmack widersprachen. Hier hat der Künst-
Form – finde ich ebenso überraschend wie die ler zwei verschiedene architektonische Ebenen
Entscheidung, eine so ureigene etruskische Her- geschaffen. Krieger im Profil werden von der
stellungsart wie den Bucchero zu verwenden. Hüfte aufwärts gezeigt, als ob die Schulter der
Die Griffe erinnern stark an metallene Paral- Vase ein Fensterrahmen wäre und die Krieger
lelen aus der griechischen Welt, und derselbe vorbeimarschierten – ein ungewöhnliches Kon-
Einfluss zeigt sich auch in der Ornamentik, vor zept. Das regelmässige Muster von applizierten,
allem in den applizierten Tropfenformen, die frontalen, weiblichen Gesichtern vermittelt den
uns von getriebenen Bronzegefässen so ver- Eindruck, dass die Vase einen anblickt; gleich-
traut sind. Offensichtlich wurden die Etrusker zeitig weist sie dahinter eine separate Ebene auf.
von frühen Hydrien beeinflusst, die sie in Grie- Die frontale Peplophoros des vertikalen Henkels
chenland gesehen oder aus Griechenland im- an der Rückseite trägt ebenfalls zu den verschie-
portiert hatten. Sie schufen jedoch etwas völlig denen visuellen Schichten bei, welche diese
Abb. 4: FINGERRING MIT ADLERGEMME. Dm. 1,3 cm. Autochthones unter Verwendung einer grund- Vase als Objekt sehr dreidimensional und leben-
Gold, Karneol. Römisch, 1.-3. Jh. n. Chr. CHF 3’200
legend anderen Ästhetik; das Ergebnis ist kraft- dig machen. Die Vase will uns etwas mitteilen,
Untersuchungsmethoden wie Rasterelek- voll und ergreifend. auch wenn die Erzählung für uns rätselhaft
tronenmikroskopie oder Röntgenfluoreszenz- bleibt, wie so häufig in der etruskischen Kunst.
analyse werden uns, zusammen mit Schrift- Das dickwandige Gefäss, die Reliefdekoration
quellen und archäologischen Befunden, und die gestempelten Motive erscheinen zu- Es sind nur sehr wenige Beispiele für monu-
weitere Kenntnisse über technologische Fä- nächst recht grob. Man könnte auf den ersten mentale Bucchero-Gefässe mit einer derart um-
higkeiten und den Handel mit Goldschmuck Blick denken, die figürliche Dekoration sei pri- fangreichen Reliefdekoration bekannt. Diese
vermitteln. mitiv, doch ist dies keineswegs der Fall. Viel- Hydria wurde 1975 von meinem Vater veröf-
Literatur: J. Ogden, Gold in Antiquity, in: Interdisciplinary mehr ist es eine bewusste Wahl, ein Phänomen, fentlicht und gehörte, bis sie der Galerie anver-
Science Reviews, Bd. 17, 3, 1992, 261-270. dem wir in der etruskischen Kunst oft begegnen. traut wurde, einer Basler Sammlung an.
CQ 3
Cahn’s Quarterly 4/2020
Aus Sicht des Sammlers
Eine Leidenschaft für antikes Silber
Christian und Hedy Schmassmann haben im Verlauf vieler Jahre eine umfassende Sammlung antiker
Silberobjekte aufgebaut. Sie hatten immer wieder Gelegenheit, sich mit Jean-David Cahn auszutau-
schen und dabei entstand die Idee, ihre Sammlung in Form eines Katalogs zu dokumentieren.
griechischen Werkstatt des späteren 6. Jahr- nicht unter «Schmuck» fassen? – erweist sich
hunderts v. Chr. (Abb. links)? Bestaunt man rasch als hilfreich, da sie zu Gruppen bindet.
das pontische Rhyton mit ausdrucksstarkem Die gewohnte chronologische Anordnung
Figurenfries in Hochrelief, das Szenen eines würde zur Unübersichtlichkeit führen, lassen
Kampfes bärtiger, mit langen Hosen beklei- sich doch aus dem Kunsthandel ohne Kontext
deter «barbarischer» Krieger zeigt? Bewundert überlieferte Gegenstände, und gerade solche
man die Eleganz des doppelwandigen Sky- aus traditionellem Kunsthandwerk, nur in
phos, dessen Aussenwand filigrane Ranken grössere Zeitfenster einordnen. Vorangestellt
mit grazilen Vögelchen schmücken, ein Dekor, hat Ludwig ein Essay über die Gewinnung von
der spontan an die Rankenfriese der Ara Pa- Silber in den Bergwerken im Laureion-Gebir-
cis erinnert? Eine vermögende Römerin mag ge und deren Geschichte. Nach dessen Lektüre
insbesondere ihren Handspiegel geschätzt ha- bedauert man nur, dass kein Abschnitt über
ben, dessen Griff als knorrige Herakles-Keu- den Silberabbau der Römer in Spanien folgt –
le gestaltet ist. Stolz war eine gallo-römische das kann man aber bei Plinius (Naturgeschich-
Familie sicherlich auf ihre mehr als elf (römi- te XXXIII 95-98) nachlesen.
