Ernst Treusch: An Art Deco Tourmaline Diamond Gold Necklace
 
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Ernst Treusch: An Art Deco Tourmaline Diamond Gold Necklace

Item No.: RGG00098

Item Description: "Ernst Treusch: An Art Deco Tourmaline Diamond Gold Necklace"

Ernst Treusch, Leipzig: Art Deco Necklace
18k yellow gold (750), tourmaline, brilliant cut diamonds
L 44.5 cm, W 1.5 cm
Marks: Maker’s mark (E with trident), gold content mark '750'
Germany, 1927 – 1933

The necklace is composed of circle- and spherical-shaped base elements: circles, semicircles, quadrants, spherical segments, pipes and halfpipes.
29 semicircle elements alternate with suspensions decorated with spherical- and pipe-shaped segments.
14 of the 29 semicircle elements are identically set with a green tourmaline, the 15 elements in between are each shaped differently out of circle- and spherical-shaped elements and irregular placed diamonds. They form futuristic, robot-like masks, displaying a collection of curious with their varying expressions and moods, bearing witness of the subtle humour and creative power of their designer.
The necklace reflects the tendencies in contemporary arts and theatre. A source of inspiration might have been the masks and costumes of Oskar Schlemmer’s Triadic Ballett at the Bauhaus which moved in 1925 from Weimar to Dessau near Leipzig. In 1929 the Bauhaus theatre toured through numerous German cities and Switzerland.
Other sources of inspiration might have been the robot in Fritz Lang’s film Metropolis shown in 1927 in Berlin where Ernst Treusch run another  workshop in cooperation with H.J. Wilm, as well as contemporary sculpture, e.g. works by Rudolf Belling (exhibited 1924 in Berlin).
Works of Ernst Treusch bear solely the company’s mark. Records about designers and goldsmiths working for his company are few. Of those who could be so far identified working for Ernst Treusch come in consideration for the design of the necklace Theodor Wende, Erna Zarges-Dürr and Gertrude Fries-Arauner. Their works from that period show parallels to the style of the necklace. Theodor Wende had a connection to Treusch through H.J. Wilm for whom he worked during the 1920s, Erna Zarges-Dürr after finishing her apprenticeship at the Pforzheim School for Applied Arts (where among others she was taught by Theodor Wende) joined the workshop of Ernst Treusch in Leipzig from 1930 to 1932. Gertrude Fries-Arauner worked from 1929 to 1930 for Treusch.
Whereas Theodor Wende seems to develop his jewellery designs from that period by abstracting and geometrizing voluminous organic forms, the designs by Erna Zarges-Dürr and Gertrude Fries-Arauner have their starting point in purely geometric elements which are combined to new, comprehensive forms. The conception of the necklace follows this direction. We therefore attribute the necklace either to Erna Zarges-Dürr or Gertrude Fries-Arauner. A photo (see Dreher, Katrin, diploma thesis 2004, p. 21) shows the two women in the workshop of Ernst Treusch in 1930. It should be assumed that they influenced each other.

Literature:
- Siebenmorgen, Harald (ed.): Frauensilber.  Paula Straus, Emmy Roth & Co. Silberschmiedinnen der Bauhauszeit, Karlsruhe 2011, pp. 175-182.
- Dreher, Katrin: Echtheit in Material und Formgebung. Künstlerisches Gestalten in den Werkstätten des Leipziger Juweliers Ernst Treusch in der Zeit von 1928 bis 1932. Diploma thesis FH Leipzig, May 2004.
- von Kerssenbrock-Krosigk, Dedo: Metallkunst der Moderne / Bröhan Museum. Bestandskatalog VI (Neubearbeitung des Bestandskatalogs IV). Leipzig 2001, pp. 312-315, 326-327, 366-367.
- Weber, Christianne: Schmuck der 20er und 30er Jahre in Deutschland: Künstlerschmuck des Art Déco und der Neuen Sachlichkeit. Stuttgart 1990, pp. 175-176, 330-331, 341-342, 357-362.
- Lachenmann-Fries, Christof: Gertrude Fries Arauner, Ein Leben für die Goldschmiedekunst. München n.y.

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