Comme Des Garcons, Mode Nipponne de 1999 à 2009Comme Des Garcons, Mode Nipponne de 1999 à 2009

COMME des GARCONS, circa 1999. photo courtesy Artcurial

ENSEMBLE en lainage marine à rayures tennis rehaussé de lurex comprenant une veste déconstruite à longueur asymétrique s'attachant par une épingle à nourrice, col d'inspiration vareuse fendu au dos laissant apparaître la doublure, emmanchures découpées à bord franc sur manches longues (T M) (griffe noire, graphisme or) et une double jupe mi- longue à effet portefeuille s'attachant également à l'aide d'une importante épingle à nourrice rehaussée d'un empiécement en polyester imprimé d'étoiles de mer stylisées multicolores (T M) (griffe blanche, graphisme noir) - Estimation 200 - 300 €

COMME des GARCONS, circa 1999. photo courtesy Artcurial

VISITE en triacétate rose barbe à papa, petit col rabattu en polyester sur importants parements ornés de fleurs, de pétales, de ruchés et de franges en cascade fabriqués à partir de tissus divers à la couleur, poignets droits au bas des manches longues, fente dos (T M) (griffe noire, graphisme or) - Estimation 150 - 200 €

COMME des GARCONS, circa 1999. photo courtesy Artcurial

JUPE longue en coton mélangé épinard à effet de grandes pinces, doublure en jersey bronze dépassant du bas froncé et fendu sur le côté droit (T S). Nous y joignons un CARDIGAN en soie, coton et lin mélangés coordonné (T S) (griffe noire, graphisme noir) - Estimation 70 - 90 €

COMME des GARCONS, circa 1999. photo courtesy Artcurial

JUPE longue en coton mélangé épinard à effet de grandes pinces, doublure en jersey bronze dépassant du bas froncé et fendu sur le côté droit (T S). Nous y joignons un CARDIGAN en soie, coton et lin mélangés coordonné (T S) (griffe noire, graphisme noir) - Estimation 70 - 90 €

COMME des GARCONS, circa 1999 et 2002. photo courtesy Artcurial

GILET sans manches déconstruit en tricot de laine figurant un motif de damier multicolore rehaussé de fleurs en relief s'attachant par une importante épingle à nourrice, effet de col drapé (T M) (griffe blanche, graphisme noir)

Bibliographie: Modèle similaire reproduit p 122, Unlimited: Comme des Garçons, Sanae Shimizu, Editions Heibonsha, 2005

Nous y joignons un PANTALON multipoches en coton chiné rose, taille soulignée d'une ceinture lien à nouer coordonnée, chevilles coulissées (T S) (griffe noire, graphisme rouge) - Estimation 90 - 110 €

COMME DES GARCONS, circa 2000. photo courtesy Artcurial

VESTE d'inspiration preppy en satin de coton rayé noir, blanc, gris, col cranté sur simple boutonnage, une poche poitrine, deux poches à rabat, poignets et bas ornés de volants et de ruchés en polyester blanc et noir rehaussés de tulle, rappel au dos (T S) (griffe noire, graphisme or) Se porte avec une JUPE longue légèrement évasée coordonnée en velours de coton rayé taupe et ivoire (T M) (griffe blanche, graphisme noir) - Estimation 200 - 300 €

COMME des GARCONS, circa 2000. photo courtesy Artcurial

ROBE en lainage mélangé gris à rayures tennis blanches rehaussée d'empiécements en toile enduite camouflage, corsage composée d'une veste à col cranté sur effet de double boutonnage, fermerture éclair sous parement droit, deux poches à rabat sur la basque froncée au dos, manches longues montées, jupe plissée à partir des hanches (T S) (griffe blanche, graphisme noir) - Estimation 200 - 300 €

COMME des GARCONS, circa 2000. photo courtesy Artcurial

ENSEMBLE en lainage écossais à dominante rouge, vert bouteille et bleu dur comprenant une veste croisée à col cranté sur double boutonnage, rappel aux poignets, emmanchures agrémentées de découpes, deux poches à rabat, dos appliqué d'un important coeur stylisé à finitions effilochées fabriqué dans le même tissu (TM) (griffe noire, graphisme or) et un pantalon droit coordonné (T S) (griffe blanche, graphisme noir) - Estimation 200 - 300 €

COMME des GARCONS, circa 2001. photo courtesy Artcurial

PANTALON extra-large à pinces et revers en coton imprimé d'un motif d'éventails à cordelière blancs sur fond bleu ciel (T S) (griffe blanche, graphsime noir). Nous y joignons une BLOUSE à manche longues et boutonnage au dos en coton blanc cassé imprimé de têtes de bouledogues français praliné, encolure ronde retenant de petites fronces sur le devant (T M) - Estimation 50 - 80 €

COMME des GARCONS, circa 2001 et 2003. photo courtesy Artcurial

BOLERO non doublé à encolure ronde coulissante en tweed de laine et soie blanc, gris perle et coquille d'oeuf rehaussé de lurex argent, simple boutonnage, rappel au bas des manches longues, une poche poitrine (T S) (griffe noire, graphisme or) (Bibliographie: Modèle identique reproduit p 154, Unlimited: Comme des Garçons, Sanae Shimizu, Editions Heibonsha, 2005). Nous y joignons un CARDIGAN en jacquard de laine mélangé noir et gris perle figurant un motif d'inscriptions (griffe blanche, graphisme noir) - Estimation 60 - 80 €

COMME des GARCONS, circa 2002. photo courtesy Artcurial

VESTE non doublée sans manches en sergé de coton fantaisie noir recouvert d'un gilet façon gaze de coton à la couleur et agrémenté d'un parement tressé se transformant en pan flottant sur le côté gauche, finitions effilochées, deux poches à rabat, fente dos (T M) (griffe noire, graphisme noir) - Estimation 60 - 80 €

COMME des GARCONS, circa 2002. photo courtesy Artcurial

ENSEMBLE en jersey de laine noir à bord franc comprenant une veste non doublée construite à partir d'un empiécement circulaire, important col rabattu sur boutonnage asymétrique en trompe-l'oeil, poches plaquées à rabat au dos, manches longues (T S) et une jupe à godets entravée par un empiécement en tricot à effet bouffant (T S) (griffe blanche, graphisme noir) - Estimation 150 - 180 €

COMME des GARCONS, circa 2002. photo courtesy Artcurial

ENSEMBLE en crêpe de laine bleu foncé comprenant une veste déconstruite à dos nu retenu par deux liens à nouer et ornée de noeuds, parements formant pan flottant, manches longues, col cranté asymétrique (griffe noire, graphisme or) et un pantalon d'inspiration treillis coulissé aux chevilles, taille haute soulignée d'une ceinture-lien à nouer (T S) (griffe noire, graphisme or) - Estimation 150 - 200 €

COMME des GARCONS, circa 2002 et 2007. photo courtesy Artcurial

JUPE en gabardine de laine noire composée de deux empiecements circulaires à bord franc, petite fente sur le devant, effet de pan flottant de chaque côté et à la taille (T S) (griffe blanche, graphisme noir). Nous y joignons un T-SHIRT à manches courtes en jersey de coton marine et blanc appliqué d'une fleur en coton enduit blanc sur le devant (griffe blanche, graphisme noir) - Estimation 60 - 80 €

COMME DES GARCONS (Collection AH 2002/03, modèle de défilé). photo courtesy Artcurial

ENSEMBLE comprenant un cardigan déconstruit en tricot de laine fantaisie noir se boutonnant autour du buste, petit col rabattu, devant et dos agrémentés d'une poche plaquée à rabat (T S) (griffe noire graphisme or) et une jupe longue portefeuille partiellement plissée se nouant à la taille en sergé de laine noir et tricot coordonné (T S) (griffe blanche, graphisme noir) - Estimation 200 - 300 €

Bibliographie: cardigan identique reproduit p 276, Unlimited: Comme des Garçons, Sanae Shimizu, Editions Heibonsha, 2005 

