Von Bothmer Research Articles

PIECING TOGETHER THE STORY OF A PAIR OF MAKRON’S FRAGMENTED CUPS

SummaryIn 2022, an Athenian red‐figured cup attributed to Makron was returned to Italy by New York’s Metropolitan Museum of Art. The cup had been acquired in fragments, through purchase and gift, from multiple sources over several years, starting with two fragments from the restorer Fritz Bürki in 1978. A second cup, also attributed to Makron, was acquired in a parallel way. The sources for the fragments from both cups point to galleries collectors and donors – Summa Galleries, Frieda Tchachos, Elizabeth Hecht, and Dietrich von Bothmer – who have been associated with other material that has been repatriated to Italy in recent years. It is suggested that some of the incised ‘signatures’ by Hieron that are found on cups attributed to Makron may have been applied since antiquity.

On the mod p unramified cohomology of varieties having universally trivial Chow group of zero-cycles

Auel–Bigazzi–Böhning–Graf von Bothmer proved that if a proper smooth variety X over a field k of characteristic \(p>0\) has universally trivial Chow group of 0-cycles, the cohomological Brauer group of X is universally trivial as well. In this paper, we generalize their argument to arbitrary unramified mod p étale motivic cohomology groups. We also see that the properness assumption on the variety X can be dropped off by using the Suslin homology together with a certain tame subgroup of the unramified cohomology group.

“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection

Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.

Constraints on counterexamples to the Casas-Alvero conjecture and a verification in degree 12

In the first (theoretical) part of this paper, we prove a number of constraints on hypothetical counterexamples to the Casas-Alvero conjecture, building on ideas of Graf von Bothmer, Labs, Schicho and van de Woestijne that were recently reinterpreted by Draisma and de Jong in terms of p p -adic valuations. In the second (computational) part, we present ideas improving upon Diaz-Toca and Gonzalez-Vega’s Gröbner basis approach to the Casas-Alvero conjecture. One application is an extension of the proof of Graf von Bothmer et al. to the cases 5 p k 5p^k , 6 p k 6p^k and 7 p k 7p^k (that is, for each of these cases, we determine the finite list of primes p p to which their proof is not applicable). Finally, by combining both parts, we settle the Casas-Alvero conjecture in degree 12 12 (the smallest open case).

Non-Destructive and Minimal-Invasive Status Determination and Heritage Friendly Remediation of the Wooden Structures of Bothmer Castle

The Bothmer Castle is the biggest baroque complex in Mecklenburg-Vorpommern. It was built from 1726 to 1732 and used and maintained until 1945 by the family von Bothmer. From 1945 to 1948 it served as a field hospital, and until 1994 as a nursing home, almost without any maintenance. During that period the wooden constructions suffered a number of serious damages. Since the year 2000 the status assessment and a heritage friendly remediation was initiated by the owner, the government of Mecklenburg-Vorpommern. The report deals with the applied non-destructive and minimal-invasive testing of the wooden structures (ultrasonic investigations, endoscopy, resistography, core extraction and testing etc.) as to yield a clear picture of their status and summarizes the gained results. Furthermore, the remediation concept, developed in cooperation with the preservation authority and the owner, is presented as well as some details of its execution.

Framing the Sixties: The Use and Abuse of a Decade from Ronald Reagan to George W. Bush - By Bernard von Bothmer

Framing the Sixties: The Use and Abuse of a Decade from Ronald Reagan to George W. Bush - By Bernard von Bothmer

Framing the Sixties: The Use and Abuse of a Decade from Ronald Reagan to George W. Bush