sche) Pfund schwere silberne Auftrageplatte
mit breitem floralem Rand und grossem Mit- Der Katalog glänzt auch durch die brillanten
telmedaillon. Jüngstes Stück der Sammlung Farbfotos von Niklaus Bürgin. Ohne Effekt-
NIKE UND QUADRIGA. H. 6,9 cm. Vergoldetes Sil- Schmassmann ist eine eher zarte sassanidische hascherei ist jedes Objekt sorgfältig ins Licht
berblech. Griechisch, 540-525 v. Chr. Verkauft
Schale des 6. Jahrhunderts, deren Innenseite gerückt. Man erkennt jede Gravur, jedes Graf-
das Bild einer mit Diadem, Halskette, Arm- fito, jeden Riss und gewinnt ein Gefühl für
G. Ludwig: Argentum – Silber aus und Fussringen und wehendem Schleiertuch die Plastizität der Statuetten und Gefässe. Im
der Antike. Die Sammlung Christian festlich bekleideten Tänzerin ziert – mögli- Zusammenspiel von Objektqualität und Fo-
und Hedy Schmassmann cherweise eine Votivgabe im Anahita-Kult. tokunst gelingt es, die kleinen Appliken und
Büsten in doppelter Grösse abzubilden oder
144 Seiten, 103 Abbildungen, 2 Falttafeln, Basel 2018 Gerburg Ludwig hat jedes Kleinkunstwerk auf die prachtvolle Auftrageplatte auf der Falttafel
einer Doppelseite gewürdigt, einige besonde- ohne Verlust auf halbe Grösse zu reduzieren.
Rezension von Friederike Naumann-Steckner re Werke auf deren zwei. Nach der Ansprache
nennt sie jeweils vermutete Herkunft, Datie- Die Museumsfrau stolpert ausschliesslich beim
«Die Unbeständigkeit menschlicher Sinnesart rung, Material, Technik, Grösse und Gewicht. Geleitwort von Jean-David Cahn über seinen
unterwirft auf sonderbare Weise die Gefässe aus Ausführlich dokumentiert sie die Provenienz, «dynamischen Ansatz» von privaten Samm-
Silber einem dauernden Wechsel, da man auf die bei kaum einem Stück über die 1950-Jahre lungen, sind doch Kleinkunstwerke in Pri-
lange Zeit keinen Werkstattstil bevorzugt. Bald zurückreicht – nicht ungewöhnlich für Gegen- vathand oft über viele Jahre der öffentlichen
verlangen wir nach furianischen, bald nach stände des (gehobenen) Alltags. Die Modalitä- Wahrnehmung entzogen. Letzteres kann frei-
clodianischen, bald nach gratanischen [Gefäs- ten der Erwerbung und evtl. Veröffentlichun- lich beim Bewahren im Museumsdepot nicht
sen...], bald nach ziselierten Arbeiten», moniert gen werden eingehend dargestellt. Nach einem viel anders sein.
der römische Offizier und Schriftsteller Plinius kurzen Kerntext gibt Ludwig eine behutsame,
d. Ältere in seiner Naturgeschichte (XXXIII 139) differenzierte Objektbeschreibung und eine
– und unterstreicht damit umso mehr die Lust knappe Würdigung. Wert legt sie auf Erhaltung
der Römer am Zusammentragen schönen alten und Herstellungsprozess, letzteres ein Thema,
Silbers. Diese Sammlerfreude, die Begeisterung das dem Sammler am Herzen lag. Die archäo-
für die Gestaltungsvielfalt des edlen Materials, logische Fachdiskussion inklusive zahlreicher,
leitete auch Christian Schmassmann, kritisch sorgfältig recherchierter Parallelen findet man
unterstützt von seiner Frau Hedy (1936-2018), in kleinerer Schrifttype als eigenen Abschnitt
in weniger als zwanzig Jahren über fünfzig ans Ende jeder Seite verlagert – dem Fachmann
Silberobjekte der Antike zusammenzutragen. eine besonders willkommene Fundgrube.
Gerburg Ludwig veröffentlicht die Sammlung
in einem sehr ansprechenden, 2018 mit beson- Ludwig hat das Silber vier Themen zugeord-
derem Engagement von Jean-David Cahn ge- net: Lebenswelt – Schmuck: Schutz und Eitel-
stalteten Katalogwerk. Friederike Naumann-Steckner war von
keit – Zu Gast bei den Römern – Zum Umtrunk
1985 – 2019 wissenschaftliche Referen-
geladen bei Persern, Griechen und Römern.
Es fällt schwer, nur ein Highlight zu benen- tin, dann stellvertretende Direktorin des
Diese unübliche und zunächst etwas befrem-
nen. Ist es die fein ziselierte Applike mit der Römisch-Germanischen Museums der
dende Gliederung – was liesse sich nicht unter
eine Quadriga lenkenden Nike aus einer nord- Stadt Köln.
«Lebenswelt», welcher Gegenstand aus Silber
4 CQ
Cahn’s Quarterly 4/2020
In Memoriam
In Memory of John Robert Guy 1949-2020
Dear readers
When looking at the contributions in this supported financially. The growing tendency
tribute to the memory of Robert Guy, one to look at vases as mere containers, ignores
becomes aware of Robert’s enormous depth the wealth of information they can tell us
in his specific field. His generosity in shar- about mythology, as well as the societies
ing his unparalleled knowledge with others that produced and used them. They are dia-
is repeatedly evident. One also senses that lectic. And they are enchantingly beautiful.
while he could be very witty, there was an
unhappy current that accompanied him The remarkable intensity and density with
consistently throughout his life. which the largely uncelebrated ancient
vase-painters and potters toiled in ancient
What comes out of these contributions is a Athens, is increasingly dismissed or ration-
rich personality with a genius rarely seen, alized into obscurity. Ironic, that this depth
who influenced a generation of archaeolo- of evidence is not utilized in full, given that
gists worldwide in his very specific way. I we have so much written documentation
am very grateful for these contributions, be- from the epoch of this great civilisation.
cause I would be the wrong person to com-
ment as a colleague – our relationship was Robert’s way of approaching vases should
of a different nature. continue.
