Wright Auction

Founded by Louis V. Aronson in the late 1890s in Newark, New Jersey, Ronson Art Metal Works was one of the leading metal finishers in the US. Initially, cigarette lighters were a small part of its business but recognizing the sales potential, the company quickly increased lighter production. Utilizing electroplating and high-quality enameling, they produced attractive, cost-effective lighters. Their first pocket lighter, the Wonderlighter, was ignited by a striker on the casing. This was followed by the Banjo, the first automatic one-handed lighter, and then the Princess, which stayed in production for thirty years. Over time, the company introduced various models, some with matching cases or built-in lighters, and fashionable powder compacts incorporated into lighters and cigarette cases.

Art Deco—defined by geometric shapes, abstract design, and lavish color—was the visual hallmark of luxury, glamour, and industrial progression. A product of innovative new machinery, economic growth, and social freedoms, the style was first introduced in France before World War I. However, it wasn’t until the 1920s, after the war, that it began to gain international traction. Antique and traditional techniques were revitalized as artists, designers, and architects applied the style across a broad range of visual fields, from opulent structures and interiors to fashionable handheld objects.

The Capstick-Dale collection illustrates forward-thinking artistry and mastery of materials on a small scale. From Jean Dunand’s fashionable eggshell technique to the exploration of lacquer techniques and engine-turned ornamentation, the objects in this auction are exquisitely detailed masterpieces of innovation and beauty.

It is in the realm of collectible objects that Art Deco has proved supreme. —Victor Arwas

Like priceless gems or tantalizing candies, the Art Deco treasures of the world-renowned Capstick-Dale Collection are small, colorful, and precious—portable emissaries of glamour, optimism, and exquisite craftsmanship arriving to the present from an era past. Encyclopedic in scope, this vast collection spans lighters and cigarette cases, minaudières, compacts, jewelry, and other personal accoutrements, together comprising a heralded and historically important group of objects sourced from around the globe and put together over the course of a lifetime. Documented in the Thames & Hudson volume Art Deco Collectibles and with examples from Jean Dunand, Raymond Templier, Gerard Sandoz, and Paul Brandt, among others, these works offer a truly illuminating glimpse of the Art Deco ethos and lifestyle. And while they are certainly a distinct product of a specific historical moment, they also speak to the timeless and universal allure of beautiful, small things to hold in one’s hand—or slyly retrieve from one’s pocket or purse.

Spanning from 1920 to the conclusion of World War II, the Art Deco era encapsulated a range of social shifts that, significantly, included an unprecedented marriage of design and manufacture. Resulting in what Jared Goss dubbed “the democratization of design,” this newly cemented partnership meant, as noted in Art Deco Collectibles, that “From the 1920s [on,] beautifully designed and well-made objects became widely available for the first time.” Marking a break from the ornate, flowery style of Art Nouveau, Art Deco aesthetics embraced linear geometries and influences that included Cubism, the Vienna Secession, Fauvism, and historic styles from China, Japan, India, Persia, and Egypt, as well as new materials including chrome, stainless steel, and plastic. With expert artisanry and manufacturing techniques to bring it all together, Art Deco objects embody the anticipation of a future whose doors had been flung wide open technologically and culturally.

With expert artisanry and manufacturing techniques to bring it all together, Art Deco objects embody the anticipation of a future whose doors had been flung wide open technologically and culturally.

While the Art Deco period ended when WWII shifted the attention of both consumers and manufacturers, the appreciation for the era’s material culture—particularly personal effects—has remained fervent, in no small part because of the undeniable and lasting quality of fabrication. When Rodney Capstick-Dale began to collect such items in the late 1960s, his passion was shared by figures including Yves Saint Laurent, Karl Lagerfeld, and Andy Warhol. From highly rare objects, including two Raymond Templier cigarette cases and a German Expressionist-influenced Cigarette case and lighter by Gerard Sandoz, to compacts, smoking accessories, and perfume packaging from unknown makers, each object in the Capstick-Dale Collection represents both an impassioned collector and an explosively exciting and generative moment in global history.