COMME des GARCONS, circa 2003. photo courtesy Artcurial

ENSEMBLE en sergé de coton blanc à finitions effilochées comprenant une veste non doublée sans manches d'inspiration redingote, effet de basque asymétrique ornée de rabats en trompe l'oeil au dos (T S) (griffe noire, graphisme or) et une jupe mi-longue à longueur asymétrique composée d'un empiécement arrondi travaillé en biais (T S) (griffe blanche, graphisme noir) - Estimation 70 - 90 €

COMME des GARCONS (Collection PE 2003). photo courtesy Artcurial

JUPE large froncée en coton chiné rose, longueur asymétrique et bord franc, devant constitué de multiples noeuds (T S) (griffe noire, graphisme rouge) - Estimation 70 - 90 €

COMME des GARCONS (Collection PE 2003). photo courtesy Artcurial

ENSEMBLE en coton noir comprenant une veste destructurée sans manches à bords francs ornée de cocardes stylisées retenant de multiples fronces, encolure drapée (T M) et une large jupe mi-longue coordonnée (T S) (griffe noire, graphisme noir) - Estimation 150 - 200 €

COMME des GARCONS (Collection PE 2003). photo courtesy Artcurial

ROBE sans manches à bord franc en coton rose shocking légérement stretch, encolure en pointe sur guirlande composée de gros pompons jusqu'à la taille, rappel au bas de la jupe évasée agrémentée de découpes (T S) (griffe noire, graphisme rouge) - Estimation 100 - 150 €

COMME des GARCONS, circa 2003 et 1999. photo courtesy Artcurial

VESTE d'inspiration frac en tulle rebrodé de fils de coton et de laine façon guipure figurant un motif floral rose bonbon, vert pomme et blanc, col cranté sur parements asymétriques, dos à effet queue de pie rehaussé d'une bande en matière composite noire (T S) (griffe noire, graphisme or). Nous y joignons un PANTALON capri en sergé de coton barbe à papa (T S)(griffe blanche, graphisme noir) - Estimation 150 - 200 €

COMME des GARCONS (Collection PE 2003, modèle de défilé). photo courtesy Artcurial

VESTE DOUBLE trompe-l'oeil en toile de coton mélangé bicolore gris et kaki, col cranté sur parements rehaussés de tresses, effet de basque plissée sur le devant, fente dos, poignets à effet de superposition ( T M) (griffe noire, graphisme noir).
Nous y joignons un PANTALON en coton kaki coulissé aux chevilles et agrémenté d'un noeud formant cocarde sur la jambe gauche, poches multiples (T S) ( griffe noire, graphisme noir) (salissures, petite décoloration) - Estimation 150 - 180 €

COMME DES GARCONS (Collection PE 2003, modèle de défilé). photo courtesy Artcurial

AMPLE ROBE en toile de coton épinard, décolleté rond souligné d'une torsade retenant de nombreuses petites fronces, effet de manches ballon sur découpe effilochée (T M) (griffe noire, graphisme noir) - Estimation 150 - 200 €

COMME des GARCONS, circa 2003. photo courtesy Artcurial

ENSEMBLE en velours marine comprenant une veste non doublée à petit col montant, parements arrondis, deux petites fentes dos, finitions effilochées, deux poches plaquées à l'intérieur, poitrine ornée de deux motifs naïfs en panne de velours cerise (T S) (griffe noire, graphisme noir), et une jupe large à longueur asymétrique, effet de plis couchés figurant des découpes obliques (T S) (griffe marine, graphisme blanc) - Estimation 150 - 180 €

COMME des GARCONS, circa 2003. photo courtesy Artcurial

ENSEMBLE en gabardine de coton pailletée comprenant une VESTE déconstruite kaki à manches longues et longueur asymétrique agrémentée d'un important col rabattu s'attachant à l'aide d'une fermeture éclair oblique, emmanchures découpées à finitions effilochées (griffe noire, graphisme or) et un PANTALON mastic extra-large à taille haute soulignée d'une ceinture-lien à nouer (T S) (griffe blanche, graphisme noir) - Estimation 120 - 150 €

COMME des GARCONS, circa 2003. photo courtesy Artcurial

LOT comprenant TROIS HAUTS à larges bretelles en crêpe de soie stretch aplliquée d'empiécement en velours sur la poitrine figurant un motif naif, le premier noir et marine, le second blanc cassé (T M), le dernier bourgogne et marine (T S) - Estimation 40 - 60 €

COMME des GARCONS, circa 2003. photo courtesy Artcurial

JUPE déconstruite d'inspiration kilt à longueur asymétrique en lainage marine orné de rayures tennis, noir et gris fantaisie figurant un motif d'empiécements (T S) (griffe blanche, graphisme noir). Nous y joignons un pantalon droit coordonné (T S) (griffe blanche, graphisme noir) - Estimation 80 - 120 €

COMME des GARCONS, circa 2003 . photo courtesy Artcurial

JUPE FOULARD en lainage écossais à dominante bleu dur, noir, vert bouteille et bourgogne, effet de superpositions et de pointes, taille à découpe asymétrique (T M) (griffe blanche, graphisme noir) - Estimation 80 - 120 €

COMME des GARCONS, circa 2003. photo courtesy Artcurial

JUPE large à longueur asymétrique en toile de coton marine ornée de surpiqûres blanches et de petits revers effilochés obliques (T M) (griffe noire, graphisme noir). Nous y joignons un T-SHIRT en jersey de coton blanc muni de petites manches fantaisie (T S) (griffe blanche, graphisme noir) - Estimation 30 - 50 €

COMME des GARCONS, circa 2003 et 2004. photo courtesy Artcurial

HAUT destructuré à manches longues et encolure ronde asymétrique en crêpe jersey polyester blanc, poitrine appliquée de deux motifs naifs en coton ivoire (T S) (griffe blanche, graphisme noir). Nous y joignons une BRASSIERE ras du cou destructurée à petites manches en jersey polyester rose bonbon (T M) (griffe blanche, graphisme noir) - Estimation 60 - 80 €

COMME des GARCONS (Collection AH 2003/04, modèle de défilé). photo courtesy Artcurial

ENSEMBLE en laine bouillie comprenant une veste bourgogne non doublée sans manches imprimée d'inscriptions argentées au dos et rehaussée d'un pan à nouer formant capuche (griffe noire, graphisme or) et une jupe large à longueur asymétrique formant pointes composée d'un patchwork chair et rouge, rehaussée de flanelle anthracite (T S) (griffe blanche, graphisme noir) - Estimation 180 - 220 €

COMME des GARCONS (Collection AH 2003/04). photo courtesy Artcurial

VESTE-BLOUSON en laine bouillie noire rehaussée de surpiqûres blanches, col montant drapé sur fermeture éclair sinueuse, emmanchures munies de découpes (griffe noire, graphisme or) - Estimation 70 - 90 €

COMME des GARCONS, circa 2004. photo courtesy Artcurial

VESTE non doublée à manches longues d'inspiration spencer en jersey noir rehaussée de découpes et de bords surjetés, effet de boutonnage agrafes asymétrique sur parement, épaules ornées d'importants noeuds (griffe noire, graphisme or) - Estimation 60 - 80 €

COMME des GARCONS, circa 2005. photo courtesy Artcurial

VESTE d'inspiration boléro en velours noir rehaussé de mousseline appliquée de galons floraux à la couleur, petit col rabattu décollé sur simple boutonnage, emmanchures ornées de volants sur pan flottant ouvert formant manche, effet de demi-manches en trompe-l'oeil à la taille (T M) (griffe noire, graphisme or) - Estimation 100 - 150 €

COMME des GARCONS, circa 2005. photo courtesy Artcurial

JUPE LARGE froncée en coton et soie noire ornée de ruchés, de falbalas en gros grain et tulle, et de galons en passementerie lurex noir (T M) (griffe blanche, graphisme noir) - Estimation 80 - 120 €

COMME des GARCONS, circa 2006. photo courtesy Artcurial

VESTE sans manches en mousseline polyester gris perle appliquée de taffetas imprimé d'un motif floral dans les tons pastels, col cranté asymétrique, effet de ruchés et de falbalas, découpes au dos, taille soulignée d'une large ceinture à boucle coordonnée (T S) (griffe noire, graphisme or) - Estimation 100 - 150 €

