Barry Martin RIP

I had intended this week to cover the 2025 London Classic, but the sudden passing of Barry Martin last month has caused me to revise my schedule.

Of contemporary artists, Barry Martin, a friend of both Teeny Duchamp (Marcel’s widow) and of composer John Cage (Duchamp’s faithful disciple) was the most prominent chess player. Born on 23rd February 1943, Barry died on December 12 at the age of 82. His work features in several national collections, including the Tate, the Victoria and Albert Museum and the British Council. A prominent member of the Chelsea Arts Club, Barry was also a prolific writer of books and columns on chess. His innumerable paintings, drawings and photographs of chess players include some of the most memorable images of the game ever created.

Barry Martin was also a strong amateur player himself. Some 5 minute games by Barry follow:

1. Scotch Game(Black)
2. Sicilian Defence: Closed, Traditional(White)
3. King’s Pawn Game: (White)
4. Owen Defence( White)
5. Three Knights Opening(White)

Barry Martin’s name will always be linked to that of his great hero Marcel Duchamp. Duchamp first came to wide public attention with Nude Descending a Staircase (No. 2) (1912), the notorious highlight of the 1913 Armory Show — a painting I later saw hanging over the main staircase in Teeny Duchamp’s château. Meanwhile, the 1917 exhibition in New York organised by the Society of Independent Artists, was a show chiefly remembered today for the scandal of Duchamp’s rejected “Fountain” (1917), a urinal signed R. MUTT that outraged almost everyone.

Simultaneously, across the Atlantic from New York raged the carnage of the First World War in France that Duchamp, medically exempt from military service, had come to New York to escape. So, while his generation of Frenchmen was being decimated, according to a book review in The Spectator, Duchamp himself dreamed up conceptual art and – better, to his mind – played chess.

Barry’s twin loves in chess were Duchamp himself and Howard Staunton, the great 19th century grandmaster and writer whose name is attached to the design of modern competition pieces. Barry was instrumental in identifying, designing and refurbishing Staunton’s grave in Kensal Green cemetery.

Meanwhile, having been invited to direct the official opening ceremony for the 1991 world championship quarter finals in Brussels, Barry opted for a commemorative coup de theatre. His choice consisted of a large urinal (filled with miniature black and white urinals) to decide the drawing of lots, This caused almost as much mystification amongst the grandmasters (Anatoly Karpov, Nigel Short, Jan Timman…) as had the original Duchamp manifestation of 1917.

In light of the above, it should prove little surprise that our two games this week, include one from each of Barry’s hallowed Masters. The first is taken from a match between the proto-champion of world championships-to-come and one of his great adversaries. It highlights the character and power of this great British exponent. Mistakes flow full and fast in this toe-to-toe encounter, but the last man left standing seems almost inevitably …

Bernhard Horwitz vs. Howard Staunton

Staunton – Horwitz match, London, 1846, game 20

1. e4 c5 2. f4 e6 3. Nf3 d5 4. exd5 exd5 5. Be2 TN

This proves to be a unique experiment, without any meaningful repetition since. After 5. Bb5+ Bd7 6. Bxd7 Nxd7 7. O-O, Black has the slimmest of edges.

5… Bd6 6. c3?

A continuation best characterised as obscure. Instead of further enhancing Black’s advantage, White had 6. c4 or O-O, both of which are more tenable alternatives.

6… Nc6 7. d3 Qc7 8. g3 Nf6 9. Na3 a6 10. Nc2 O-O 11. d4?!

A  domination by Black is best deterred by the simple, 11. O-O.

11… Re8 12. O-O Bd7?!

The first slippage by Black, who declines the more assertive 12… Bf5.

13. Kg2?!

A passive move, when his development is not yet complete. More progressive is 13. Be3.

13… Re7?!

Wanting mastery of the e-file through doubling rooks, is a natural intention, but overlooks the fact he already has control. It is best to solidify his positional advantage with 13…cxd4, and after, 14. cxd4 Bf5, Black has realised a harmonious position, with pieces ideally placed.

14. Re1 Rae8 15. Bf1?

A somewhat futile gesture towards opposing Black’s domination of the e-file, whilst removing his bishop to a square where it is wholly without influence.

15… Qb6?!

Too subtle by half, when 15… Rxe1 16. Ncxe1 cxd4 17. cxd4 Bg4 gives an evident advantage.

16. Rxe7 Rxe7 17. b3?!

Again too passive. The intention of activating his dark-squared bishop can be better effected with, 17. dxc5 Bxc5 18. b4 Bd6.