This book tells how presidents and other prominent figures have shaped public memory of the turbulent 1960s. Over the past quarter century, American liberals and conservatives alike have invoked memories of the 1960s to define their respective ideological positions and to influence voters. Liberals recall the positive associations of what might be called the 'good Sixties' - the 'Camelot' years of JFK, the early civil rights movement, and the dreams of the Great Society - while conservatives conjure images of the 'bad Sixties' - a time of urban riots, anti-war protests, and countercultural revolt. In Framing the Sixties, Bernard von Bothmer examines this battle over the collective memory of the decade primarily through the lens of presidential politics. He shows how four presidents - Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush - each sought to advance his political agenda by consciously shaping public understanding of the meaning of 'the Sixties'. He compares not only the way that each depicted the decade as a whole, but also their commentary on a set of specific topics: the presidency of John F. Kennedy, Lyndon Johnson's 'Great Society' initiatives, the civil rights movement, and the Vietnam War. In addition to analyzing the pronouncements of the presidents themselves, von Bothmer draws on interviews he conducted with more than one hundred and twenty cabinet members, speechwriters, advisers, strategists, historians, journalists, and activists from across the political spectrum - from Julian Bond, Daniel Ellsberg, Todd Gitlin, and Arthur Schlesinger to James Baker, Robert Bork, Phyllis Schlafly, and Paul Weyrich. It is no secret that the upheavals of the 1960s opened fissures within American society that have continued to affect the nation's politics and to intensify its so-called culture wars. What this book documents is the extent to which political leaders, left and right, consciously exploited those divisions by 'framing' the memory of that turbulent decade to serve their own partisan interests.

Framing the Sixties: The Use and Abuse of a Decade from Ronald Reagan to George W. Bush - By Bernard von Bothmer

Framing the Sixties: The Use and Abuse of a Decade from Ronald Reagan to George W. Bush - By Bernard von Bothmer

Works dealing with questions concerning ancient Greek vases (books reviewed: Approaches to the study of Attic vases, by P. Rouet; The Theseus Painter, by O. Borgers; The late mannierists in Athenian vase-painting, by T. Mannack; Non-Attic Greek vase inscriptions, by R. Wachter; Corpus Vasorum Antiquorum. Ny Carlsberg Glyptotek 1, by T. Fischer-Hansen; Corpus Vasorum Antiquorum. Amsterdam 3, by W.D.J. van

Works dealing with questions concerning ancient Greek vases (books reviewed: Approaches to the study of Attic vases, by P. Rouet; The Theseus Painter, by O. Borgers; The late mannierists in Athenian vase-painting, by T. Mannack; Non-Attic Greek vase inscriptions, by R. Wachter; Corpus Vasorum Antiquorum. Ny Carlsberg Glyptotek 1, by T. Fischer-Hansen; Corpus Vasorum Antiquorum. Amsterdam 3, by W.D.J. van

Greek Vase Painting. By Dietrich von Bothmer.

Previous articleNext article No AccessBook ReviewsGreek Vase Painting. By Dietrich von Bothmer.John H. OakleyJohn H. Oakley Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 93, Number 4October 1989 The journal of the Archaeological Institute of America Views: 1Total views on this site Article DOIhttps://doi.org/10.2307/505344 Views: 1Total views on this site Copyright © 1989 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports no articles citing this article.

Interspecific hybridization with Hordeum guatemalense

Crosses were performed with the tetraploid, Guatemalan endemic species Hordeum guatemalense Von Bothmer et al. and nine other species of Hordeum. Hybrids were raised in five combinations. H. guatemalense is reproductively isolated from the other taxa. The genome is most closely related to the North American tetraploids H. brachyantherum Nevksi and H. jubatum L. and like these species, H. guatemalense is probably an alloploid with two moderately related genomes.

Cytological studies on a polyhaploid ofCritesion iranicum obtained after hybridization withC. bulbosum

One polyhaploid (2n=3x=21) ofCritesion iranicum (von Bothmer) A. Love (6x=42) was obtained following interspecific hybridization with tetraploidC. bulbosum (L.) A. Love, presumably through chromosome elimination. Meiotic pairing in pollen mother cells averaged 2.43 univalents, 0.12 rod bivalents, 2.37 ring bivalents, and 4.53 trivalents. The data indicate that the three genomes fromC. iranicum are homologous with equal affinity. This confirms thatC. iranicum is an autohexaploid.