COMME des GARCONS, circa 2005. photo courtesy Artcurial

TUNIQUE à manches chauve-souris en guipure beige sur mousseline à la couleur, col claudine sur fente boutonnée jusqu'à la taille retenant un empiécement en mousseline orné de galons figurant de petites fleurs et rehaussé d'une seconde encolure à col claudine en trompe-l'oeil sur le côté droit, deux pans flottants sur le côté gauche pouvant se nouer (T M) (griffe noire, graphisme or) - Estimation 120 - 150 €

COMME DES GARCONS (Collection PE 2006) . photo courtesy Artcurial

VESTE-BLOUSE en polyester imprimé écossais multicolore sur fond blanc, col rabattu volanté sur simple boutonnage, deux poches à rabat, effet de fronces, taille soulignée d'une ceinture à même agrémentée de pattes de serrage, poignets droits au bas des manches longues ouvertes sur la partie inférieure des emmanchures (T S) (griffe noire, graphisme or) - Estimation 80 - 120 €

COMME des GARCONS, circa 2006. photo courtesy Artcurial

VESTE sans manches en mousseline polyester gris perle appliquée de taffetas imprimé d'un motif floral dans les tons pastels, col cranté asymétrique, effet de ruchés et de falbalas, découpes au dos, taille soulignée d'une large ceinture à boucle coordonnée (T S) (griffe noire, graphisme or) - Estimation 100 - 150 €

COMME des GARCONS, circa 2006. photo courtesy Artcurial

VESTE déconstruite à longueur asymétrique en tulle chair et sergé de laine noir, col claudine, effet de découpes sur les parements, deux poches à rabat, un passant formant noeud plat ( T S) (griffe noire, graphisme or) - Estimation 180 - 220 €

COMME des GARCONS, circa 2006. photo courtesy Artcurial

TAILLEUR-PANTALON en lainage figurant un motif de chevrons noir et blanc rehaussé de fines rayures rouges, veste à col cranté agrémentée d'un corset bustier en soie façonnée noir figurant un motif floral s'attachant par des agrafes sur le devant et orné d'un double ruché et de passementerie à la couleur, effet de basque flottante fendue au dos (T S) (griffe noire, graphisme or), pantalon droit à taille haute (T S) (griffe noire, graphisme or) - Estimation 200 - 300 €

COMME des GARCONS, circa 2006. photo courtesy Artcurial

ROBE en soie façonnée noire figurant un motif floral, encolure ronde fendue sur effet de veste à col cranté en lainage marine, petites manches ballon drapées, jupe froncée à partir des hanches soulignées d'un double ruché et de passementerie à la couleur, deux poches dans les coutures (T S) (griffe noire, graphisme or) - Estimation 150 - 200 €  

COMME des GARCONS, circa 2006. photo courtesy Artcurial

JUPE à longueur asymétrique en soie façonnée noire figurant un motif floral ornée de volants superposés et d'un pan flottant sur le devant (T S) (griffe blanche, graphisme noir). Nous y joignons en T-SHIRT en jersey de coton rose bonbon agrémenté de petites manches fantaisie (T S) - Estimation 40 - 60 €

COMME des GARCONS, circa 2006. photo courtesy Artcurial

TAILLEUR en lainage marine et crêpe fantaisie rose pâle comprenant une veste déconstruite à basque sur effet de seconde veste d'inspiration frac, double col cranté, effet de rabats, de poches et de passants noeud en trompe-l'oeil, manches longues montées (T S) (petite salissure au col) (griffe noire, graphisme or) et une jupe droite coordonnée (T S) (griffe blanche, graphisme noir) - Estimation 200 - 250 €

COMME des GARCONS (Collection PE 2007, modèle de défilé). photo courtesy Artcurial

VESTE en coton blanc imprimé rouge rappelant le drapeau japonais entièrement recouverte de tulle à la couleur, effet de double col cranté, une poche poitrine, deux poches à rabat, fente dos (T S) (griffe noire, graphisme or) - Estimation 120 - 150 €

COMME des GARCONS, circa 2007. photo courtesy Artcurial

ENSEMBLE en lainage noir à fines rayures bleues comprenant une tunique déconstruite asymétrique composée d'une demi-veste d'inspiration redingote à col châle, et d'un haut à manches longues à même et encolure bateau (T M) (griffe noire, graphisme or) et une jupe tubulaire en jersey polyester bleu foncé partiellement agrémentée d'une seconde jupe plissée et froncée en lainage coordonné fendue sur le côté droit (T S) (griffe blanche, graphisme noir) - Estimation 300 - 400 €

COMME des GARCONS, circa 2007. photo courtesy Artcurial

VESTE croisée en lainage figurant un motif quadrillé vert bouteille sur fond bleu marine, col cranté sur double boutonnage, rappel au bas des manches longues montées, épaules, poitrine et côtés découpées laissant apparaître la doublure et l'entoilage sous les bords francs, poche poitrine, deux poches à rabat, fente dos (T S) (griffe noire, graphisme or) - Estimation 120 - 150 €

COMME DES GARCONS, circa 2007. photo courtesy Artcurial

ENSEMBLE gris en jersey polyester ajouré rebrodé figurant un motif floral stylisé ton sur ton façon dentelle anglaise comprenant un T-shirt à petites manches et encolure ronde, effet de fronces sur le devant (T S) ( griffe blanche, graphisme noir) et une jupe large à godets et longueur asymétrique structurée dans le bas par une sangle semi-rigide (T M) (griffe blanche, graphisme noir) - Estimation 120 - 150 €

COMME des GARCONS, circa 2007 . photo courtesy Artcurial

JUPE plissée en coton bleu encre coulissée à la taille et agrémentée d'un tablier se nouant sur le devant en mousseline à la couleur, importantes poches verticales coulissées dont le fond dépasse de chaque côté, l'une figurant un motif vichy (T S) (griffe blanche, graphisme noir) - Estimation 80 - 120 €

COMME des GARCONS, circa 2007. photo courtesy Artcurial

JUPE FOURREAU en jersey polyester noir recouvert de lainage rayé à dominante anthracite, zinc et rouge, effet bouillonnant par un jeu de fronces et de découpes effilochées, bas volanté (T M) (griffe blanche, graphisme noir) - Estimation 70 - 90 €

COMME des GARCONS, circa 2007 et 2003. photo courtesy Artcurial

JUPE fourreau en jersey polyester bleu foncé agrémentée d'un fond de jupe superposé en jersey réglisse orné de ruchés (T S) . Nous y joignons un TOP déconstruit à fines bretelles en crêpe de soie rose bonbon (T S) (griffe blanche, graphisme noir) - Estimation 50 - 80 €  

COMME DES GARCONS (Collection AH 2007/08). photo courtesy Artcurial

VESTE-TUNIQUE en macramé stretch blanc ornée sur le devant d'une robe volantée translucide en trompe-l'oeil, petit col cranté sur simple boutonnage, deux poches droites, fente dos (T S) (griffe noire, graphisme or)
Se porte avec une JUPE déconstruite composée d'un fourreau stretch et d'une jupe plissée en velours de coton froncée à partir des hanches (griffe blanche, graphisme noir) - Estimation 250 - 350 €

COMME DES GARCONS (Collection AH 2007/08, modèle de défilé). photo courtesy Artcurial

ROBE fourreau en jersey polyester rose bonbon, encolure ronde sur buste orné d'une robe volantée en trompe-l'oeil ton sur ton, manches longues en jersey de coton rayé rose et blanc (griffe blanche, graphisme noir) - Estimation 200 - 300 €

COMME des GARCONS (Collection AH 2007/08). photo courtesy Artcurial

ROBE fourreau en jersey polyester ajouré rebrodé bleu marine, encolure ronde, petites manches, buste orné d'un trompe-l'oeil figurant une robe de petite fille volantée à col claudine en jersey noir, bas de la jupe longue à découpes géométriques formant godets stylisés (T M) (griffe blanche, graphisme noir) - Estimation 180 - 220 €  

COMME DES GARCONS (Collection P/E 2008). photo courtesy Artcurial

MANTEAU 9/10 en polyester ouatiné marine à longueur asymétrique, double col claudine et double parement, chacun agrémenté d'un double boutonnage et de deux crevées coulissées à l'intérieur formant pan flottants en pointe sur le devant, doublure intérieure sans manches en coton à la couleur (T M) (griffe noire, graphisme or) - Estimation 250 - 350 €

