Embroidery Design Work of Ella Margold-Weltmann

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.

Further reading links:

Die Nibelungen and the Illustrations of Carl Otto Czeschka

Illustration: Carl Otto Czeschka. Illustration from Die Nibelungen, 1909.

Carl Otto Czeschka the Austrian born artist and designer produced a whole range of work in a number of disciplines including metalwork, woodwork, jewellery, textiles, furniture, stained glass, stage, interiors, both domestic and commercial, as well as in graphics and illustration. In all, or most of these subjects, Czeschka produced a highly defined style that in some respects helped to inevitably define the decorative arts in Austria during the early twentieth century.

Czeschka was a member of the Wiener Werkstatte from 1905. His work appeals very much to those interested in decoration and pattern, particularly that of a very definite and graphic quality. Many liken his style to that of Gustav Klimt and the joint emphasis on the decorative quality of the compositions of both men are obvious although both went in different directions with Czeschka concentrating very much on the graphic quality of decoration, Klimt much more on the fine art approach.

 Illustration: Carl Otto Czeschka. Poster for the Fledermaus Cabaret, 1907.

The three illustrations of Czeschka's work shown in this article are perhaps some of the most memorable and popular. Two are from his famous illustrative work he produced for the 1909 Die Nibelungen, while the middle illustration is a poster he produced in 1907 for the Fledermaus Cabaret. The Nibelungen illustrations in particular are very defined, even isolated in some respects, so that single or even group compositions tend to be surrounded by single colour space, often white. In many respects, this gives them a dynamism and a sense of concentration so that the viewer is pinned to the narrative of the story as perceived by Czeschka. 

It is perhaps no coincidence that Czeschka was also involved in stage production and these illustrations can easily be seen as perhaps influential in both directions, towards a stage interpretation and from a stage interpretation. Interestingly, the illustrations Czeschka produced for Die Nibelungen were considered inspirational for Fritz Lang when he produced a film version of Die Nibelungen in 1924. Anyone who has seen the Lang film will be fully aware that at least elements of Czeschka's decorative interpretation of the Nibelungen, are fully incorporated in both sets and costume. Despite the fact that the film is in black and white, something of the solidity and graphic dimension of Czeschka's style and indeed that of the Wiener Werkstatte, is readily incorporated and readily noticeable.

Illustration: Carl Otto Czeschka. Illustration from Die Nibelungen, 1909.

After just over a century, Czeschka's work still seems able to appear arresting and beautifully and effortlessly poised. There is little in these pieces of illustrative work that could be seen as unnecessary or extraneous. The illustrator has made every line and every field of colour count, although economy in no way denotes a lack of imagination or creative input. In fact, limiting line, style and particularly colour range, there being at most one or two colour variations in many cases, has added to the unique creativity of the Niebelungen series, so much so that they are still very much sought after and seen as a fundamental decorative inspiration too many, even a century after they were initially published.

To see more of the breathtaking illustrative work that Czeschka produced for Die Nibelungen, follow the link to Spirit of the Ages which gives a good representation of the illustrations that were provided in 1909.

I have included two segments of the Fritz Lang 1924 film Die Nibelungen at the end of this article; they will also be available to view through The Textile Blog Video Library Channel under costume, as well as being posted on The Textile Blog twitter, facebook and google+ sites.

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