A minaudière is a small, decorative clutch or evening bag, often designed with a hard case. Typically crafted from luxurious materials like metal, precious stones, or fine leather, minaudières are known for their ornate and intricate designs. They serve not only as practical accessories for carrying essentials such as powder, rouge, lipstick, comb, cigarettes, lighter and mirror but also as statement pieces that complement formal attire.
Originating in the early 20th century, the minaudière became particularly popular in the 1930s. The design is credited to Charles Arpels of the French jewelry house Van Cleef & Arpels, who was inspired by a metal cigarette case carried by Florence Gould, the wife of tycoon Frank Jay Gould.
Similar to the minaudière was the nécessaires. Smaller than their related form, nécessaires had space for powder, cigarettes, and lipstick.
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.
Paul-Emile Brandt 1883–1952
Paul-Émile Brandt, born in Chaux-Fonds, Switzerland in 1883, was a pioneering jeweler and designer best remembered for his bold and innovative Art Nouveau and Art Deco designs. He moved to Paris at a young age, where he studied under masters such as Chaplain and Allard, gaining a comprehensive foundation in jewelry design, painting, sculpture, engraving, and enameling. Initially working in the Art Nouveau style, Brandt's creations quickly gained recognition, with several pieces acquired by the Musée des Arts Décoratifs following his exhibition at the annual Expositions of 'La Société des Artistes Français' in 1906.
In 1912, Brandt officially registered his maker's mark and established his premises at 23 rue Victor-Chevreuil. He was known for experimenting with various techniques, including engraving on gemstones. One notable piece featured a carved oval moonstone depicting a reclining female figure and an angel, set within a three-dimensional diamond and calibré-cut sapphire pleated surround.
Brandt's participation in the Salon des Artistes Français in 1923 showcased his range, inviting guests to view "jewels, jewelry and engraved stones, precious stones, platinum and gold." His involvement in the 1925 International Exhibition of Decorative Arts cemented his reputation, presenting Art Deco style jewels that combined brilliant cut diamonds, platinum, gold, and hardstones like malachite and lapis lazuli. As the decade progressed, Brandt embraced a modernist style, incorporating geometric forms, stark colored enamels, and eggshell lacquer into his designs.
Brandt placed great importance on the display of his jewelry. In 1927, he commissioned architect Eric Bagge to design his salon window, reflecting the geometric forms of his jewelry. He experimented with the effects of light, juxtaposing materials like lapis lazuli, lacquer, rock crystal, diamonds, and pearls. His work during the early 1930s included rings, pendants, and bracelets that combined geometric figures with relief sections.
In addition to jewelry, Brandt ventured into industrial design. In the late 1930s, he opened a tin factory in Rue de Tlemcen, which contributed to the war effort between 1939 and 1945. Brandt passed away in Paris in 1952, and his factory closed the following year. His legacy, marked by innovation and artistic excellence, continues to influence jewelry design and decorative arts globally.
Auction Results Paul-Emile Brandt