COMME des GARCONS (Collection PE 2008, modèle de défilé). photo courtesy Artcurial

TAILLEUR en lainage zinc comprenant une veste double rehaussée de lainage prince de galles noir et blanc, cols crantés superposés sur simples boutonnages, rappel au bas des manches trois-quarts, poche poitrine, deux fausses poches à rabat entrecoupées par deux fentes retenant d'importantes poches coulissantes formant pans flottants de chaque côté, la première rayée rose bonbon et blanche, la seconde façonnée figurant des coiffures ethniques chocolat sur fond bleu dur et blanc (T S) (griffe noire, graphisme or), et une jupe déconstruite coulissée à la taille et à l'ourlet, fendue sur le devant et à l'arrière et rehaussée d'un empiécement en flanelle gris clair (T S) (griffe blanche, graphisme noir) - Estimation 300 - 400 €

COMME des GARCONS (Collection PE 2008). photo courtesy Artcurial

PETITE VESTE en polyester ouatiné blanc sur effet de chemisier en coton à la couleur, cols claudine superposés, rappel au bas des manches longues, double boutonnage intérieur et extérieur, deux poches à rabat (T S) (griffe noire, graphisme or) (petite salissure au col) - Estimation 100 - 150 €

COMME des GARCONS, circa 2008. photo courtesy Artcurial

VESTE cintrée en polyester fantaisie noir figurant un motif de pois, col rabattu sur simple boutonnage, rappel sur les quatre poches à rabat et au bas des manches trois-quarts, pattes d'épaules, dos orné d'un important ruché façon gazar à la couleur se tranformant en pan flottant asymétyrique (T S) (griffe noire, graphisme or) - Estimation 120 - 150 €

COMME DES GARCONS Junya Watanabe. photo courtesy Artcurial

Jupe longue à godets en crêpe de laine noir, effet de découpes en biais (TS) - Estimation 30 - 60 €

COMME des GARCONS. photo courtesy Artcurial

LOT de DEUX HAUTS tubulaires à manches longues en tricot de nylon façon filet, le premier rayé ivoire, rose, vert fluo, le second chiné marine et blanc - Estimation 30 - 50 €

Artcurial. Mode Nipponne. Commissaire-priseur : Isabelle Boudot de La Mot. Hôtel Drouot - salle 7. 9 rue Drouot 75009 Paris - www.artcurial.com

Exceptional gem-set pieces from the family of the Nizam of Hyderabad @ Christie's London

An exceptional emerald, ruby and diamond-inset enamelled gold parrot. Mughal India, late 18th century. Photo: Christie's Images Ltd 2010.

The green enamel body inset with bold floral sprays in diamonds and rubies, the wings with ruby-inset drop-motifs within a border of diamond-inset leaves, the back and tail with similar ruby insets, the head elegantly inset with emeralds along the crest and beak, the beak holding a drilled emerald pendant, the underside of the body with two styles of floral enamelling including white naturalistic narcissi on green enamel and more stylized red flowers on white enamel under the tail, resting on blue, purple and white enamelled feet, fitted on square base with similar inset floral sprays, the base with four domed feet, the pendant chain lacking, in fitted box; 7¾in. (17.7cm.) high. Estimate £400,000 - £600,000

Provenance: By repute originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 23

Notes: During the reigns of the great Mughal emperors, the classical imperial Mughal style of jewellery which had roots in Iran developed and fused with indigenous traditions to produce a distinct style of jewellery and jewelled objects. A love for these glittering pieces was driven by demand from the courts, not just of the Mughals, but also of the Deccani sultans and smaller princedoms. What was an imperial style thus spread to the Muslim courts of the Deccan and Central India as well as the Hindu courts of Rajasthan and South India. Jewels were not just for panoply. They had an essential place in social rituals of the period. One obvious aspect in the Mughal court were the regular ceremonies where the emperor was weighed in precious metals and jewels for these then to be given out as part of a very public display of munificence. Paintings of the eighteenth century show equally ostentatious local courts.

The transmission of styles went both ways - from the Mughal courts to the smaller sultanates and princedoms and vice versa. When Shah Jahan conquered Hyderabad in the Deccan in the first half of the 17th century, he is reported to have received a tribute 'comprising 200 more caskets full of gems and jewelled ornaments.' (W.E.Begley and Z.A.Desai (ed.), The Shah Jahan Nama of 'Inayat Khan. An Abridged History of the Mughal Emperor Shah Jahan, Compiled by his Royal Librarian. The Nineteenth-Century Manuscript Translation of A.R.Fuller (British Library, Add.30.777), Delhi, 1990, pp.404-05). By repute, all of the pieces of this group (lots 43-50) are said to come originally from the family of the Nizam of Hyderabad, therein suggesting a Deccani origin.
A Mughal jewelled falcon of somewhat similar style to the present parrot is in the Museum of Islamic Art, Doha (JE.69.2001, Leng Tan, Jewelled Treasures from the Mughal Courts, exhibition catalogue, Doha, 2002, pp.8-15, no.1). That is purported to have been part of the private jewels of Shah Jahan, and to be dated circa 1650. That relates to a group of objects, all dated to the early Mughal period, on account of the special forms into which the gemstones have been set. A related handle, terminating in a dragon's head is in the Al-Sabah Collection (Manuel Keene, Treasury of the World. Jewelled Arts of India in the Age of the Mughals, exhibition catalogue, London, 2001, p.125, no. 10.1). This style also features instances in which stones are purposely cut to form the edges of pieces, such as the crest or beak of either the Doha bird or the present example.

A gemset bird of paradise (huma) now in the Royal Collection demonstrates the spread of the from the imperial Mughal court (Jane Roberts (ed.), Royal Treasures. A Golden Jubilee Celebration, London, 2002, pp.332-36, no. 298). This bird originally sat atop Tipu Sultan's throne (circa 1787-93) and was preserved by Colonel Wellesley who was installed as Governor of Seringapatam after the British army stormed Tipu's citadel and took the city on 4 May 1799. Both this example and ours are technically close to the Mughal falcon. Each is set at intervals in the kundan technique with foiled diamonds, rubies and emeralds designed to look like feathers. That the huma can be said with certainty to be from Seringapatam supports the fact that there was production of 'Mughal style' jewelled pieces in central and southern India.

Our parrot combines the kundan with a champlevé enamelled tail similar to the breast of the Doha Mughal falcon. As discussed in the note to lot 49, the origins of the art of enamelling are unclear with various scholars heralding the imperial Mughal workshops, Goa and the Deccan as various centres for its begninnings. What is known is that by the 1620s recipes for various techniques, including enamelling had circulated in Mughal territory and other parts of the subcontinent. The Majmu'at al-sana'i (Collection of Recipes) was copied several times (the earliest is in the Bodleian and dates to AH 1033/1624 AD) and details the recipe for various enamels. This practice serves to explain why similar colours were produced in different regions, and therefore why identifying the specific location where certain pieces were made is sometimes difficult (Pedro Moura Carvalho, Gems and Jewels of Mughal India. The Nasser D. Khalili Collection of Islamic Art, London, 2010, p. 20).

Birds in connection with Muslim rulers represent victory and power. In the context of a study of the tile cycle of the Hasht Behesht pavilion in Isfahan of 1670, Ingebord Luschey-Schmeisser interpreted winged beings both as an expression of rulership in search of the blessings of the angels and as winged beings who protect and serve their ruler (Ingebord Luschey-Schmeisser, The Pictoral Tile Cycle of Hast Behest in Isfahan and its Iconographic Tradition, Rome, 1978, pp. 47-55). Parrots and other birds often decorate the surfaces of enamelled objects, such as the underside of a pandan box in the Smithsonian Institution, Washington DC (inv. no. F.1986.22, Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.61, no.39). The sculptural form of the present parrot is however rare. With the associated symbolism, it is not surprising that the two other birds known are associated with Shah Jahan and Tipu Sultan. Our parrot adds another very impressive, example to the small extant group.

A fine diamond-inset and enamelled gold covered bowl and stand. Deccan or Mughal India, late 18th century. Photo: Christie's Images Ltd 2010.

