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Italian Majolica: a Study of Excavated Fragments in Crete (Greece)&The

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Italian Majolica: a Study of Excavated Fragments in Crete (Greece)&The ITALIAN MAJOLICA: A STUDY OF EXCAVATED FRAGMENTS IN CRETE (GREECE) & THE PRINGSHEIM COLLECTION OF VESSELS IN ROTTERDAM (THE NETHERLANDS) MARILENA PANTELAKI Cover Illustrations: Left: majolica dish (piatto) from Deruta (1515–1520). Piece from the Pringsheim collection, The Metropolitan Museum of Art, New York City. Source: https://www.metmuseum.org/art/collection/search/460167?&searchField=All&sortBy=R elevance&deptids=15&where=Deruta&ft=*&offset=0&rpp=20&pos=13 Right: majolica dish (coppa) from Deruta (16th century), recovered vessel from excavations in Castel Selino in Paleochora Crete, Greece (after Andrianakis 2006, 35) Italian Majolica: A Study of Excavated Fragments in Crete (Greece) & the Pringsheim Collection of Vessels in Rotterdam (the Netherlands) By Marilena Pantelaki Course: MA thesis Course Code: 4ARX-0910 ARCH First Supervisor: Pr. J. Vroom Second Supervisor: Pr. R. B. Halbertsma Specialization: Museum Studies University of Leiden, Faculty of Archaeology Leiden, 1 November 2019, Final 2 TABLE OF CONTENTS Acknowledgments Chapter One: Introduction 1.1 The Object of Study ………………………………………………………………......7 1.2 Research Questions …………………….……………………………………...…...…9 1.3 Methodology …………………………….……………………………………..……10 1.4 The Structure of the Thesis…………………….……………………………..……...11 Chapter Two: Italian Renaissance Majolica 2.1 The Foundations of Tin-Glazed Pottery i. Origin ………………………………………………………………….………............13 ii. Production ………………………………………………………………………….....14 iii. Tin glaze ……………………………………………………………...……………...16 iv. Lustre ……………………………………………………………...………………....18 v. Influences and Ornamentations…..…...……………………………..…………….…..20 vi. Decoration Pigments……..…………………………………………...…………...….29 vii. Workshops and Artisans …………………………………………………..……..….29 2.2 The Evolution of Tin-Glazed Pottery…………….......................................................37 2.3 The Expansion of Italian Pottery……………………………..……………….....…...38 2.4 Majolica Production and the Economic Depression of the Italian Renaissance....………………………………………………………………………..…..39 i. The Crisis ……………………………………………………………………...……...39 ii. Financial Growth and the Survival of the Majolica Industry…….……………….…..40 Chapter Three: Ways of Provenance 3.1 Excavations and Trade in Antiquities……………………………………...……...…43 Chapter Four: Excavations in Chania and Heraklion in Grete 4.1 A Brief Introduction to the History of the Island ……………..………….…....……47 4.2 Renaissance Majolica in Crete...…………………………………….…………..…...52 i. Chania …………………………………………………………………….....…..….…52 ii. Heraklion ……………………………………………………...…………….………..59 4.3 Ceramic Production in Crete During the Venetian Domination …….………………61 4.4 Commercial Transactions of Italian Ceramics in Crete ……………………….….....62 4.5 Concluding Remarks ………………………….…………….……………….......…..64 Chapter Five: The Pringsheim Collection Formed by Trade in Antiquities 5.1 The Pringsheim family ……………………………………..……………….……….67 5.2 The Origins of Alfred Pringsheim’s Italian Majolica Collection ……........................75 3 Chapter Six: Handling the Past 6.1 The History of the Pringsheim Collection ………………………………….……….78 6.2 Current Locations of the Collection ………………………………….…….………..83 6.3 Claims by the Pringsheim Heirs and the Seven Majolica Pieces in the Museum Boijmans Van Beuningen in Rotterdam ……………………...……………………..…..84 6.4 An Overview of Nazi Looting ………………………………….……...……............90 i. The Legislation for the Restitution of Jewish-Owned Artworks .……………………..92 ii. How is the Netherlands Dealing with the Problem of Restitution Claims?..............................................................................................................................93 6.5 The Reason for Reluctance in the Pringsheim Case ……………………...…...........94 i. Similar Cases …..………………………………….......................................................95 ii. Discussion ……………………………………………………………….……...……98 Chapter Seven: Juxtaposition 7.1 Italian Renaissance Majolica in Greece and the Netherlands…..……..….……...…100 Chapter Eight: Conclusions 8.1 Summary and Conclusions ……………………………………..…………….….…105 8.2 Limitations of this Research …………………………………………...…………...107 Abstract ………………………….………………....…………………….…………….109 References …………………………………………...……………….…….………..…110 List of Figures………………………………………………………………….……….121 List of Tables………………………………………………………………….……..…126 List of Appendices……………………………………………….………………….….127 Appendix A Some remarks on the catalogue pieces……………………..……………….………......128 Appendix B Catalogue of majolica fragments from the GSE excavations at Agia Aikaterini Square in Chania, Crete……………………………..….………………….……….……………...134 Appendix C Supplemental Tables…………………………….....……………..…………….