The sense of loss is palpable. For decades,
the study of Attic vase painting has dimin-
ished alarmingly in the way it is taught and Robert in the Galleries of Greek Vases at the Louvre, 2016.
The Life and Work of John Robert Guy
By Dyfri Williams, Former Keeper of Greek and Roman Antiquities, British Museum, Research Fellow, Université libre de Bruxelles
the footsteps of the great Oxford scholar J. D. as close friends for the rest of his life and his
Beazley. We talked all night long, photographs understanding of both continued to grow. In-
and sketches strewn across my floor – he had deed, in 1981 he published an important arti-
to leave the next day. Thereafter, we were to cle on a ram’s head rhyton decorated by the
remain good friends throughout our different Triptolemos Painter and signed by the potter
careers and challenges. Charinos recently acquired by the Virginia
Museum. He dealt thoroughly with both potter
While in Athens, Guy composed his first pub- and painter and in so doing made very im-
lication, a review of Kezia Knauer’s mono- portant comments on both, in particular the
graph on the recently acquired skyphos by connections with Douris and the Brygan cir-
Dyfri Williams (l.) and Robert Guy (r.) in the British Mu-
seum, 2005. Robert is laughing and Dyfri is trying not to. the Triptolemos Painter in Berlin. Then, in late cle, while also opening up our view of the spe-
1975 he returned to Oxford and embarked on cialist potter Charinos. The Dourian thesis was
I first met the Canadian scholar Robert Guy in a D.Phil. thesis at Lincoln College (supported finished in 1982 but, like his MA thesis, it was
1974 in Oxford. He had just finished his MA by the Canada Council until 1978), under the never published. It is a fundamental work on a
thesis on the early 5th century B.C. Athenian gentle guidance of Professor Martin Robertson complex area of Early Classical vase-painting,
red-figure vase-painter, the Triptolemos Paint- on the cup-painter Douris, which narrowed providing insights into both painter and pot-
er, for the University of Cincinnati, and was down to the painter’s Late Manner and Follow- ter connections, and it is to be hoped that it,
on his way out to Athens to stay in the Amer- ers. His path ahead on the Triptolemos Painter and its predecessor, can be made more widely
ican School of Classical Studies as a Canada had been blocked by the work of Kezia Knau- available to students and scholars.
Council Doctoral Fellow (he had done his first er and her promise of a forthcoming mono-
degree at Queens College, Kingston, Ontario). graph (which never materialised), while the The years in Oxford, 1975–1984, were cru-
He came round to my room on the suitably situation proved much the same with Douris, cial to the development of Guy’s talent – his
named Museum Street and we began discuss- since Diana Buitron finished a PhD thesis on extraordinary eye for style, his visual memo-
ing red-figure cup-painters. I think it was a the painter in 1976 (published in 1995, with a ry and his ability to reconstruct figures and
revelation for both of us – here was someone section on the Dourian followers drawn from scenes in his mind’s eye. There were two
else with the same urge to study Athenian vas- Guy’s thesis). Both the Triptolemos Painter paths to this end, both driven by the intellec-
es and in particular their painters, following in and Douris, however, were to stay with him tual desire to study as many Athenian vases as
CQ I
Cahn’s Quarterly 4/2020
for Campana on his property at Cerveteri in lectured for Princeton’s Department of Art and
the early 19th century. For, in this way, he Archaeology, held a graduate seminar on Ar-
was actually giving back to innocent material chaic Athenian pottery in 1987, and supervised
something of its context and history. Liz Langridge-Noti’s important thesis on the
Eucharides Painter. During these years he also
In parallel to his work with Athenian vas- began to collect pottery fragments for himself
es, we should note the invitation in 1983 recognising their special value as a teaching
by Dale Trendall, the doyen of South Italian aid – his collection was later to go to the Har-
vase-painting, to accompany him on a tour of vard Art Museums, where it was published in
museums in southern Italy: Guy was support- 1997 by Aaron Paul. In addition, Guy lectured
ed by grants from Oxford’s Meyerstein Fund abroad, in Toronto (1984), London (1985), Co-
and London’s Institute of Classical Studies. He penhagen (1987), Lausanne (1987), New York
spent some five very happy months helping (1987 and 1991) and Paris (1990).
Trendall, then 74 years old, with all the exi-
gencies of travel, while both learning directly
Robert Guy (top row far right) in Corinth, 1975.
from a master and enjoying his impish spirit,
possible, especially those unpublished or pre- in many ways so like Guy’s own.
viously unknown. The first path was to study
in detail the most important museum collec- In 1984 Guy was appointed Associate Curator
tions and to this end he began, from 1977, to of Ancient Art at the Art Museum of Princeton
work especially in the Réserve Campana of University. Under the benevolent eye of the
the Louvre. He made numerous joins and con- Director, Allen Rosenbaum, Guy was to make
nections among the huge scatter of fragments important acquisitions for the Museum and to
stored there. He also made trips to the Getty to complete a redisplay of the highlights of the
study their fast growing collection and began collection, proving himself a Museum man as
to travel to Rome to study the fragments in well as a research scholar. His major acquisi-
the Villa Giulia, to continue the work begun tions for the Museum, either by purchase or
Fragments of a red-figure kalpis attributed to the Berlin
by J.D. Beazley on the Italian part of the Cam- gift, range across the full spectrum of ancient Painter. Greek, Attic, ca. 500-490 B.C. Cahn Collection,
pana collection. At the Villa Giulia Guy was art including large scale marble sculptures, Basel (HC 1753).
similarly able to make many new connections bronzes, glass, terracotta vases and figurines.