The stand of circular form with raised rim on six floral feet, the green enamel ground with bold floral sprays inset with flat-cut diamonds, the centre of the stand superbly enamelled with floral sprays and birds on a gold ground, the exterior of the bowl with two tiers of similar floral sprays between minor meandering vine bands, the interior with a stylised leopard engraved under the green enamel, the cover with similar inset floral sprays radiating from the raised central floral boss flanking a square cabochon foiled ruby, the underside of the cover engraved with radiating lobes flanking a lion rampant within a floral meander border, very slight damages to the enamels, in fitted box. Stand 8¼in. (21cm.) diam.; with covered bowl 5¼in. (13.3cm.) high - Estimate £150,000 - £200,000

Provenance: By repute, originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 21

Notes: Visitors arriving at the courts of Indian rulers from the 17th century onwards were unanimously impressed by their material splendour. The lavishness of the interiors that greeted them, highlighted with small accents provided by enamelled and jewelled vessels and utensils, has been recorded time and again. Sir Thomas Roe, who was sent as an embassy to Jahangir in 1615-18 described the Mughal court as 'the treasury of the world' (Susan Strong, Nima Smith and J.C.Harle, A Golden Treasury. Jewellery from the Indian Subcontinent, London, 1989, p.27). The present lot, as well as the others from the same collection (lots 43-50) are examples of the type of jewelled object that would have created this rich impression. Such objects were a way of expressing wealth, and by implication status and military prowess. As discussed in the note to lot 50, the styles used in many of these jewelled objects, including the bright enamels and kundan technique of inlaying stones, spread across the subcontinent and were used not only in the imperial Mughal court, but also in local centres.

In India metal objects, and particularly gold, was habitually melted down if damaged or if fashions changed. The invasion of Nadir Shah of India in 1739 saved for posterity a number of jewelled pieces which he either took back to Iran as booty or, in an overt display, sent with embassies to the rulers of Russian and Turkey. These however constitute the only substantial group of royal Mughal decorative arts in gold to have survived - the St. Petersburg items comprise the largest group of Mughal jewelled objects which survive together. Zebrowski writes that nothing survives in India itself (Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.52). The present group therefore represents an important addition to the known cache of jewelled objects of imperial quality.

This fine set of jewelled lidded bowl and stand is an impressively complete survival. In his article entitled 'The Jewelled Objects of Hindustan', Assadullah Souren Melikian- Chirvani, writes that no complete set of jewelled bowl-shaped wine cup with matching cover and salver has been recorded (Assadullah Souren Melikian-Chirvani, 'The Jewelled Objects of Hindustan', Jewellery Studies, Vol. X, London, 2004, p.16). Although too large for a wine vessel, this present set adds an interesting comparison to the small group and a suggestion of what comparables would have looked like.

The technique of translucent green champlevé enamelling that covers engraved designs, found on the underside of the lid and stand of this box is similar to that found on an octagonal box attributed to North India, circa 1700, which is in the Khalili Collection (Pedro Moura Carvalho, Gems and Jewels of Mughal India. The Nasser D. Khalili Collection of Islamic Art, London, 2010, pp.26-7, no. 3). There the undersides are carved with central flowerheads within a lattice of leafy lozenges. A more inventive design is seen on a small box, also in the Khalili collection (Pedro Moura Carvalho, op. cit., pp.30-1, no.4) where the interior of the lid is engraved in a similar style with engraved overlapping leaves. The present engraving is reminiscent of the Khalili octagonal box with the leaf lattice. However on the present example, this surrounds the playful figure of a lion. Like the Khalili examples the quality of the decoration is rarely observed in extant pieces and suggests a possible royal commission.

The floral sprays that adorn the sides of the vessel recall those on the sides of a Mughal huqqa set, formerly of the Clive of India Treasure and now in the Museum of Islamic Art, Doha. In that example, a lattice of similar isolated diamond-set floral sprays, each with five petals and issuing two leaves decorated the blue enamelled ground. That set was attributed to Lucknow, circa 1750 on the basis of the colours of the enamels found under the base. For a short note on the techniques used for this group, please see the note to lot 49. A discussion on the Deccani or Mughal attribution can be found in the note to the jewelled parrot, above.

A fine Mughal gem-set silver and gold rosewater sprinkler. North India, , 17th/18th century. Photo: Christie's Images Ltd 2010.

Of drop form with long slightly tapering tubular neck flaring into a floral knop, the body with emerald and ruby inset medallions divided by vertical rows of pearls, fish-scale motifs set with emeralds and rubies below, the underside of the foot with a similar rosette within a stylised wreath, the edge with later numerical inscription, the gold neck with similar fish-scale set with cabochon rubies, the flower finial similar, neck possibly an 18th century replacement, in fitted box; 10in. (25.5cm.) high - Estimate £80,000 - £120,000

Provenance: By repute, originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 24

Notes: This rosewater sprinkler (gulabpash) is part of a small group of imperial-quality pieces that were decorated exclusively with gems. Three very similar rosewater sprinklers are in the Hermitage Museum (V3-709 and V3-714, all published in Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.70, nos.49, 50 and 51). All are dated to the 17th century were probably part of the embassy sent to Russia by Nadir Shah in the 18th century. The pieces included in the chapter 'Jewelled Magnificence' in the book Treasury of the World. Jewelled Arts of Indian in the Age of the Mughals also fall into the same group (Manuel Keene, London, 2001, pp.70-154). All are similarly heavily encrusted with gemstones within gold settings and are attributed to Mughal India, 17th century.

A fine enamelled and gem-set gold covered jar. Deccan or Mughal India, 18th century. Photo: Christie's Images Ltd 2010.

With bulbous body on short conical foot, with flaring lip, the domed cover with floral knop, the green enamel ground inset with stepped rows of diamond and ruby bud-motifs, a band of ruby inset meandering vine below, the cover with similar motifs, the interior plain gold, the underside of the foot with fine floral enamelling in red, blue and green on white ground, dent to the lip, in fitted box; 5in. (12.6cm.) high - Estimate £50,000 - £70,000

Provenance: By repute originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 19

Notes: Abu'l Fazl's Ain-i Akbari (Institutes of Akbar), a late 16th century detailed document recording the administration of the emperor Akbar's empire gives a technical description of the practices used within the royal karkhana or workshop, and provides us with an insight into the techniques used to produce pieces such as these. It records that each skill was specific to a different professional, such as an enameller (minakar), engraver (zar nishan) or one practiced in the setting of gems. An individual object, such as this and the others of this group, would therefore have been worked on by a number of craftsmen.

A quintessentially Indian technique, recorded by Abu'l Fazl and used throughout the present group (lots 43-50) is that of kundan or setting of stones. This technique is practiced from the Akbari period until the 19th century when claw settings were introduced via Western jewellery. Susan Strong et al give a comprehensive description of how this technique is carried out - 'the piecesare shaped by the relevant craftsmen and left in separate, hollow halves. Holes are cut for the stones, and any engraving or chasing is carried out, and the pieces are enamelled. When the stones are to be set, lac is inserted in the back, and is then visible from the front through the holes for the stones. Highly refined gold, the kundan, is then used to cover the lac and the stone is pushed into the kundan. More kundan is applied round the edges to strengthen the setting and give a neater appearance' (Susan Strong, Nima Smith and J.C.Harle, A Golden Treasury. Jewellery from the Indian Subcontinent, London, 1989, p.30).

Another defining feature of this group of objects is the use of enamels (mina). How and when enamelling was introduced into the Mughal court is unclear. It has been suggested by some that it reached Mughal India through Goa - 16th century pieces made in Goa confirm that local craftsmen had mastered European techniques (Pedro Moura Carvalho, Gems and Jewels of Mughal India. The Nasser D. Khalili Collection of Islamic Art, London, 2010, p.19). The first known pieces so decorated are an oratory-reliquary and a gold filigree casket, both now in Lisbon and produced in the late 16th century (Museu Nacional de Arte Antiga, Lisbon, inv. nos. 99 and 577). Akbar sent a cultural mission to Goa in 1575 so it is possible that the technique was learnt there. Manuel Keene has recently suggested that from Goa the enamelling may have spread first to the Deccan (Manuel Keene, Treasury of the World. Jewelled Arts of India in the Age of the Mughals, exhibition catalogue, London, 2001, p.62.