17… cxd4 18. Ncxd4 Bg4?

Too slow. Best is 18… Nxd4 19. cxd4 and only now, 19… Bg4.

19. Bd3?

It is necessary to break the pin with either, 19. h3 Nxd4 20. hxg4 Ne6 21. g5 Ne4 22. Qc2 Qc7 23. Bd3; or, 19. Qd3 Nxd4 20. Nxd4 Re1 21. Bb2.

19… Ne4 20. Bb2?

One mistake too many, makes recovery next to impossible for White. The engine feels that White’s best chance to salvage something, is after, 20. Qc2 Bc5 21. Bb2 Bxd4 22. Nxd4 Nxd4 23. cxd4 Rc7 24. Qb1, when Black has the initiative and far more active position.

20… Bc5?

Black fails to capitalise on White’s last error. He could best exploit it with,  20… Nxd4 21. cxd4 Bxf4 22. Bc1 Ng5, after which White can resign.

21. Qc2 Bxd4 22. Nxd4 Nxd4 23. cxd4 Rc7 24. Qb1 Bf3+?

Setting a trap, but much better are either, 24… h5! or …Re7!.

25. Kg1!

And not, 25. Kxf3 which is well met by 25… Nc2+, winning the queen.

25… f5?

Cementing his knight on e4.  However, now every black pawn is on the same coloured square as his light-squared bishop, making it a rather sorry piece.

26. Qe1 Re7 27. Rc1 Kf7 28. Bf1 g5?!

Black has collapsed from a quite superior to a slightly better position over the last few moves, and this last move seals the worrying direction of travel.

29. fxg5 Nxg5 30. Qd2 Kg6 31. Rc8 Qe6 32. Rd8?

White seems mesmerised by the attack on his rook and oblivious to the mating attacks that are developing. A defence that meets both requirements is, 32. Bc1 when Black must attend the counter-attack on his knight, as if 32… Qxc8 33. Qxg5+ Kf7, and the position is level.

32… Bg4 33. Qf4??

White failed to appreciate Black’s last frees the f3 square, and his need to maintain control of the entry point for Black’s queen on e1, before or after Black plays …Nf3+. He is lost.

33… Nf3+ 34. Kg2 Qe1 35. Rg8+ Kh5 White resigned 0-1

White cannot prevent a mate in eight.

For our second game, we move to Barry’s other hero, the great artist and Master, Marcel Duchamp. This is another game from Adam Black’s forthcoming anthology of Duchamp’s chess escapades over five decades, due to be published next year by New in Chess.

Barry had intended featuring this game in his next column, and I am happy to address this missed opportunity which amply demonstrates how small the gaps between winning and losing can be; a sympathetic theme with Barry’s understanding of precision and discipline.

Having previously drawn against his great adversary Savielly Tartakower, in the following game, Duchamp determines to go one giant step further, and so very nearly …

Marcel Duchamp vs. Savielly Tartakower

Nice, International tournament, round four, 1930

1. d4 d5 2. c4 e6 3. Nc3 Nf6 4. Nf3 Be7 5. e3 O-O 6. Bd3 c5 7. O-O a6 8. cxd5 Nxd5 9. Nxd5 Another try was 9. e4 Nxc3 10. bxc3 which gives White a big centre. Duchamp’s move is even better. (Shahade)

And 9. O-O was also fine. (Black)

9… Qxd5

Forced. If 9… exd5? 10. dxc5 Bxc5, either 11. Qc2! or Bxh7+! nets White a pawn, plus an initiative. (Shahade)

10. dxc5

Against stronger players, Duchamp had a tendency to trade pieces, even when exchanges did not meet the demands of the position. White should press Black with the aggressive 10. e4 Qd8 (if 10… Qd7, Black’s queen interferes with the development of his queenside knight and bishop, and although 11. dxc5 is well met by 11… Rd8!, 11. d5 is strong—11…exd5 12. exd5 Qxd5 loses to Bxh7+) 11. cxd5 Bxc5 12. e5, gaining an advantage. (Shahade)

10… Rd8 11. Bc2 Qxc5 12. Qe2 Nc6 13. a3 Bf6 14. b4 Qb5!?

