Museum buyer · Patron · Collector
John Taylor Johnston
1820–1893 · United States
President of the Metropolitan Museum of Art who advanced his own money for the first Cesnola collection and paid its shipping, and who was later drawn into the Feuardent dispute.
Biography
John Taylor Johnston, president of the Metropolitan Museum of Art, advanced his own money for the first Cesnola collection of Cypriot antiquities and paid for its shipping. When Luigi Palma di Cesnola offered the collection from London, where it was held by Rollin and Feuardent, Johnston offered to advance the sum himself while the trustees looked for a subscription. The British Museum had bid 10,000 pounds for the Golgoi sculptures and inscriptions alone. Marangou gives Johnston's offer as 60,000 dollars and reports 50,000 as the sum agreed, paid as 20,000 at once, 15,000 after a year and 15,000 after two1. Masson places the trustees' favourable decision at the end of 1872, urged by William T. Blodgett, who had seen the London exhibition; the purchase became definitive in May 18742. Johnston paid directly for shipping the 275 chests in five ships1.
The trustees bought a second collection from November 1876. The Curium Treasure, except the gold, left London on the Danemark with Johnston as receiver1,2. In 1878 he signed a statement printed in the American edition of Cesnola's Cyprus, which lists Cesnola's gifts and sales of small collections and says the Museum held about two thirds of all the objects found3.
Johnston's name came up again in the Feuardent dispute. In a statement to the American Numismatic Society, Feuardent said that J. S. Morgan, "acting for Mr. John Taylor Johnston", paid for the 1872 purchase by a check for 2,800 pounds, of which only 1,400 were credited to him1. On 31 August 1881 Alexander D. Savage wrote to Johnston at Nantucket resigning over the restorations6. After the public examination of spring 1882, Johnston asked the naval officer Henry H. Gorringe to examine the statues1.
Life and work
- 1872Cesnola, in London, offered his whole collection to Johnston. The British Museum offered 10,000 pounds for the Golgoi sculptures and inscriptions only, which Cesnola refused. Johnston offered 60,000 dollars, to be advanced by himself while the trustees tried to raise it by subscription; a final price of 50,000 (paid 20,000 at once, 15,000 after a year, 15,000 after two) was then agreed. Johnston told the trustees the collection was with Rollin and Feuardent and would go to auction if not secured within a year.
New YorkMarangou 2000
- December 1872Trustees' favourable decision to buy the first collection taken in the last days of 1872; Masson names W. T. Blodgett, a trustee who had seen the London exhibition, as the origin of the decision. The funds were advanced by Johnston; the purchase became definitive only in May 1874.
New YorkMasson 1996, pp. 8
- 1873The 275 chests shipped from London to New York in five ships; the shipping cost (11,000, currency not stated) was paid directly by Johnston.
London / New YorkMarangou 2000
- November 1876The trustees decided to buy the second Cesnola collection (1874-76); the Curium Treasure shipment (except the gold) went London to New York on the 'Danemark' with Johnston as receiver; Cesnola offered Johnston ten years' credit.
New YorkMasson 1996, p. 12Marangou 2000
- 1878Under Johnston's name the book Cyprus (US edition) prints 'The Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum of Art', summarising Cesnola's work and listing Cesnola's gifts (Constantinople, Munich, Turin, Athens, Perugia, Smithsonian) and sales of small collections (Berlin, Cambridge, Kensington, Boston). It says the trustees' collections were about two thirds of all objects found. A letter of Cesnola's in Marangou's book says the summary had to be prepared from his information.
New YorkCesnola 1878Marangou 2000
- 31 August 1881Savage wrote to Johnston, as president of the museum, at Nantucket on 31 Aug 1881 resigning his post as First Assistant Director over the restorations; the letter (quoted in Savage's 1 Sept letter to Cesnola, read at the trial) said he would leave on the last day of September and would not make known the cause. Savage added that only one or two private friends would know what he had written 'to Mr. Johnston as president'.
- by 1882Named in the account of Henkel's testimony, as 'Johnstone', among the Board members who witnessed restoration work by Balliard on Cesnola sculptures at the Central Park museum.
- December 1883Named by Cesnola, in his printed testimony, as one of the trustees (with Prime, Weston, Rhinelander and Hoe, Jr.) active alongside Russell Sturgis in the Fourteenth Street arrangements. The Mar. 1884 report also records that the third count in the suit concerned Cesnola's charge that Feuardent, as his agent in London, had overcharged for cartage and made no proper effort to sell the collection 'subsequently bought by Mr. John Taylor Johnston'; the jury found for Cesnola on two counts and disagreed on that one.
New YorkThe End of the… 1884, pp. 96-97
Connections
6 peopleSales, gifts & bequests
- Represented by J. S. Morgan1872
- Bought from Luigi Palma di Cesnola1872–1876
Fieldwork & employment
- Employed Luigi Palma di Cesnola1877–1879
Scholarship
- Corresponded with Hiram Hitchcock1872
- Corresponded with Alexander D. Savage1881
Colleagues & contacts
- Connected with J. S. Morgan1872
- Connected with Henry Honeychurch Gorringe1882
- Connected with Luigi Palma di Cesnola
- Worked with William Cowper Primepossibly
Sources
- 1.A. G. Marangou (ed.) (2000). The Consul Luigi Palma di Cesnola 1832-1904: Life and Deeds.
- 2.Olivier Masson (1996). “La dispersion des antiquités chypriotes: les deux collections Cesnola”. Cahiers du Centre d'Études Chypriotes 25, 3-32. Online
- 3.L. P. di Cesnola (1878). Cyprus: Its Ancient Cities, Tombs, and Temples.
- 4. (1883). “The Feuardent-Cesnola Trial”. The Art Amateur 10, 23-24. Online
- 5.“John Taylor Johnston”. Wikipedia. Online
- 6. (1884). “The Feuardent-Cesnola Trial”. The Art Amateur 10, 55-56. Online
- 7. (1884). “The End of the Feuardent-Cesnola Trial”. The Art Amateur 10, 96-97. Online