between pieces there and elsewhere, chart- We might note, especially some important In the autumn of 1991, as his U.S. work permit
ing further the diaspora of the truly immense sculptures: a Classical Greek gravestone of ended, he was offered the first Humfry Payne
Campana collection. Indeed, after his last visit the boy Mnesikles, part of a Roman funerary Senior Research Fellowship at Corpus Christi
in 1994 he began to entertain plans for pro- monument of a charioteer, the head of a priest College, Oxford. This seemed an ideal posi-
ducing a sequel to Beazley’s rightly famous of the imperial cult from a votive pillar, and tion, freeing him to concentrate on research
Campana Fragments of 1933. the fine head of a boy of Antonine date. He alone, but it was perhaps something of a
also acquired, of course, many Greek vases mixed blessing, for there had been opposition
The second research path for Guy was the and fragments of all periods, including from to the source of the funding and the lack of
study of private collections and the antiquities the best moment of Athenian vase-painting an open competition for the post. At the end
market. Among the growing private collec- in the early 5th century B.C. One of the finest of 1991 he published a short but important
tions that he visited regularly were those of Athenian vases purchased by Princeton during piece in the Ackland Museum’s Quarterly on
Dr. Dietrich von Bothmer at the Metropolitan Guy’s tenure, was to cause controversy both the black-figure Bucci Painter, thus demon-
Museum of Art in New York and Dr. Herbert in and beyond the world of a curator, indeed strating the range of his knowledge. In 1992
Cahn in Basel, both composed almost entirely it was eventually returned to Italy as having he was invited to join a publication project of
of fragments. At the same time he began to been looted and then illegally exported by the vases in the Vatican with François Lissarrague
follow the antiquities sales in London. He saw dealer Robert Hecht in 1989. This was a psyk- and François Villard. This ran until 1995, but
all the material that went through the market, ter (wine cooler) which Guy recognised as an was then suspended. In parallel, his work on
whether in auction houses or with dealers, an early work of the Kleophrades Painter. Dietrich private collections, which had included entries
exposure that quickly embraced other Europe- von Bothmer in the Metropolitan Museum of for a 1984 catalogue of the Borowski collec-
an and American markets. His extraordinarily Art and Marion True of the J. Paul Getty Muse- tion, culminated in entries for the catalogue of
gifted eye for the style of individual Athenian um had both declared it a fake, but Guy rightly the 1994 exhibition at the J. Paul Getty Mu-
vase-painters, from the 6th century to the 4th, ignored these somewhat spiteful opinions. His seum of the Fleischman collection. Writing,
soon made him an important resource to ac- knowledge of the vase-painter was deep – he however, and even the submission for pub-
quiring museums, private collectors and those had lectured on him in 1979 and was to do so lication of what he had given as lectures or
in the antiquities trade. The ethics of major again in 1991 – and his judgement was ab- papers at conferences, was always extremely
dealers was yet to be seriously questioned, solutely sound. His willingness to harry such difficult for Guy. He was a perfectionist in his
while the role of the academic in assessing “opponents" always reminds me of the lion on language, but also someone who was inhibited
antiquities on the market, whether for authen- a fragment in Herbert Cahn’s collection that he by a serious reluctance to let anything go, the
ticity or attribution, had a perfectly respecta- attributed to the Berlin Painter (HC 1753). result perhaps of his constant re-thinking and
ble history, but the world was changing fast. re-assessment.
The unacknowledged but vital importance of In many ways, this period at Princeton was
this element of Guy’s work was the way that perhaps the most stable and productive part of When in 1998 the first term of his Oxford fel-
it enabled him to make connections and joins his increasingly peripatetic career. Not only did lowship ended, Guy declined to renew it: the
between old Campana vases and the newly he set in motion the important, multi-authored origin of the majority of the funding had been
emerged fragments, which were the result of publication of the museum’s Greek sculpture revealed to be the by then notorious dealer
illegal “gleanings” around tombs excavated collection (Greek Sculpture 1994), but he also Robin Symes. Feeling betrayed and disap-
II CQ
Cahn’s Quarterly 4/2020
pointed, Guy decided it would be improper to er about the potters Syriskos and Pistoxenos, author with Padgett of the complete catalogue
continue. With his prospects thus self-dimin- together with their painters, or the intercon- of the painter’s works, a prodigious work of
ished, he moved to New York in 1999 to work nections between the Brygan Group and the immense connoisseurship. His essay, “In the
with Michael Ward, a private antiquities dealer. Triptolemos Painter, while with his precious Shadow of the Berlin Painter”, dedicated to his
He was there until 2002, when he moved back insights he also opened up many new avenues inspirational Cincinnati teacher Cedric Boulter,
to Oxford to concentrate on his research, while for future scholars. At the end of 2014, howev- showed exactly what he could produce in its
also acting as a private art consultant, but in er, Guy had to retire from the Gallery, although perceptiveness and precision and its total mas-
2009, he was invited to join the Cahn Gallery he was soon re-employed by a Basel private tery of the field, all the result of what Bea-
in Basel by Jean-David Cahn. He was appoint- collector, cataloguing his collection of vases. zley had called “keen and patient scrutiny”. He
ed the Curator of Herbert Cahn’s large collec- was to make important contributions to one
tion of pottery fragments, Jean-David’s father, It was the Princeton project of a special exhi- last exhibition, that on the potter and paint-
whom Guy had known well, becoming indeed bition on the Berlin Painter that gave Guy a er Exekias, in Zurich in 2018-19, including an
very much a family friend; he also served as final, joyful sense of purpose. Michael Padgett, excursus, with Martin Bürne, on his detailed
an advisor to the Gallery. With a secure po- Guy’s successor at Princeton, had developed observations of an Exekian amphora rim. But,
sition in Basel, Guy was once again able to the idea and at the end of 2015 asked Guy to little more than a year later, he passed away.
think more freely about scholarly matters and collaborate with an essay, but it quickly be- His eye and mind were capable of so very
he began speaking again at conferences – Lau- came clear that Guy’s long term attachment to much more, yet we have his many, many attri-
sanne (2012), Graz (2013) and Munich (2014). the painter and an unrivalled knowledge of all butions and joins which, together with his pre-
In these lectures many of his important trains his preserved works meant he was required to cious publications, are such a fitting reminder
of thought were brought into focus, wheth- do much more. Indeed, he was to become joint and memorial of the Robert we knew.