The Oxford Brygos cup reconsidered

The name vase of the Painter of the Oxford Brygos, a fragmentary red-figure cup from Caere of the late archaic period, is well known (Plates I, IIa). Since it came to Oxford in 1911 it has been augmented from time to time by new fragments; the latest addition is a fragment formerly in New York, now on indefinite loan to the Ashmolean Museum, which was seen by Dr Dietrich von Bothmer to belong to the Oxford Brygos cup. This fragment has now been incorporated in the cup and several other pieces have been rearranged, on both sides, to good advantage. There seems to be no reason to question the identity of the artist as originally defined by Beazley. The cup is signed under the handle by Brygos as potter, but the style is quite different from that of Brygos' most frequent collaborator, the Brygos Painter. If A. Cambitoglou is correct in identifying the Brygos Painter and Potter as one and the same, we must assume that on this occasion Brygos potted for a second artist. The purpose of this article is primarily to draw attention to the restoration of the Oxford cup and to attempt a re-interpretation of the vase as a whole; it also, however, has a secondary purpose, to publish for the first time the only other vase securely assigned by Beazley to the same artist. The latter is a cup formerly on the Roman market and preserved in drawings in the German Archaeological Institute in Rome. While we do not suggest that the two cups are necessarily a pair, they do have some interesting features in common. First, the Rome cup (Plate IIb—d).

Three Chalcolithic Figures from Cyprus

ONE HUNDRED YEARS AGO, between 1874 and 1876, Metropolitan Museum purchased Cesnola Collection of Cypriot antiquities. Today, after disposal of duplicates in I92os, there remain approximately five thousand objects that range in date from Bronze Age to Roman times and that represent major forms and styles of ancient Cypriot art pretty much as it was known until 1927.I In that year Swedish Cyprus Expedition began a four-year program of intensive excavation at eighteen sites ;2 it marks beginning of modern archaeology on island, and its efforts have been followed up ever since by Cypriot and foreign investigators. One of most important results of this activity has been to reveal Neolithic and Chalcolithic cultures, which seem to span a period of about 3500 years before beginning of Early Bronze Age (about 2300 B.C.)3 At Khirokitia, Sotira, and Erimi, to name only major settlements, architectural remains, pottery, and small objects, especially of stone, have disprovedJohn L. Myres' statement that the Stone Age has left but few traces in Cyprus.4 Among very few additions to Museum's Cypriot collection within past century are three stone figures of Chalcolithic period (about 30002300 B.C.). As Christine Alexander, Dietrich von Bothmer, and others have recognized, they belong to wellestablished types, yet they deserve to be better known. All three represent stylized human forms and are made of what is commonly called steatite.5 The most important piece is preserved intact and measures 7.9 cm. in height and 4.8 cm. across arms (Figures I, 2). As is best seen in head, stone is layered into different shades of green; chin, knees, toes, and back were cut into a band of dark green while rest of body has a lighter, slightly grayish color.6 The cross-shaped figure is composed of a horizontal axis formed by extended arms intersected by long neck, short torso, and bent legs that mark vertical axis; rectangular head is set at an angle above neck. While front of body, especially neck and arms, has a rounded surface, back-from top of head

Observations on Euboean Black-figure

It is more than twenty years since John Boardman with his ‘Pottery from Eretria’, published in Volume xlvii of this Annual, aroused a fresh interest in the study of Euboean pottery. A certain amount of work has been done on the subject since then, but there has been no controlled digging of cemeteries from which the main lines of the development of Euboean vase-painting in the sixth and fifth centuries can be established. So owing to the lack of external evidence, research on the subject continues to advance in a haphazard fashion and consists to a great extent in guesswork based on scanty material, as has recently been pointed out by Dietrich von Bothmer in his ‘Euboean Black-figure in New York’, the latest contribution to the subject. I wish here to add some more to the small corpus of vases already attributed, observing their relationship to the three great Eretrian amphorae in Athens and to one another.

Euboean Black-Figure in New York

Previous articleNext article No AccessEuboean Black-Figure in New YorkDietrich von BothmerDietrich von Bothmer Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Metropolitan Museum Journal Volume 21969 Sponsored by the Metropolitan Museum of Art Article DOIhttps://doi.org/10.2307/1512585 Views: 5Total views on this site Citations: 1Citations are reported from Crossref Copyright 1969 The Metropolitan Museum of ArtPDF download Crossref reports the following articles citing this article:A. D. Ure Observations on Euboean Black-figure, The Annual of the British School at Athens 68 (Sep 2013): 25–31.https://doi.org/10.1017/S0068245400004366