The way in which the diamonds are set into repeated drop-shaped settings recalls a pair of fly-whisk handles, attributed to Rajasthan (probably Jaipur) circa 1750, which are presently in the Khalili Collection (Pedro Moura Carvalho, Gems and Jewels of Mughal India. The Nasser D. Khalili Collection of Islamic Art, London, 2010, pp.74-5, no. 19). For a general note on the group of enamelled and gemset objects please see lot 44.

A fine enamelled and gem-set gold rosewater sprinkler. Deccan or Mughal India, late 18th/early 19th century. Photo: Christie's Images Ltd 2010.

Rising from a domed foot through the spherical body to the trumpet-shaped collar, the long tapering spout terminating in a stylized vase of flowers, the surface inset with diamonds and rubies forming floral sprays on a green enamel ground, floral bands above and below, the neck with stepped rows of similar drop-motifs decreasing in size from bottom to top, the upper flowers with diamond-inset centres, in fitted box; 11¼in. (28.6cm.) high - Estimate £40,000 - £60,000

Provenance: By repute, originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 22

Notes: The rosewater sprinkler (or gulabpash) was much in vogue in the Mughal Empire and across Islamic lands, used to sprinkle honoured guests with rose water when they arrived. Jahangir (1605-27), refers in his memoirs to the festival of the sprinkling of rose water at the royal court, to which the present and the next lot were probably associated, albeit a few decades later, 'the assembly of gulab-pashi [sprinkling of rose water] took place and has become established from amongst customs of former days' (quoted in Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.69).

A jewel-encrusted gold-mounted dagger (jambiyya). Yemen and India, late 19th century. Photo: Christie's Images Ltd 2010.

Of typical form with waisted grip and sharply curving sheath terminating in a ball knop, the watered steel blade with medial ridge, the hilt and sheath probably bejewelled in India with extensive floral and geometric design in diamonds, rubies and emeralds, in fitted box; 12½in. (31.8cm.) long - Estimate £30,000 - £50,000

Provenance: By repute, originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 8

Notes: The Chaush are a Muslim community of Hadhrami Arab descent found in the Deccani region of India. The name Chaush derives from the Turkish for military personnel, as many of them served in the armies of the Deccani rulers. They also retained very close ties with the Southern Arabian peninsula, their homeland. It is recorded, that traditionally the Chaush would wear jambiyyas at their waists. This explains the practice of sending such weapons from the Yemen to the Deccan to be decorated in this manner. A number of examples of Indian decorated jambiyyas are known; amongst them this is one of the most opulently decorated of all.

A mutton-fat jade covered bowl. India, 19th century. Photo: Christie's Images Ltd 2010.

Of hemispherical form on short conical foot, the sides with floral sprays inset with emeralds and diamonds alternating with rubies and diamonds, below the lip a ruby and diamond arcade, the cover with similar alternating floral sprays around a central and slightly raised square panel similarly decorated, with a diamond set knop, the cover's border with a band of trefoils inset with pearls and diamonds, in fitted box; 6 1/8in. (15.6cm.) diam. - Estimate £15,000 - £20,000

Provenance: By repute, originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 12

A diamond and turquoise-inset and gold-inlaid pale jade saucer. India, circa 1900. Photo: Christie's Images Ltd 2010.

Of shallow form with raised lip, the interior with a vacant central circle surrounded by lobed border issuing turquoise-inlaid palmettes, beyond these a series of floral sprays issuing similar palmettes and diamond-inset leaves, the edge with similar lobed border, in fitted box; 5½in. (14cm.) diam. Estimate £6,000 - £8,000

Provenance: By repute, originally from the family of the Nizam of Hyderabad,
Anon sale, Habsburg Feldman, Geneva, 9 November 1987, lot 10

Christie's. Art of the Islamic and Indian Worlds, 5 October 2010, London, King Street www.christies.com

Nizam of Hyderabad, is Fifth on Forbes ‘All Time Wealthiest’ list of 2008 with Net Worth: 210.8 Billion USD.

This is a list of historical figures who lived during the Industrial age, Information Age, Middle Ages, Ancient world and is solely based on net worth accumulated by inheritance or personal earnings. The estimated net worth of these people is calculated into inflation-adjusted 2007 dollars, from when historical figures were at the peak of their net worth

Last Nizam of Princely State of Hyderabad and Berar, Fath Jang Nawab Mir Osman Ali Khan Asaf Jah VII, was The Richest Man in the 1940s, having a fortune estimated at $2 billion. He ruled Hyderabad between 1911 and 1948 until it was made part of India as a result of Operation Polo launched by the Indian Government.

Nizam of Hyderabad even featured on the cover of TIME magazine. While rulers of other big states like Kashmir, Jodhpur Bikaner, Indore, and Bhopal were given the title of “His Excellency” (H.E.), the Nizam of Hyderabad alone had the title of “His Exalted Highness” (H.E.H.)

During the rule of Aurangzeb’s great grandson Muhammad Shah (1719-1748), the governor of Deccan was one Nizam-ul-Mulk. In 1723 he decided to carve himself a kingdom. Another Mughal functionary, Mubariz Khan had created a near independent state in Hyderabad, which was attacked by the Nizam in 1724. After forsaking his capital in Aurangabad, the Nizam moved to Hyderabad and founded the strongest independent Muslim state of the South.

Later Nizams played puppet pawns in the hands of the British and the French of Pondicherry. After French were defeated by the British, the Nizam of Hyderabad switched his allegiance to the British and ruled till Independence of India under British protection.

When India attained her Independence, and Sardar Patel was in the process of integrating India’s princely states, Jammu and Kashmir, Junagadh and Hyderabad decided to sought accession with Pakistan or declare independence. Hyderabad was the largest of the princely states, and included parts of present-day Andhra Pradesh, Karnataka, and Maharashtra states. Its ruler, the Nizam Osman Ali Khan was a Muslim, although over 80% of its people were Hindu. The Nizam of Hyderabad kept on changing his position and Patel could take no more.

Patel ordered the Indian Army to integrate Hyderabad (in his capacity as Acting Prime Minister) when Nehru was touring Europe.The action was termed Operation Polo, in which thousands of Razakar forces had been killed, but Hyderabad was comfortably secured into the Indian Union.

Post Operation Polo, Nizam of Hyderabad had lost all its powers, and was merely a ceremonial chief of the state.

Hyderabad, over the course of seven generations of Nizams, had become the richest state of the world. However, the world related most to its seventh ruler, Mir Osaman Ali Khan who is famous for his idiosyncrasies and wealth. He negotiated with the Portuguese in the 1940s to buy Goa from them. He owned world’s grandiose treasures but lived like a pauper, smoke cheap bidhis, and wear tattered clothes.

His collection of pearls alone could fill up an Olympic size swimming pool. He gained the famous Jacob Diamond – the 400 carat diamond (left), double the size of the Kohinoor and world’s fifth largest, through a famous ‘Diamond Suit’ in 1892. The Jacob Diamond was later purchased by the Government of India in 1995 after a battle of 24 years with the Nizam’s trust for an estimated $13 million along with other Jewels of The Nizams, and is held at the Reserve Bank of India, Mumbai. The value of Jacob Diamond alone is 100 million pounds. The seventh and last Nizam found the duck-egg-sized diamond hidden in his father’s slippers and used it as a paperweight.

"Times reported on Feb 22, 1937 – Most news stories hung on the Richest Man are chiefly chatter about how careful His Exalted Highness is with his pennies — whereas $5,000 is his approximate daily income, his jewels have an estimated value of $150,000,000, he reputedly has salted down $250,000,000 in gold bars and his capital totals some $1,400,000,000, not to mention the fabled “Mines of Golconda…

…The cash Silver Jubilee gifts to the Nizam of Hyderabad, by his subjects were expected this week to total at least $ 1,000,000."

Nizam’s Jewels, valued at $ 250- $ 350 million by the Sotheby’s and Christie’s, date back to early 18th century to early 20 century. Crafted in gold and silver and embellished with enameling, the jewels are set with Colombian emeralds, diamonds from the Golconda mines, Burmese rubies and spinels, and pearls from Basra and Gulf of Mannar.