A Preternatural Skill
By Jasper Gaunt, London
these might belong to- from Emory. They not only met with him in
gether in what he some- Basel but were fortunate to exchange emails;
times called a “whisper and he continued to ask after them.
join”, one without any
point of physical con- Robert’s magisterial grasp of Beazley’s struc-
tact. It fast emerged that ture for vase-painters, indeed his refinement of
a telephone conversation it, is widely acknowledged. It enabled him, for
would be much clearer, example, to identify simply from a telephone
and so I called him with description the red-figure psykter with a sym-
our respective fragments posium (that he later acquired for Princeton)
in front of us. Turn them as a work of the early Kleophrades Painter.
over, he said; there should His mastery came in no small part from his
be a band on the reserved constant exposure to original pieces of pottery
surface that looks as if as they passed through the market, where he
it has been worked over could refine yet further his feel for the charac-
Fragment of an amphora by the Berlin Painter, HC 1736, obverse and reverse. with a spatula to make the ter of the glaze and the way incision, relief line,
clay more glossy. He had dilute or added glaze were applied. The level of
Philologists regard the successful emendation described perfectly the surface of the sherds in trust widely placed in his discretion by dealers
of a thorny classical text as one of the disci- my hands: he was right. As with the philolo- was in itself a remarkable achievement. It ena-
pline’s highest achievements: it requires excep- gist’s emendation, Robert’s join (which was the bled him to see practically every piece of Attic
tional sensitivity to the author’s thought and basis of further significant discoveries) is re- pottery in their hands, and often to record con-
expression. In print, however, only the trans- corded in the catalogue merely with the three textual information. Equally widespread was
position or substitution of one or two letters is letters of his name between square brackets. the respect he enjoyed among museums and
recorded. For the archaeologist specializing in collectors, particularly in the United States. His
vase-painting, the ability to recognize the hand I first met Robert in Paris at the Euphronios attributions provided a reliable basis for them
of an ancient artist even in the tiniest scrap re- colloquium organized by Martine Denoyelle as well as for countless scholars.
quires a no less intimate level of understand- at the Ecole du Louvre in October 1990. Later
ing. Very few scholars have had this preternat- that winter I saw him again in New York when Over thirty odd years of friendship, it was not
ural skill. Robert Guy was one of them. he came up for the day from Princeton. One of only Robert’s academic precision that was
his afternoon errands was to examine careful- memorable, but perhaps more importantly, his
During the months of collaboration on Michael ly the Pan Painter’s impressive column-krater love and respect for objects, and the cultivat-
Padgett’s exhibition on the Berlin Painter, Rob- now in the Antikenmuseum, Basel, which was ed pleasure he took in sharing them. We spoke
ert was at his very best. Only he would have passing through the market. My task was to often by telephone during his last illness, oc-
recognized the hand of the Berlin Painter on an supply ashtray and coffee. To a novice in the casionally in reminiscence about giants of our
amphora fragment in Herbert Cahn’s collection field of archaeology, Robert was generous in field such as Cornelius and Emily Vermeule and
(HC 1736) and realized from the small scale of taking time to show me the extensive prelimi- Dietrich von Bothmer, and the dealers of their
drawing that the extremely unusual shoulder nary sketch that he had found on the obverse, day. “We have been fortunate to spend time
panel decoration recurred on fragments that and to explain the attribution. More than with them,” he said thoughtfully. The same for
Dietrich von Bothmer had donated to Emory twenty-five years later, he extended the same me is true of Robert: he is the only archaeol-
University. He emailed with the suggestion that generosity to two graduate students of mine ogist from whom I always learned something.
CQ III
Cahn’s Quarterly 4/2020
The Princeton Years
By J. Michael Padgett, Ph.D., Curator of Ancient Art, Princeton University Art Museum
I have nothing bad to say about my lamented director Allen Rosenbaum that I be considered
Doktorvater. Dietrich von Bothmer made his as his replacement. Allen later confirmed that
own considerable contributions to the field of Robert’s endorsement was a deciding factor,
Attic vase-painting, and during his long ca- and twenty-nine years later I am still grateful
reer he accomplished more as a curator and to both of them for giving me my career.
published many more works of scholarship
than Robert Guy. Robert could have done When I decided to organize the exhibition,
more... He knew this as well as anyone, and The Berlin Painter and his World (fig. 1), I
he could not fully mask the pain that it caused felt that the catalogue must include a thor-
him. He was a proud man – deservedly so – ough re-examination of the oeuvre of that
but sometimes he was his own worst enemy, important but anonymous Athenian artist,
as when he would agree to give a paper at a building on the attributions of Beazley and
scholarly conference but then fail to submit subsequent scholars. As I came to realize
it for publication. How many of us honestly what a huge project I was undertaking, I be-
feel that we have accomplished as much as gan to ask Robert’s opinion of this or that
A snapshot from the opening of The Berlin Painter and we might have? In Robert’s case, his brilliance piece. Although at times an unfaithful cor-
his World, 2017, at Princeton. Michael Padgett (left), was repeatedly proven with one attribution respondent—he would disappear for weeks
Allen Rosenbaum (middle), Robert Guy (right).