The Greek Kitchen: Addenda

Since the publication of ‘The Greek Kitchen’ inJHSlxxxii (1962) 121–137, fresh material for the Appendix (pp. 132–137) has come to light, mainly in the shape of terracottas which were unknown to me at the time, and I take this opportunity of correcting and adding to the original list. A number of pieces listed below were brought to my notice by Dietrich von Bothmer, of the Metropolitan Museum, New York (nos. 14, 15A, 30A, 33A, 33B), with whom I had two valuable discussions; for knowledge of no. 53B, I am indebted to Mademoiselle V. Verhoogen, of the Musées d'Art et Histoire, Brussels. Others to whom I am indebted for information and help with photographs, are: Madame Lilly Ginouvès, of the Louvre; Miss Elaine Loeffler, of the Museum of Art, Rhode Island School of Design, Providence; Signorina Paola Pelagatti, of the National Museum, Syracuse; Jean Balty, of the Brussels Museum; Bernard von Bothmer, of the Brooklyn Museum; P. Devambez, of the Louvre; R. Noll, of the Kunsthistorisches Museum, Vienna; A. Oliver, of the Metropolitan Museum, New York; N. Raumschüssel, of the Staatliche Kunstsammlungen, Dresden. Miss Alison Frantz took the photographs of nos. 45 and 74, here plate XXIX.2, for which many thanks are given, Mrs A. D. Ure was assiduous in lending rare books, and Miss Lucy Talcott made valuable suggestions on the subject of the Vienna lekythos.

New York. Metropolitan Museum of Art. Ancient Art from New York Private Collections: Catalogue of an Exhibition, December 1959-February 1960. By D. von Bothmer. New York: the Metropolitan Museum of Art. 1961. Pp. x + 85. 104 plates. $5.

New York. Metropolitan Museum of Art. Ancient Art from New York Private Collections: Catalogue of an Exhibition, December 1959-February 1960. By D. von Bothmer. New York: the Metropolitan Museum of Art. 1961. Pp. x + 85. 104 plates. $5.

Five Attic Black-Figured Lip-Cups

Previous articleNext article No AccessFive Attic Black-Figured Lip-CupsDietrich von BothmerDietrich von Bothmer Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 66, Number 3July 1962 The journal of the Archaeological Institute of America Views: 3Total views on this site Citations: 1Citations are reported from Crossref Article DOIhttps://doi.org/10.2307/501450 Views: 3Total views on this site Citations: 1Citations are reported from Crossref Copyright © 1962 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports the following articles citing this article: Beth Cohen The Literate Potter: A Tradition of Incised Signatures on Attic Vases, Metropolitan Museum Journal 26 (Oct 2015): 49–95.https://doi.org/10.2307/1512903

A South Italian Fragment in New York

In 1958 the Metropolitan Museum received as a gift from Mr. Joseph V. Noble fragments of three large Early South Italian vases, which the donor had acquired from the collection of the late Dr. Jacob Hirsch. Two of these vases are already known,' and, thanks to the kindness of Dr. Dietrich von Bothmer, the Curator of the Department of Greek and Roman Art, it is now my privilege to offer this brief study of the third as a tribute to Gisela Richter. It consists of six joining fragments2 which give part of the design on the front of what must have been a large hydria, together with a portion of the palmettes below the handle to right. The scene, as preserved, is on two levels (plate 93, figs. 1-2), separated by rising ground represented by a wavy white line. Below are two women standing beside a laver--of the one to left only the front of the head remains, together with her extended right hand, in which she holds up a mirror; the other woman is complete as far as the knees and is putting on her dress after her bath, while she looks in the mirror to make the necessary adjustments. Her right arm, encircled by a snake-bracelet, is held out in a gesture to the mirror-holder; her left is enveloped in the chiton above her shoulder, as she prepares to drape the garment over her body, the upper part of which is still uncovered, exposing her right breast. Her hair is tied up in a sash (sphendone), with a bunch sticking out at the back, and arranged in waves over the brow. She wears a bead necklace with three drop-pendants and earrings, all in added white relief. Beside her stands Eros, holding a mirror in each hand; the small one in his right was originally in added white, which has now disappeared. Ac oss his body and over his right shoulder is a beaded bandolier; arou d his head was a white wreath, of which only faint traces now remain. Above, half-hidden by the rising ground, is a peeping Pan (pl. 93, fig. i), w ose left hand holds a syrinx (in added white and mostly gone) while his right is held up to his