Perspectives from Gallerists. Interview with Anemone Tontsch from Galerie Cebra

Founded in Düsseldorf in 1987, Galerie CEBRA has long been a vital platform for contemporary jewellery and jewellery objects. At a time when opportunities to exhibit were scarce, the gallery emerged from a clear conviction: experimental, material-driven jewellery deserves to be seen, handled, and experienced.

In this interview, founder Anemone Tontsch reflects on her path from art studies to creating a space guided by intuition, craftsmanship, and creative freedom. She shares her personal approach to collaboration and audience-building, as well as her belief in the continued importance of physical gallery spaces in an increasingly digital landscape.


Could you tell us about your background and what motivated you to found Galerie CEBRA?
Having studied art at the Rietveld Academy of Fine Arts in Amsterdam and later at the Peter Behrens School of Art and Design in Düsseldorf, I was noticing, that all my fellow students and me, we were creating and making loads of interesting pieces, and I did not like the fact, that all these little „wonders“ would never be noticed or presented to an audience, since 38 years ago there were hardly any places in the world, to exhibit jewellry and jewelry objects; in different words, there was not a real chance to present somewhere as an unknown beginner. - So a place to show these interesting objects had to be built, and this idea still makes me going on. - It all started very slowly, at first in borrowed vitrines, in a side street outside of the center ……organizing more than 8 shows per year, a slight echo was to hear, a huge amount of designers sent their works, who were happy about this possibility and taught me about their demands.

With many of them, I still collaborate. Some have become very successful, others are still struggling, but all remain driven by the urge to create. I include myself in that group: in the evenings, after the galley, I still feel the pull to sit in my workshop and lose myself in the creative process.


Your selection of artists is broad. For someone unfamiliar with the contemporary jewellery scene, how would you describe the criteria that guide the artists you feature?
To me it is not important or necessary to know who had created a piece, I give all the jewels an audience, where I have the impression the creator has „understood“ the material he/she is using, the creative power is my main aspect, fantasy, craftsmanship as necessary and helpful parts too, but a wish of exploration and creative expression I would like to catch.
No matter how known or unknown the creator is, no matter how accepted or not accepted a material is.


Happening at Cebra Galerie.


What informs your choices?
If work touches my heart, my „doors open“, as well as when some solution surprises me, so it is a very personal point of view.

What are the key elements of a successful collaboration between an artist or designer and a gallery?
Trust and willing to collaborate, if I love someone's work, I certainly will do my best to present and explain it to the visitors, bring it, and present it.


Galerie Cebra seems deeply embedded in the historical heart of Düsseldorf. What are your thoughts on the traditional street-front gallery model? With the rise of online platforms and pop-up events, what do you see as the advantages and disadvantages of maintaining a physical space?
Being downtown, it is very nice that window shoppers and tourists bump in and many times walk out with the expression: How wonderful, I am inspired; thank you for letting me join, letting me bathe in creativity…

The street front gallery is still a very necessary way to present interesting works, present pieces that are made of special materials, pieces that are inventive in their own way, jewellry lovers need to hold such pieces in their hands, try them on, explore them, turn them around, no matter how good the photos are, that you might have from them and post them. 
My online shop often is a kind of ‘’first look’’, a ‘’first encounter’’, so yes, digital visibility gets more an more important, but on the other hand, it is a bit a shame, on how: wipe, next, wipe, next… is spoiling the unique pieces, simply consuming is not appropriate, but what can we do? Posting pics seems to be a need these days, but consuming photos does not satisfy, so one more YES, galleries are as important as they were to connect with the pieces.


Catwalk show in Düsseldorf.


Do you consider attending international fairs essential?
I would say they are very important for networking face-to-face and, therefore, essential.

Do you notice differences in behaviour between buyers and audience who attend fairs and those who visit your gallery? Are the audiences distinct, or interdependent?
Most of my visitors are women, all ages and backgrounds, many of whom like to come back, browse, and learn about the story and creators behind it, so they would have more peace and quiet to observe and explore. In the gallery, a comfortable dose of Jazz, and they love to forget their daily rushes for a while.


What would you consider the ideal audience for Galerie Cebra?
Curious, independent people who are open to trying new things.


From your experience, what are the key elements that strengthen the visibility and reach of contemporary jewellery?
Patience, patience…. try whatever possible way to present, to bring the pieces to new audiences, as well as on internationally. fairs, as well as at the colleagues' garden party, self-organized events or show in a creative environment, simply: bring the work to audiences, that did not even know that this type of work exists.

For many years, I was teaching, giving workshops, on my theme: ‘’seeing the world through different eyes“. It is nice to see if, then, the hands start trying out a technique or copying a design, recognition grows for those who have made the pieces.


Anemone Tontsch has been teaching workshops for many years. 


Your website features an online shop. Do you have a particular clientele that purchases online, and do you consider digitalization essential in today’s jewellery market?
Yes, for a couple of years, I have had an online shop on my website, and with COVID, my clients have also learned to use it more. I think it is an essential way of doing things these days, especially for clients who are far away or who browse it before coming here.


Just out of curiosity, how would you say Galerie Cebra stands apart from other galleries presenting contemporary jewellery?
Well, Cebra is my personal choice, personal point of view. I am far from making comparisons; if someone likes to explore, likes to find jewelry with a touch or a soul, recognizes pieces as independent objects, all are welcome.


What are the upcoming highlights for Galerie Cebra? Exhibitions, or will we see you again at Munich in 2026 or at other events?
So far the calendar for 2026 is pretty filled up: lots of shows, two solo shows, two events connected to my city, Japan in the focus in summer, citywide craft route through the city, maybe a fair abroad, you will find dates and names on my website, as well as the button to follow via my newsletter …yes, I will be in Munich again, so see you at Frame!


Happening at Cebra Galerie.