after another—and indeed, the occasional when afflicted by “Black Dog”—he took an
article—until he was acknowledged by all as increasing interest in the project, and we
I met J. Robert Guy in the late 1980s, when I the finest vase connoisseur of his generation. began exchanging daily images and emails.
was a graduate student at Harvard and work- His iconographic observations were learned One day I simply told him that he was now
ing at the Museum of Fine Arts, Boston. At but conservative; it was in style that his au- the co-editor of the Berlin Painter’s revised
that time he was the Associate Curator of An- thority became magisterial. I cannot tell you corpus raisonné, and would be credited on
cient Art at the Princeton University Art Mu- how many times I labored over an attribution the title page. Fragment by fragment we
seum. I wanted to study Attic vase-painting, that I then proudly shared with Robert, only worked through the list, often arguing about
but my academic advisor, Emily Vermeule, to learn that he had been there ahead of me, what new works should be admitted to the
was not a vase specialist. She consequently sometimes by decades! He revered Beazley, canon and which relegated to the “Salon des
asked Dietrich von Bothmer, the Curator of and did not lightly contradict him. He himself Refusés.” He also agreed to contribute an es-
Greek and Roman Art at the Metropolitan considered Dyfri Williams to be the leading say on the expanding oeuvre of the Paint-
Museum of Art, to guide my dissertation re- scholar in the field. If he fought duels, he also er of Goluchow 37; I read it again recently
search. I probably wrote Robert with queries collected friends, for he was handsome and and was struck by its insights. Whenever I
about this pot or that cup, and he may have debonair, with an easy manner and a wicked was uncertain, or needed a sounding board,
passed through the MFA at some point, as did sense of humor. He and I were always sneak- he was there. He was a rock of patience and
a rising young curator named Carlos Picón, ing off for a smoke. I loved him, and so did persistence, and a refuge from ignorance and
who was then Curator of Western Antiquities my wife Judy. His generosity was limitless, self-doubt. He never let me down, and I shall
at the San Antonio Museum of Art. Robert and he was always welcoming to students. always be grateful to him. People like Robert
had a formidable reputation as “the new Bea- When he decided to leave Princeton in 1991 Guy are special. He deserves to be remem-
zley,” said to possess Sir J. D. Beazley’s leg- to become a Senior Research Fellow at Corpus bered, and to assume a place of honor in the
endary acumen and visual memory. He, too, Christi, Oxford, he recommended to Princeton long history of classical scholarship.
was able to recognize joining vase fragments
in different museums, and to detect the hand
of Makron or the Kleophrades Painter from no
more than an ankle and a scrap of himation.
I worked hard to improve my own knowledge
and eye; I revered Emily, but I wanted to be a
vase man like Robert Guy. That I felt this way
while under Dietrich’s tutelage was awkward,
as he was jealous of Robert’s rapid rise. It
would infuriate him whenever Robert point-
ed out that a fragment in Dietrich’s personal
collection not only could be attributed to a
prominent vase-painter, but joined another
piece in a different cabinet. Sometimes Robert
would donate fragments that joined vases in
the Met, as when he filled critical lacunae in
a splendid red-figure amphora by the Berlin
Painter; the one with a citharode that they
gave to Italy. This required Dietrich to write
polite letters of thanks to the donor, when he
would sooner have seen him taken down a Herbert Cahn (left), Vera Slehofer (middle) and Robert Guy (right) in front of Blackwell's Rare Books, Oxford, August
peg. “New Beazley!” 1987.
IV CQ
Cahn’s Quarterly 4/2020
A Memorable Purchase
By Allen Rosenbaum, Director Emeritus, The Princeton University Art Museum
J. Robert Guy was Associate Curator of An- been given to Princeton by the Metropolitan
cient Art at the Princeton University Art Mu- Museum of Art in the 1940s and was never
seum from 1984 to 1991. In addition to his assembled and filled countless shelves in stor-
impressive scholarly training and credentials, age. But Robert sought to calm me and reas-
his broad knowledge of ancient art and his sured me that he would raise the money to
gift as a specialist in Greek vase painting, I restore the sarcophagus. And then he left for
knew Robert was a perfect fit for the muse- Oxford. Robert was much loved by everyone
um. From the job interview I was very much in the museum and although often something
taken and reassured by his curiosity and the of a handful and a bit of a prima donna, he
interest and even excitement he found in was mostly indulged. He in turn was very hap-
even a minor object. py and thrived at Princeton. I often wonder
how things would have turned out had Robert
Robert and I always looked forward to Herbert remained at the museum. But the position at
Cahn's visit every year. This courtly, sympa- Oxford was too grand, a dream come true for
thetic gentleman epitomized the old school Robert, for the museum to make a counterof-
scholar/dealer. And incidentally, Herbert and fer, or any effort to have Robert stay on. And
I also had the same birthday, Aquarians. But it we were happy for him.
was not during one of these visits that Prince-
ton made a memorable purchase, memorable I did, eventually, raise the funds for the res-
for many reasons, from the Cahn gallery. Rob- toration of the sarcophagus, which was over-
ert was followed on his return from a buying seen by Michael Padgett who succeeded Rob-
trip to Europe by two enormous crates filled ert. And while Robert couldn't possibly have
with fragments of a Clazomenian sarcophagus known how it would turn out when done,
most no bigger than a foot but of a density after three years, Robert was vindicated. The
and surprising weight that belied their size. I sarcophagus is magnificent, one of the prides
was understandably alarmed as the restoration of the collection. An amusing footnote to the
of the sarcophagus seemed an overwhelming story is that a fragment of a very fine Egyp-
and expensive undertaking with no guarantee tian wall painting was in one of the crates
of the outcome. I told Robert that this would and we thought, naively, it had been included Rim of a painted sarcophagus. Ceramic. East Greek, Cla-
be his Egyptian wall, referring to the gift of as a gift. Alas, it was there by accident and zomenae, ca. 500-475 B.C. Courtesy Princeton Universi-
an Egyptian wall, mostly plaster, which had we had to buy it. ty Art Museum (y1990-9).