Owing to White’s good opening play it is only by simplification that one can hope to obtain more than a draw. (Tartakower)

Tartakower makes a provocative move, changing a very level game into an unbalanced one. Black will have pressure on the a-file, but will be saddled with doubled b-pawns. (Shahade)

15. Qxb5 axb5 16. Rb1 e5 17. Bb2 Be6 18. Rfd1 Bd5 19. e4 Bc4 20. Rxd8 Rxd8 21. Rd1 Rxd1 22. Bxd1 Bd3 23. Nd2 Bg5 24. Nf3 Bf6 25. Nd2 Nd4

Fifteen moves ago, Tartakower was facing an uncomfortable position. Now, courtesy of some shrewd exchanges and manipulation of his minor pieces, the position has evolved such that this latest thrust ensures Black the bishop pair for the endgame. (Black)

26. Bxd4 exd4 27. f4 g5 28. e5 Bd8 29. g3 Kg7 30. Kg2 Kg6 31. Kf3 gxf4 32. gxf4 Kf5 33. Bb3 f6

26. e6

Even better was, 34. exf6! after which Black is the one who must fight for a draw: 34… Bxf6 35. Bd5 h5 (35… b6 36. Ne4 Bxe4+ (36… Be7 37. Ng3+ Kf6 38. Be4 Bxe4+ 39. Kxe4)) 36. Ne4 Bxe4+ 37. Bxe4+ Ke6 38. Bxb7. (Shahade)

34… Be7 35. Bd5 Bc2 36. Bb3 d3 37. Bd5 Bd6 38. Ne4 Bxf4 39. e7 Bd1+ 40. Kf2 Bh5 41. Ng3 Bxg3 42. hxg3 d2 43. g4+!

A tricky move. If Tartakower captures on g4 with the bishop, Duchamp will play 44. Be6+! Kg5 45. Bxg4 Kxg4 46. Ke2! Duchamp stops Black from queening before White can promote his own pawn. After 43. Kxg4 44. Bf3+ wins in the same way. Tartakower avoids the tricks and finds a strong move. (Shahade)

43… Kf4 44. Ke2

After 44. gxh5 d1=Q 45. e8=Q Qd4 46. Ke2 Qxd5 etc. White has a dangerous game. The text move is with a view to probable equilibrium for the ending. (Tartakower)

44… Bxg4 45. Kxd2 Bh5 46. Bxb7 Be8 47. Ba6 Ke5 48. a4 bxa4

After 48… Kd6 49. a5, the chances for Black would be very problematic. (Tartakower)

49. b5 Kd6 50. b6 h5

Evidently not 50… Kc6? because 51. Bb5+ wins. (Tartakower)

… after 51… Kxb6 (51… Kxb5 52. b7) 52. Bxe8 a3 53. Bf7. Because of this recurring trick, Black can only draw in this position, despite his extra pawn. (Shahade)

53. Bf7… and mate in 8! (Black)
54. Bc4 h4 52. Bd5 h3 53. Bf3 h2 54. Kc3 Bf7 55. Kb4 Be8 56. Ka3 f5 57. Kb4 f4 58. Ka3 Kd7

53. Kxa4?? At the very end of his fine play with a draw well in hand White now falls into a simple trap. If he had played 50. Kb4, Black would have been forced to concede the draw. (Tartakower)

Tartakower famously said, “The winner of the game is the player who makes  the next-to-last mistake.” This so-called “Tartakowerism” is perfectly illustrated by Duchamp’s blunder. (Shahade)

59… Kxe7+ 60. Ka5 Kd6

What Duchamp had likely missed was 61. Ka6 Bc6!!

analysis position: after 61… Bc6

62. b7 (62. Bxc6 Kxc6 63. b7 h1=Q 64. b8=Q Qa1 is checkmate) 62… Bxb7+ and the White king does not make it back in time to help the bishop in stopping the pawns—i.e. 63. Kxb7 Ke5 64. Kc6 Kd4 65. Kd6 Ke3 66. Bh1 f3 and so on. (Shahade)
63. Kb4 Bh5

Not 61… Bc6 because of 62. b7! (Tartakower)

White resigned 0-1

If 62. Bh1 f3! 63. Kc3 f2 etc. Really an unwarranted defeat for White. (Tartakower)

Ray’s 206th book, “  Chess in the Year of the King  ”, written in collaboration with Adam Black, and his 207th, “  Napoleon and Goethe: The Touchstone of Genius  ” (which discusses their relationship with chess) can be ordered from both Amazon and Blackwell’s. His 208th, the world record for chess books, written jointly with the late chess playing artist, Barry Martin,  Chess through the Looking Glass ,  is now also available from Amazon. 

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