………135 Appendix D Maps……………………………………………………………………...….…..….…..137 Appendix E Shapes of majolica dishes and plates referred to in this work……….…..…………..…139 4 5 6 Chapter One Introduction 1.1. The Object of Study This study explores Italian Renaissance pottery, also known as majolica, from the late 13th to the 16th century. The research is not only based on excavated fragments from Kastelli Hill at the Venetian harbor of Chania and more generally in Crete, Greece, but also on vessels from the private collection of the German mathematician Professor Albert Pringsheim, who lived in Munich at the beginning of World War II and saw his priceless majolica seized by the National Socialists in 1939. In broader terms, the aim of the research is to examine Italian Renaissance pottery that, from the 13th century onwards, was exported at different times and in different circumstances to the biggest colony of Venice, Crete, and was gathered by a German collector in the early 1900s. While investigating these subjects, other topics emerged, such as Nazi art looting, the restitution claims of the Pringsheim heirs and in particular their demands for the restitution of majolica pieces that are now displayed at the Museum Boijmans Van Beuningen in Rotterdam, the legislation for the restitution of Jew-owned artworks, as well as tin-glazed ceramic production in Crete and commercial transactions of Italian ceramics on the island during Venetian domination. These points will be discussed so as to acknowledge the general context and the aim of collecting, protecting, using, and producing Italian Renaissance pottery. Italian majolica is quite prominent in private and public collections in northern European countries such as Germany, the Netherlands, England, and France. Visitors can see the Italian productions along with Mediterranean and Middle Eastern ceramics in exhibitions in popular museums and published catalogues. Moreover, in the 18th and 19th century, Italian Renaissance tableware was targeted by wealthy collectors who pursued well-preserved, impressive pieces from Mediterranean civilizations. Accordingly, until the beginning of the 20th century, Italian ceramics had been examined and published by art historians, collectors, and curators who studied the vessels from the perspective of private Western European collections. However, over the last decades, intense interest in Italian tin-glazed pottery from the 15th and 16th centuries has emerged among 7 modern researchers in the fields of pottery conservation (Meucci and Carratoni 2016; Padeletti and Fermo 2003) and post-Medieval archaeology (Vroom 1998, 2003, 2014, 2016; Hahn 1989, 1991; Korre- Zografou 1995; Poulou- Papadimitriou 2003, 2008, 2010). One of the well-published collections is the Pringsheim collection of Italian Renaissance wares. The story of the Pringsheim family is known in art and literature circles. Yet, little information is written as concerns the history of the Pringsheim’s majolica, which is found in the design sections of some of the most popular museums in the world. Albert Pringsheim, being the only son of the Prussian millionaire Rudolf Pringsheim, was a successful academic at the University of Munich in Germany and a distinguished collector of Renaissance objects. Up until the early 1930s, he intensely collected around 440 pieces of luxury Italian Renaissance majolica. Part of his large legacy was constituted by his various collections. On the 21st of November 1939, the Gestapo invaded his apartment at Widenmayer-Strasse 35, seizing the antiquities. In the same year, the Socialists forced him to sell his heritage-protected Italian majolica. Since the end of World War II, the family’s heirs have been demanding the financial and physical restitution of the collections. The Pringsheim Italian Renaissance pottery is still an open restitution case. Notwithstanding, in Greece, even though material culture has been and continues to be thoroughly examined, a crucial part of the history of Italian Renaissance pottery is omitted. The main issue regarding post- Medieval/Renaissance domestic wares in Greece lies in the fact that these periods are studied under the scope of low-priority archaeological remnants. By this, I mean that Greek archaeological studies are concentrated on the history and archaeology of the Byzantine Empire, focusing on existing remnants that are seen as representative of the glorious past of antiquity’s religious architecture, arts, and literature. Likewise, in Crete, research on material culture that was produced or imported during the Venetian colonization (1212–1669) has been disregarded. Unfortunately, it seems that the Venetian period of the island rapidly slipped by without leaving any marks. As a result, contemporary archaeological science is confronting 450 years of scanty research. By paying little attention to those times, due to their archaeological
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