A Life-long Friend
By Ariel Herrmann, Independent Scholar specialty. He was able to acquire many small,
interesting objects and some important ones,
greatly raising the level of a once-dormant
The first time I ever heard of Robert Guy was collection. He even began to look beyond the
from Herbert Cahn, some time in the late Mediterranean world, developing a taste for
1970s. Dr. Cahn spoke about to me about the (what else?) Mayan painted pottery. His ad-
young scholar’s dedication and his uncanny vice influenced a generation of collectors.
skill as an attributionist. I got to know Robert
in person soon afterwards, during his visits to After Jean-David Cahn persuaded him to settle
study vase fragments at the Museum of Fine in Basel, Robert’s enthusiasm for academic work
Arts, Boston. We had close friends in common seemed to revive. Adrienne Lezzi gave constant
from his student days at Oxford, Carlos Picòn encouragement and support. The Berlin Painter
and Brian Aitken. Robert was a boyish, even exhibition, organized by Michael Padgett at the
waif-like figure who captivated everyone. Al- Princeton Museum, was a high point, and an
though he radiated seriousness, he had a sub- opportunity for Robert to collaborate with Dy-
versive streak and a cheeky sense of humour. fri Williams and Jasper Gaunt, and to listen, at
the congress, to his also long-time friend and
We met often in New York during his years at colleague, François Lissarrague.
the Princeton University Art Museum, where
he had a supportive director in Allen Rosen- In recent years, Robert’s presence was one of
baum. I sensed that it was refreshing for him the things that drew me to Basel. As a friend
to deal with the practicalities of museum work he was subtle, intuitive and utterly discreet.
and with ancient art outside his immediate He will be terribly missed. International Vase Symposium Amsterdam, 1984.
CQ V
Cahn’s Quarterly 4/2020
An Eye for Style and Attribution
By Carlos Arturo Picón, Curator in Charge (Retired) 1990-2017, Department of Greek and Roman Art, Metropolitan Museum of Art, New York
Few people ever succeeded in turning Rob-
ert’s attention away from Greek pottery. Dear
Gillett certainly did, with his wonderful tal-
ent for putting friends together, his infectious
sense of humour, and above all his profound
connoisseurship. Pre-Columbian antiquities
were a revelation for Robert – and one which
brought him much joy.
Robert did not do much teaching at Princeton
but he greatly enjoyed the handful of pupils
he mentored, and he did take teaching quite
seriously. What gave him most pleasure, how-
ever, was enriching the museum’s collection
– and this he did with great knowledge and
gusto. We used to joke that his predecessors
at Princeton had seldom bought anything
larger than a few inches. Robert knew the art
market intimately and acquired wisely across
the board, and not just Greek pots as others
in his field were so inclined to do. He also
cultivated donors who often encouraged and
supported him. Here of course he was lucky
to have a director who couldn’t have been
more helpful and understanding. Among
the donors the name of John Elliott stands
apart. I will never forget an evening when
Elliott had us both for dinner at his Prince-
ton home. Over drinks he casually asked us
to each draw a list of ten classical antiquities
currently on the market we would (in an ide-
al world) recommend for purchase. When it
Carlos Picon (left) and Robert Guy (right), the day they both received their DPhil from Oxford University, May 1984. turned out that Robert and I independently
chose many of the same objects, Elliott went
I first met Robert in the early 1970s when graduate student who had recently returned ahead and systematically acquired a good
I was an undergraduate at Haverford Col- to Oxford from Boston in order to continue number of them for Princeton. Of course col-
lege, double-majoring in Classical Archae- his research on Archaic Greek sculpture. His lecting wasn’t always that easy, and muse-
ology and Art History at neighbouring Bryn name was Brian Aitken and they both rented um acquisitions of antiquities have indeed
Mawr College. He was a great admirer of lodgings in the same house in Polstead Road. become increasingly more challenging in
my legendary teacher and mentor Brunilde Brian was already well acquainted with the recent years, especially in North America.
Sismondo Ridgway who arranged for me London art market and brought Robert to the One can cope with these difficulties, but it is
to pursue graduate studies at Oxford under attention of some of the leading galleries and to be hoped that the next generation of an-
the guidance of John Boardman and Martin auction houses in the capital. By 1979, the tiquities curators will remember the sense of
Robertson. It was at Oxford that Robert and year of the historic Brummer sale of antiqui- duty and respect for the objects that Robert
I became close friends. I remember vividly to ties in Zurich which Brian attended, he had exemplified. He always gave objects the ben-
this day our first encounter in Michaelmas also introduced Robert and me to Ariel Herr- efit of the doubt. He also cared deeply about
Term of 1976, at the very beginning of the mann; all of us were to remain loyal friends books and managed to assemble (at a signif-
academic year. Robert was exiting the Ash- for the rest of our lives. icant personal sacrifice) a great antiquities
molean Museum Library with Dyfri Williams library, especially in the field of Greek pot-
whom I had not previously met, and who be- Robert’s tenure as Curator of Antiquities at tery – not to mention a formidable archive of
came an esteemed friend of all of us. Indeed, the Princeton University Art Museum was photographs and annotated sale catalogues
Dyfri was to remain the one Oxford colleague arguably his happiest and most productive that will fortunately be transferred in their
Robert would always turn to in matters of time. He was very fortunate to have benefit- entirety to Paris, under the able guidance of
Athenian vase-painting and vase connois- ed from the unerring guidance and nurturing François Lissarrague. There are other curators
seurship in general. It is fortunate that Dyfri friendship of two great Princeton personali- and scholars who have been more prolific in
has contributed an account of Robert’s career ties: his museum director Allen Rosenbaum the field of vase-painting, but very rarely has
here as he is the most qualified scholar of our who patiently gave him free rein to transform one encountered an eye for style and attribu-
generation to evaluate Robert’s contribution the collection; and the beloved scholar and tion sharper than Robert’s. He had a special
to his chosen field of expertise. Robert also astute collector Gillett Griffin who opened gift, and for that as well as for his enduring
introduced me to another North American his eyes to the wonders of Pre-Columbian art. friendship we will always remain grateful.
