Illustration: Ella Margold-Weltmann. Embroidery design, 1910.
Ella Margold-Weltmann was principally a textile designer. She was the wife of Emanuel Josef Margold who although categorised as an architect, also produced work in textiles. The Textile Blog has covered a number of the aspects of Margold's work in the past (Graphic Work by Emanuel Josef Margold, Wallpaper Design by Emanuel Josef Margold, Embroidery Design by Emanuel Josef Margold), but has not really featured the work and contribution of his wife and effective creative partner before. Interestingly the couple worked together on a number of textile based projects and it is often difficult to tell any real differences in their work as they both seemed relatively closely aligned, at least creatively.
Margold-Weltmann produced a significant amount of work in embroidery, much in the style of the Wiener Werkstatte in which her husband was a member. As the couple often worked together it is not always easy to differentiate all of the individual pattern pieces that were produced. However, as the styles were so similar it is perhaps appropriate to mix the two together, so that at least one of the embroidery designs reproduced in this article is by Emanuel Josef Margold.
Illustration: Ella Margold-Weltmann. Embnroidery design, 1910.
The designs were originally produced in 1910 and follow an embroidery motif format whereby the pattern work is contained within an often circular framework, rather than a border or all-over pattern. Some of these motifs would have been quite small in nature and part of a larger composition, whilst others would probably have filled a fair-sized cushion. Interestingly they all take on the appearance of a silhouette or cut-out work and most use a format of negative/positive, black/white, although this could well have changed somewhat depending upon the details or requirements of each textile piece. Interestingly, they can also be seen as being closely aligned with jewellery work giving the appearance of large decorative brooches. It is known that Margold himself produced a number of jewellery pieces and his wife may well have done the same.
Illustration: Emanuel Josef Margold. Embroidery design, 1910.
Although the couple worked together on a number of textile and non-textile design projects, Margold-Weltmann also worked on her own initiative, particularly when her husband was fighting in the First World War and later when he was wounded. She had the opportunity to produce work on a wholly individual basis although interestingly it differed little from her husbands. This probably says much more about their sympatico relationship than it does about Margold-Weltmann's struggle to procure an identity separate from that of her husband. These creative relationships, particularly those within marriage were not always as simplistically cut and dried as we would sometimes wish them to be and although we are perhaps more prone to see gender discrimination and the domination of the male role within creative partnerships, specifically those made in the nineteenth and twentieth centuries, this is not always necessarily true and a number of these partnerships flourished with both partners adding to the creative whole.
Illustration: Ella Margold-Weltmann. Embroidery design, 1910.
As stated earlier, it is always interesting when coming across marriage partnerships, as it is often difficult to identify who contributed creatively in particular projects. Often these partnerships were so intrinsically and fundamentally creatively entwined that in many cases even though work was officially designated as belonging to one partner or the other, it did not rule out any form of creative input by the other partner. This could well have been the case between the Margold's, particularly as their work was so closely aligned with each other's styles, so much so that it appeared often to be the same style, hence the difficulty disentangling the individual.
Illustration: Ella Margold-Weltmann. Embroidery design, 1910.
Perhaps ultimately, it is not that important who is identified as being the major contributor to each individual design. What is important is the fact that the contribution made, either singly or as a partnership, has added significantly to the creative world of the decorative arts. These five embroidery designs, whether produced by Ella Margold, Emanuel Margold or a combination of both, are beautifully poised pieces of work. They are both significant examples of the specific Wiener Werkstatte style as well as of that of the larger Central European Jugendstil. They are also good examples of early twentieth century embroidery work and the movement away from the traditions and regulations that dominated the discipline, to one that allowed at least an element of creativity and individuality. However, theses designs are also individually part of the Margold experience, a creative partnership that produced a style that identified itself intrinsically with a successful creative team working across a number of disciplines in the early part of the twentieth century and this personal aspect of the work should not be easily dismissed or treated lightly.
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