Henri et René TRESER

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Lot n° 5
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Estimation :
5000 - 6000 EUR
Henri et René TRESER
A cup on a pedestal decorated with a shell, gilded bronze mount chased with geometric motifs. Shaft with diamond-shaped mother-of-pearl plates and ivory and ebony rings. Signature under the bowl: "H.&R. TRESER CISELURE STRASBOURG". Circa 1925-1930 H : 28,5 cm Going beyond Art Nouveau, the objective of Philippe OBERLE's pupils As early as 1913, Paul Caster in the Revue alsacienne noted the desire of Philippe Oberlé and his pupils to turn their backs somewhat on the exuberance of the floral motifs of Art Nouveau. "Not too artificial and overloaded (...), the sensitive elements of his environment should push for the creation of a simpler domestic style. This should be the most serious concern and goal of Professor Oberlé's pursuit now. » Thus, what was already somewhat visible in the foot shaft of the professor's bowl will be found completed in a bowl made by one of his students, René Treser. We know little about these two brothers. They are Alsatian silversmiths active in the first half of the 20th century. They are known to have supplied objects to both Catholic churches and Protestant temples, in the two Alsatian departments and in Moselle. The synagogue in Bitche has a pair of rimmonim bearing their hallmark. With the help of his brother, Henri, René Tréser made a cup made from a shell mounted in a hanap inspired by Renaissance nautilus. The cup presented here illustrates the outcome of his reflections on the evolution of artistic production in Strasbourg, the forms are simpler, less ornamental. The shell is underlined by an engraved bronze garland and the mother-of-pearl of the shell echoes the mother-of-pearl lozenges inserted on the footed shaft. These two works of art demonstrate the extent to which the goldsmiths of Strasbourg in the early 19th century deserve our attention. The first one shows the excellent understanding of the ideals of the Art Nouveau movement. The other shows the early consideration given to the new ideas of simplification of forms. Thus, Strasbourg appears as a city which, despite its change of nationality, was able to remain at the forefront of artistic research, sometimes even anticipating it.
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