VI CQCahn’s Quarterly 4/2020
Three Enduring Memories
By Oliver Forge, Forge and Lynch Ltd., Consultants in Antiquities and Islamic and Indian Art, London/New York
I have three enduring memories of Robert. Fast forward 25 years and Robert is now ash trays, packets of Marlboro Reds (he re-
The first is in about 1981 at Sotheby’s. Fe- seated in our office in St James’s looking at mained one of the last committed smokers I
licity Nicholson, the head of the Antiquities a beautiful red-figure cup by the Dokimasia knew), a few vases and above all books; books
department, is seated at a long table, Robert Painter from the collection of Sir Christopher everywhere. He was in an ebullient mood with
seated next to her; me, a 19 year old porter Cockerell which we were in the process of much on his mind; the trade, the state of the
standing beside them with a trolley full of selling to the Fitzwilliam Museum. A stack of art market, objects he had seen in forthcoming
Greek vases of varying importance and size. 500 Christmas cards next to him which he has auctions, and people he liked and more amus-
The table with cups of half-drunk coffee, ash- kindly offered to put into envelopes. Brendan ingly disliked. When Robert was on top form
trays overflowing with Felicity’s Gitane and Lynch and I had left Sotheby’s in 1997 to es- he really was wonderful company, with his
Robert’s ever-present Marlboro, together with tablish our own business. Robert had proved open empathetic and ever-enquiring mind, his
a near-empty bottle or two of Bulgarian red. to be a generous and fiercely loyal friend; he brilliant eye and memory for works of art, his
It is 8.30pm and for the last 2 hours (Rob- arranged for us to take over his office in New humour and, when called for, his sharp turn of
ert’s time-keeping was always unpredictable) I York on 82nd Street which we had for 14 years phrase. He talked so much that the restaurant
have stood there handing to Robert vase after and for which we will be forever grateful. was closed by the time we arrived but now
vase after vase for him to look at, comment, knowing it was to be the last time I saw him it
discuss and attribute; Felicity takes copious The third memory is the last I have of him, in was all worth it.
notes. I am catatonic but now forty years later his flat in Basel in April 2019. As in 1981 at
I realise what a missed opportunity it was. Sotheby’s, the table he sat at had coffee cups, He will be much missed.
Robert Guy in Copenhagen
By Bodil Bundgaard Rasmussen, Former Head of Research, Ancient Cultures of Denmark and the Mediterranean, National Museum of Denmark
jects, exchanging experiences and opinions
and sharing many a good laugh.
The next day Robert came to the National Mu-
seum, in which I was at the time head of the
Classical and Near Eastern department. During
the evening we had arranged to meet in the
morning as he wanted to have a close look at
the amphora by the – now former – Copenha-
gen Painter in the museum’s Greek collection.
To the mild surprise of my colleagues, I had the
amphora moved from the gallery to the library
for Robert to study. We rarely move objects
from the gallery on short notice but everybody
acknowledged Robert’s long ongoing interest
in the “Copenhagen Painter” as justification.
At the time we had just launched the series
Gösta Enbom Monographs connected to an
The name piece of the former Copenhagen Painter, created by J. D. Beazley. The vase now counts as a work of the
ongoing research initiative in our department,
painter Syriskos. Attic. ca. 470 BC. Inv. no. Chr. VIII 320
“Pots, Potters and Society in Ancient Greece”.
To have known Robert is a gift to treasure. I ening and great fun. His next visit was not Consequently, we promptly offered to publish
cannot claim to have been a lifelong friend or until the autumn of 2010. His purpose was to Robert’s study whenever he felt ready. After
even a close friend, yet nonetheless I shall be have a look at a Roman portrait up for auc- his return from Copenhagen, Robert told me
eternally grateful to have met Robert and expe- tion in Copenhagen – and to ‘pick the brain’ how the idea for publishing was an encour-
rienced his enthusiasm and dedicated approach of my husband, then retired director of the agement and that he wanted to press on with
to scholarship – and not least his kindness. Ny Carlsberg Glyptotek, Flemming Johansen. the writing, “My need to write is there.” Dur-
They had never met as my husband spent his ing the morning Robert did not really share his
Robert came only twice to Copenhagen, first life working in portraits and only occasional- thoughts on the vase, but I was confident then
in 1987 to attend the 3rd Symposium on ly strayed into Greek vases. We got together and still am, that the result would be hugely
Ancient Greek and Related Pottery in early on the evening of Robert’s arrival and, as an- interesting. Sadly, the plan of publication nev-
September. We did not meet, but I learned ticipated, they connected immediately. I think er got to fruition. But just watching the delight
he was there later as we met at a ‘Greek vase it’s fair to say, they got on “like a house on and care, reverence really, with which Robert
event’. More meetings followed suit in var- fire” and we had the most delightful evening handled and scrutinized the vase, the motif
ious cities around Europe - always enlight- moving from portraits into many other sub- and its details was a rewarding experience.
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