While India thought they had settled all deals with the Nizams and their 200 heirs, they are back in the news.

Osman Ali Khan nominated not his son, but grandson Mukarram Jah (born in France and had Turkish mother), to be the next (and last) titled Nizam of Hyderabad. Mukarram Jah could not take the battles over his grandfather’s wealth and escaped to Australia where in spite of having the best possible education money could buy (Harrow, Cambridge, LSE, Sandhurst), he run bulldozers, married and divorced five times, one of them being former Miss Turkey. He now lives in a two room apartment in Istanbul, Turkey.

Nizam of Hyderabad is reported to have impregnated 86 of his mistresses, siring more than 100 illegitimate children and a sea of rival claimants.

However, Jah has not been able to escape it all. He has four sons and a daughter from his five wives. The eldest of them, Azmet Jah, a cameraman in Hollywood who has worked with Steven Spielberg, Richard Attenborough, Nicolas Roeg, hopes to come back to Hyderabad.

“I am determined to maintain what has been saved. We’ll not make the same mistakes again.”

His mother Esra has been visiting Hyderabad and overlooking the work of restoration of Palace Chowmahalla which was compared to the Enchanted Gardens of the Arabian Nights.

India is now on its way to make a final deal with the Nizams. Today, Government of India agreed for an out-of-court settlement with Pakistan and descendants of Nizam of Hyderabad. Mir Osaman Ali Khan had on September 20, 1948 transfered one million pounds maintained in the account of the Nizam of Hyderabad’s government in National Westminster Bank to an account of Habib Ibrahim Rahimtoola, the then Pakistani High Commissioner to Britain, as the Nizam dithered over which of the two new nations to join. He then cabled the bank to freeze the transaction when pressured by the government of India.

In 1957, after several rounds of litigation between the Nizam and the Pakistani government, the case reached Britain’s House of Lords, which ruled that the account could only be unfrozen with the agreement of all the parties.

The amount has grown to about 30 million pound sterling and New Delhi intends to broker a compromise with the two heirs of the Nizam of Hyderabad and Pakistan. Will it be easy?

Mr Muhammad Safiullah, cultural adviser to the Nizam’s Trust, said,”Mir Osman Ali Khan’s grandsons Shahmat Jah, Mufakham Jah and Mukarram Jah, granddaughter Fatima Fouzia and other family members have all staked claim to part of the funds. Since there’s no Nizam government now, the Nizam’s trust and his legal heirs will also get a part of the money. The ruler wanted to help the nascent Pakistani governmen in 1948 as it had no money to pay even the salaries of its employees.”

Nizam’s heirs do not wish to share the money with either India or Pakistan. “The money is ours and we alone are the legal heirs. Once the matters become clear, we will lay claim,” they say.

Almost sixty years after Independence, and 37 years after Indira Gandhi abolished the Privy Purses, our fascination with the fortunes of India’s maharajahs and nizams has not abated it seems! (helloji.wordpress.com)

Le doigt d’honneur de Maurizio Cattelan

MILAN (ITALIE) – La dernière sculpture de Maurizio Cattelan divise l’opinion italienne. A l’occasion d’une exposition personnelle au Palazzo Reale, l’artiste a fait installer L.O.V.E., un doigt d’honneur en marbre haut de 11 mètres face à la Bourse de Milan.

Le trublion de l’art contemporain italien crée de nouveau la polémique. La dernière œuvre de Maurizio Cattelan, L.O.V.E., consiste littéralement en un doigt d’honneur taillé dans un bloc de marbre de carrare. Cette sculpture, haute de 11 mètres, est actuellement exposée face à la Bourse de Milan, capitale financière de l’Italie. Le quartier de Piazza Affari d’ordinaire très tranquille connait ces derniers jours une affluence de visiteurs inhabituelle. Comme le rapporte le Giornale, le public se presse pour voir la sculpture et se faire photographier à ses côtés.

La sculpture est présentée à l’occasion d’une exposition personnelle de l’artiste organisée au Palazzo Reale. Il était prévu qu’elle reste sur son piédestal devant la Bourse le temps de l’exposition. Face à certaines réactions hostiles il a ensuite été envisagé de la retirer plus tôt que prévu. La maire de Milan, Letizia Moratti, a assuré que l’œuvre controversée resterait en place au moins jusqu’à la fin de l’exposition, le 24 octobre 2010. Certains, à l’instar de l’ancien directeur scientifique du Palazzo Reale, souhaiteraient que l’installation reste de façon permanente.

L’exposition de Maurizio Cattelan, avant même le dévoilement de la sculpture avait créé la polémique ; l’affiche prévue pour annoncer l’évènement a été interdite. La raison de cette interdiction : l’affiche reprenait la sculpture Him, représentant Adolf Hitler agenouillé, et la ville a craint que le voisinage de cette image avec le logo du musée soit mal interprété. (www.artclair.com)

The sculpture middle finger by Italian artist Maurizio Cattelan during the inauguration in front of the Stock Exchange building in Milan, Italy. Maurizio Cattelan is known for his satirical sculptures in particular 'La Nona Ora'(The Ninth Hour) which represents the pope being struck down by a meteorite. EPA/MILO SCIAKY.

MILAN (REUTERS).- A marble sculpture of a cut-off hand with the middle finger stuck up has gone on display in front of the Milan Stock Exchange, provoking a lively debate in Italy's financial capital.

The 11-meter high installation, called "L.O.V.E." and unveiled for the first time in Milan, is part of a retrospective dedicated to the Italian contemporary artist Maurizio Cattelan, whose provocative works include a sculpture of Pope John Paul being hit by a meteorite.

"(Cattelan's works) call our times into question, offering themselves as a mirror, however cracked, of our present," said Massimiliano Finazzer Flory, Milan's commissioner for culture, in a statement.

Cattelan drew protests in Milan in 2004 with his installation of three baby puppets hung on the branch of an old tree. A protester sawed off the branch and the work was eventually removed.

The finger sculpture, which mocks a Nazi gesture, is part of a retrospective of Cattelan's works entitled "Against Ideologies" promoted by the city of Milan, which says it is the third-largest market for contemporary art after New York and London.

The installation has fueled criticism among local politicians and intellectuals over the rights and wrongs of showing a provocative work in a public space, like the Bourse square.

Asked about the meaning of the work, Cattelan said his work was more an act of love than a comment on the financial world.

"It is mainly about imagination," he told reporters last week.

The sculpture will remain on display until October 3, while three other works by the same artist will be on view at Milan's Royal Palace until October 24. These include the Pope John Paul meteorite sculpture "La Nona Ora," or "The Ninth Hour" and two untitled works of a crucified woman and a drummer boy. By: Antonella Ciancio (Editing by Steve Addison)

Christie's October Photographs Sale to Offer Landmark Works by the Masters of the Medium

NEW YORK, NY.- On October 6 and 7, Christie’s New York will offer a broad range of photographs from the early 20th century to the present day. Highlights include important photographs, from many private collections including The Estate of Harry Lunn, Bruce and Nancy Berman; and Harvey Shipley Miller and Randall Plummer. Artists such as Diane Arbus, Ansel Adams, Man Ray, Irving Penn, William Eggleston and Lise Sarfati will be featured prominently. The sale comprises 349 lots and is expected to realize from $4.5 million to $6.8 million.

Highlights include Grand Tetons and the Snake River, Grand Teton National Park, Wyoming, 1942, (estimate: $150,000-250,000), one of Ansel Adam’s most recognizable and extraordinarily beautiful works. The work is one of nine mural prints of this image in existence and one of six in this size. This rare example was printed in the early 1960s.

Ansel Adams (1902-1984) Grand Tetons and the Snake River, Grand Teton National Park, Wyoming, 1942; gelatin silver print, printed 1960s, flush-mounted on wood, 30 5/8 x 45 1/8in. (77.8 x 114.5cm.). Estimate $150,000 - $250,000. Photo: Christie's Images Ltd 2010.

