30 April 2014
RECO CAPEY (1895-1961)
TWO COVERED BOXES, CIRCA 1930
one carved ebony and with carved gilt wood figural finial, the other carved walnut, vellum and with Perspex rabbit finial
8.1/2 in. (21.5 cm.) high; 7 in. (17.7 cm.) high, respectively
Sotheby's Belgravia, The Property of Martin Battersby, 21 April 1978, lots 46 & 47.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
+44 (0)20 7752 3238
+44 (0)20 7752 3274
+44 (0)20 7752 3237
+44 (0)20 7752 3015
+44 (0)20 7752 3380
+44 (0)20 7752 3183
+44 (0)20 7752 3382
M. Battersby, The Decorative Thirties, London, 1988, p. 99.
British Art in Industry Exhibition, 1935.
The rabbit finial seen in the present lot was the first use of Perspex as a decorative material, the result of an experiment by Capey, who used a sample block sent to him by the manufacturers. British artist and industrial designer Reco Capey studied art at the Royal College of Art and went on to become Chief Instructor of Design there from 1924 to 1935. He was Art Director of the British cosmetics firm Yardley from 1928-1959, and worked in collaboration with Emile-Jacques Ruhlmann on the complete redecoration of the firm's Old Bond Street offices and showrooms. Some of the furnishings for this commission were later presented by Yardley to Brighton Museum.
Earth Day is near — 22 April — and if that’s got you thinking about a home with green technology, here are 5 to ponder, spanning Hawaii to North Carolina
If you've ever dreamt of living in a medieval castle in Italy or an Arabian palace near Marrakesh, one of these 5 enchanting private estates might be for you
A Surrealist sculptor in Beijing, a radical American artist in Melbourne, a host of Dutch masters in the Middle East, and more
Masters of the Renaissance in Berlin, a Post-Impressionist in Britain and Degas at the Opéra — our updated guide to the best shows in Europe this year
Norman Granz introduced the world to American Jazz. His love of the music was only matched by his passion for Modern art
International Head of African & Oceanic Art Susan Kloman has a close encounter with the ‘other-worldliness’ of a mask owned by two leading collectors in the field