Two rare buttons designed by Alberto Giacometti for Elsa Schiaparelli resurface on the market in an auction by Bonhams dedicated to modern decorative art and design.
Why are Giacometti’s buttons for Schiaparelli so rare?
A pair of exceptional buttons signed by Alberto Giacometti is about to go up for auction. Unlike his famous monumental sculptures, these pieces are tiny, extremely detailed, and linked to the world of vintage cinema.
These are two very rare buttons made in 1938 for Elsa Schiaparelli, which will be offered by Bonhams in the modern decorative art and design sale on December 16. Each specimen carries an estimate of 5,000–8,000 pounds (equivalent to 6,660–10,650 dollars).
The buttons, titled Femme aux Bras Levés, were mounted on various garments by the Italian designer, including a coat worn by the German-American actress Marlene Dietrich, now preserved at the Deutsches Filminstitut & Filmmuseum in Berlin. According to the auction house, only two other known examples exist, in the collections of the Musée des Arts Décoratifs and Le Comité Giacometti.
How did the collaboration between Schiaparelli and Giacometti begin?
The artistic collaboration between Schiaparelli and the young Giacometti began in 1929, after an introduction by interior designer Jean-Michel Frank. It was the meeting of two kindred imaginations, rooted in the language of Surrealism.
The sculptor designed numerous brooches, buttons, and bracelets for the maison, drawing from a repertoire of myths and animals shared with the couturière. Moreover, this dialogue between visual arts and fashion helped define Schiaparelli’s reputation as a visionary figure in the Parisian scene between the wars.
An exhibition dedicated to her creative legacy is announced for next year at the Victoria & Albert Museum in London, which will also explore the role of collaborations with avant-garde figures like Giacometti.
What do Giacometti’s Femme aux Bras Levés buttons represent?
The bronze buttons up for sale develop a clear mythological motif. They represent, as the title suggests, an elongated female figure with raised arms, rendered in relief with a textured finish.
In style and subject, these elements recall the gilt bronze brooch made between 1935 and 1939 that Giacometti created for Schiaparelli. This jewel was offered in October by Sotheby’s with an estimate of 18,000–20,000 dollars, but it did not find a buyer, demonstrating a selective market for the artist’s lesser works.
Overall, the buttons represent a rare example of dialogue between sculptural art and fashion accessory, a segment increasingly observed by collectors interested in the history of 20th-century design.
What other notable lots does the Bonhams auction feature?
Alongside the two buttons, the Bonhams sale includes a vase described as “rare and important,” made in 1903 by Émile Gallé and coming from a private Japanese collection. The piece is emblematic of French Art Nouveau.
The vase, known as Rose de France, was achieved through the high relief technique called Sculpture de Verre, which characterizes the artist’s most sophisticated glass production. It is estimated between 120,000 and 180,000 pounds (approximately 159,800–239,700 dollars), values in line with the growing interest in historical artistic glass.
For a broader understanding of Gallé’s role in the Art Nouveau movement, the Musée de l’École de Nancy offers an in-depth digital journey on his decorative techniques, accessible through the institution’s dedicated website.
What is Lucie Rie’s positioning in this auction?
The catalog also features several works by the British ceramist Lucie Rie, including a delicate porcelain footed bowl, expected between 30,000 and 40,000 pounds (equivalent to 39,900–53,300 dollars). The estimate reflects the steady rise in prices for the artist.
Compared to other post-war European ceramics protagonists, Rie has seen her valuation grow especially in the past year, supported by international demand attentive to glazed surfaces and essential forms. However, the segment remains selective and focused on museum-quality pieces.
In this context, the presence of multiple works in a single sale allows collectors to compare executions, proportions, and finishes, an element not taken for granted in a market often fragmented.
Why is Tiffany Studios in the spotlight?
Also coming to auction is a Geometric chandelier by Tiffany Studios, estimated between 25,000 and 35,000 pounds (approximately 33,300–46,600 dollars). Made around 1910, it was part of the collection of Minna Rosenblatt, one of New York’s leading experts on Tiffany glass.
The arrival of the chandelier at Bonhams coincides with a series of parallel operations: Sotheby’s is offering a historic stained glass window commissioned for the First Presbyterian Church in Kansas, while Christie’s has organized a sale entirely dedicated to Tiffany creations, including a daffodil chandelier and a landscape window.
These events follow last year’s sale of the Danner Memorial Window, which fetched 12.4 million dollars, the highest price ever achieved by a Tiffany work at auction. This record has solidified interest in American artistic glass in the high-end segment.
What does this auction indicate for the modern decorative art market?
Bonhams’ selection highlights the sector’s cross-sectionality, ranging from rare haute couture objects to historical glass and 20th-century ceramics. Moreover, the joint presence of names like Giacometti, Gallé, Rie, and Tiffany Studios suggests a focus on museum quality and rarity.
According to Otto Billstrom, head of Bonhams’ modern decorative art and design department, the variety of the offering should attract a discerning collector audience. That said, buyer behavior on highly specialized lots will provide valuable insights into market evolution.
Overall, the December 16 auction is shaping up as a significant test for the demand for design objects and applied arts of historical provenance, at a time when collectors’ attention is increasingly focused on the rarity and provenance of works.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
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