Provenance: A Private Collection;
Christie's, New York, May 16, 1980, lot 999

Literature: Ansel Adams: 400 Photographs, Little, Brown and Company, p. 205

Notes: According to current research, this is one of nine mural prints of this image in existence and one of only six in this size, with print dates ranging from 1952 to 1973. This magnificent, extraordinarily rare example was probably printed in the early 1960s.

Gracing the catalogue’s back cover is Man Ray’s Nude with Shadow (solarized), 1927 (estimate: $70,000-90,000). This vintage print by Man Ray is of an exceptional quality not seen at auction in several years.

Man Ray (1890-1976) Nude with Shadow (solarized), 1927 ; solarized gelatin silver print , annotated 'Original', 'Page 33' by the artist, annotation 'Anatomies' in pencil, credit and collection stamps (on the verso), 11¼ x 9in. (29 x 23.3cm.). Estimate $70,000-90,000. Photo: Christie's Images Ltd 2010. 

Provenance: From the collection of Marcel Natkin

Literature: Man Ray: Photographies 1920-1934 Paris, James Thrall Soby Cahiers d'Art, 1934, p. 33; Natkin, Photography of the Nude, Fountain Press, 1937, pl. 19; Van de Velde, Man Ray 1890-1976, Abrams, 1995, p. 46, cat. no. 138

Notes: The collection stamp on the back of this print indicates that it was at one time most likely in the collection of Marcel Natkin who wrote several books on the art and technique of photography in the 1930s. He included this image in a chapter titled "'Stylised Nudity' Man Ray" in his 1937 book, Photography of the Nude. This print is identical in size, tonality and texture to the print, currently in the collection of the Museum of Modern Art, that belonged to James Thrall Soby and was reproduced in Man Ray's monograph published by Soby in 1934. Apparently these two prints were made at the same time on the same paper. The MoMA

Diane Arbus’ Identical Twins, 1967 (estimate: $250,000-350,000), is an important example of the artist’s unmistakable style and vision.

Diane Arbus (1923-1971) , Identical Twins, Roselle, New Jersey, 1967; gelatin silver print, stamped 'a diane arbus print', signed, numbered '4349-14-OAU-1620', Estate copyright, by Doon Arbus, Administrator, in ink and Estate copyright credit reproduction limitation stamps (on the verso), 14½ x 12½in. (36.8 x 31.6cm.). Estimate $250,000 - $350,000. Photo: Christie's Images Ltd 2010.   

Provenance: From the artist;
to Dr. Helen W. Boigon, New York

Literature: Diane Arbus, Aperture, 1972, cover and n.p.; Diane Arbus Revelations, Random House, 2003, p. 265

Notes: This print was a gift from Arbus to her psychiatrist, Dr. Helen Boigon, during their consultations in 1969.

The sale will offer a substantial 23 works by renowned photographer Irving Penn, including Mouth (New York), 1986 (estimate: $100,000-150,000). Typical of much of Penn’s most salient works, Mouth balances the glamour of fashion and the shock of art.

Irving Penn (1917-2009), Mouth (New York), 1986; dye-transfer print, printed 1992, signed, initialed, titled, dated, numbered '16833' in ink, copyright credit reproduction limitation and edition stamps (on the verso); one of an edition of 28, 18¾ x 18 3/8in. (47.5 x 46.5cm.). Estimate $100,000 - $150,000. Photo: Christie's Images Ltd 2010.

Literature: Penn, Passage: A Work Record, Knopf Callaway, 1991, p. 261; Westerbeck, ed., Irving Penn: A Career in Photography, The Art Institute of Chicago, 1997, p. 86, pl. 37, cat. no. 136

Christie’s is delighted to present a selection of photographs from The Estate of Harry Lunn as part of the sale. Lunn’s gallery in Washington D.C. was only the second establishment in the United States to be entirely devoted to photography. Over the course of his expansive career, he created markets for a formidable list of artists, including: Ansel Adams, Diane Arbus, Walker Evans and Robert Frank, as well as promoting the work of more controversial contemporary photographers, such as William Eggleston, Robert Mapplethorpe, Andres Serrano and Joel-Peter Witkin.

Among the selection from The Estate of Harry Lunn is a an extraordinarily rare chromogenic print by William Eggleston named En route to New Orleans, c. 1971-1974 (estimate: $15,000-25,000).

William Eggleston (B. 1939) , En route to New Orleans, c. 1971-1974, chromogenic print , signed in ink (on the verso), 15 x 10¼in. (38 x 26cm.). Estimate $15,000 - $25,000. Photo: Christie's Images Ltd 2010.

THE ESTATE OF HARRY LUNN: Harry Lunn was born in Detroit in 1933. After working for a time for the C.I.A., he opened a fine art gallery in Washington D.C. in 1968. An encounter with the work of Ansel Adams two years later prompted him to switch his collecting focus to photographs and the Lunn Gallery became only the second establishment in the United States - after the Witkin Gallery in Manhattan - to be entirely devoted to the medium. He created markets for a formidable list of artists, including Ansel Adams, Diane Arbus, Walker Evans and Robert Frank, as well as promoting the work of more controversial contemporary photographers, such as William Eggleston, Robert Mapplethorpe, Andres Serrano and Joel-Peter Witkin. A respected elder statesman of the trade and a distinct character, Harry Lunn was a welcome and frequent visitor to Christie's salerooms through the years. We are, therefore, delighted to have an opportunity of presenting a selection of photographs from his Estate.

Literature: William Eggleston, Thames & Hudson, 2002, pl. 90; William Eggleston: Los Alamos, Scalo, 2003, p. 99; Sussman and Weski, William Eggleston: Democratic Camera, Whitney Museum of American Art Yale University Press, 2008, p. 101, pl. 43

This sale also incorporates a number of works that illustrate New York City throughout the past 100 years, including two photographs from Joel Sternfeld, depicting the Highline before its recent overhaul: A Spring Evening, the Hudson, May 2001 (estimate: $8,000-12,000) and A Railroad Artifact, 30th Street, May 2000 (estimate: $8,000-12,000). Additional works include: Berenice Abbott’s El at Columbus Avenue and Broadway, Lincoln Square, N.Y., 1929 (estimate: $6,000-8,000) and Edward Pfizenmaier’s Wollman Rink, Central Park, New York, 1954 (estimate: $5,000-7,000).

There are two noteworthy works by Albert Sands Southworth and Josiah Hawes from the Harvey Shipley Miller and Randall Plummer Collection of Photographs. The first is a mammoth albumen print from a daguerreotype original of Chief Justice Lemuel Shaw, circa 1870 (estimate: $8,000-12,000). The other is a half-plate daguerreotype George Washington, after Gilbert Stuart, 1853 (estimate: $10,000-15,000). This selection of 49 lots from the Miller-Plummer Collection of Photographs follows the successful Christie’s 2009 single-owner sale from the same distinguished collection.

Finally Lise Sarfati’s Suzannah #23, Hillsboro OR, 2003 (estimate: $3,000-5,000) is the sale’s cover lot. This photo demonstrates the artist’s ability to capture the essence of dreamy adolescence.

Lise Sarfati (B. 1958) , Suzannah #23, Hillsboro OR, 2003, chromogenic print, signed, titled, dated, and numbered '8/10' in ink on a label affixed (on the verso) and (on the frame backing), 10 x 15in. (25.4 x 38.5).Estimate $3,000 - $5,000.  Photo: Christie's Images Ltd 2010.

Provenance: With Rose Gallery, Santa Monica

Literature: Sarfati, The New Life, Twin Palms, 2005, pl. 13

Christie’s various owners photographs sale is one auction in a dynamic photographs season including A Historic Photographic Grand Tour: Important Daguerreotypes by Joseph-Philibert Girault de Prangey, a sale featuring 74 daguerreotype photographs, hails from a private collection at Christie’s New York on October 7 and the November 20 auction Avedon: Photographs from the Richard Avedon Foundation, which will offer 65 works from the famed photographer at Christie’s Paris.

Peaux de panthère avec certificat Cites

Peaux de panthère (deux modèles) avec certificat Cites. photo courtesy Asselin Dominique

Estimation : 400/600€

Vente aux enchères le jeudi 7 octobre à Garches par Asselin Dominique Sarl. asselinencheres@wanadoo.fr

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