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Lot 17 PROPERTY FROM THE PRIVATE COLLECTION OF MR. FADHIL CHALABI
Born in 1929 in Baghdad, Fadhil J. Chalabi studied law at Baghdad University and graduated in 1951 and subsequently was one of the first people from his hometown to gain a PhD in oil economics from the University of Paris. He was one of the few people to leave their country for its benefit rather than his own. He left on a mission to learn something that he could eventually bring back to his country to better it and expose it to what’s out there in terms of culture and way of life. Fadhil belonged to a generation of the 1940s that had large aspirations and a drive for the development and progress in Iraq, only to become disheartened by the dreadful developments in Iraq since 1980.
Chalabi was the Executive Director of the Centre for Global Energy Studies, a London-based think-tank he co-chaired alongside H.E. Sheikh Ahmed Zaki Yamani (B. 1930). Additionally, he was the former Undersecretary for Oil at Iraq’s Ministry of Petroleum as well as Deputy Secretary General of OPEC from 1978-89 and its Acting Secretary General 1983-88. In 1988 he received an Award for Distinction British Institute of Energy Economics. He is also the author of many articles and three books: Oil Policies, Oil Myths: Observations of an OPEC Insider (2010), OPEC and the International Oil Industry: A Changing Structure (1980), and OPEC at the Crossroads (1989).
A lifetime working in the oil industry didn’t stop him from gaining a passion for art. Since his adolescence, Fadhil was always passionate for visual arts and especially for classical music, playing cello as a hobby. During his time in Paris, Chalabi forged a friendship with renowned Iraqi artist, Shakir Hassan Al Said (1925- 2004). Through this friendship, Chalabi had a gaining interest in art and began collecting works by the artist himself as well as other artists from his homeland as these works were his remaining connection to it. Over the years Mr. Chalabi has accumulated a massive collection of artworks by solely Iraqi artists. He remained devoted to his homeland and continuously supported the ever-growing art scene in Iraq. In the present sale, Christie’s is proud to offer 12 pieces from various Iraqi artists from his outstanding collection.
This collection aims to enthuse, and it did just that when it came to Chalabi’s sons, Talik and Jaafar, who, because of their father’s drive and collection were inspired to become architects. Through these works, Mr. Chalabi hopes to impassion other aspiring artists to move forward with their desires just as he did, as one never knows what’s in store for themselves.
Christie’s is honoured to have been entrusted with the enchanting and seminal works from the Chalabi Collection. Looking into what defines the strength and continuity of Iraqi Modern art, this collection offers a broader vision into the artistic evolution of some of the most prominent Iraqi artists.
Born in 1929 in Baghdad, Fadhil J. Chalabi studied law at Baghdad University and graduated in 1951 and subsequently was one of the first people from his hometown to gain a PhD in oil economics from the University of Paris. He was one of the few people to leave their country for its benefit rather than his own. He left on a mission to learn something that he could eventually bring back to his country to better it and expose it to what’s out there in terms of culture and way of life. Fadhil belonged to a generation of the 1940s that had large aspirations and a drive for the development and progress in Iraq, only to become disheartened by the dreadful developments in Iraq since 1980.
Chalabi was the Executive Director of the Centre for Global Energy Studies, a London-based think-tank he co-chaired alongside H.E. Sheikh Ahmed Zaki Yamani (B. 1930). Additionally, he was the former Undersecretary for Oil at Iraq’s Ministry of Petroleum as well as Deputy Secretary General of OPEC from 1978-89 and its Acting Secretary General 1983-88. In 1988 he received an Award for Distinction British Institute of Energy Economics. He is also the author of many articles and three books: Oil Policies, Oil Myths: Observations of an OPEC Insider (2010), OPEC and the International Oil Industry: A Changing Structure (1980), and OPEC at the Crossroads (1989).
A lifetime working in the oil industry didn’t stop him from gaining a passion for art. Since his adolescence, Fadhil was always passionate for visual arts and especially for classical music, playing cello as a hobby. During his time in Paris, Chalabi forged a friendship with renowned Iraqi artist, Shakir Hassan Al Said (1925- 2004). Through this friendship, Chalabi had a gaining interest in art and began collecting works by the artist himself as well as other artists from his homeland as these works were his remaining connection to it. Over the years Mr. Chalabi has accumulated a massive collection of artworks by solely Iraqi artists. He remained devoted to his homeland and continuously supported the ever-growing art scene in Iraq. In the present sale, Christie’s is proud to offer 12 pieces from various Iraqi artists from his outstanding collection.
This collection aims to enthuse, and it did just that when it came to Chalabi’s sons, Talik and Jaafar, who, because of their father’s drive and collection were inspired to become architects. Through these works, Mr. Chalabi hopes to impassion other aspiring artists to move forward with their desires just as he did, as one never knows what’s in store for themselves.
Christie’s is honoured to have been entrusted with the enchanting and seminal works from the Chalabi Collection. Looking into what defines the strength and continuity of Iraqi Modern art, this collection offers a broader vision into the artistic evolution of some of the most prominent Iraqi artists.
Rakan Dabdoub (Iraqi, 1941-2017)
Women of Crafty Mysteries
Closed22 March 2018
Price Realised
USD 7,500
More Information
Specialist note
Receiving his degree in 1961 at the Institute of Fine Arts in Baghdad, Rakan Dabdoub then earned his bachelor’s degree, and later joined the Academy of Fine Arts in Rome. These were his first steps into developing the basis for his artistic style and his departure from the specificity he was taught in Baghdad. He became a distinguished artist after he participated in the Exhibition of Arab Artists held in Rome in the 1960’s. When he returned to Mosul after his expeditions in Italy, he became a teacher at the University of Mosul in the Engineering Department. He retired as a teacher in 1993 and continued to paint and contribute to several exhibitions in and out of Iraq.
In his early years at the Academy of Fine Arts in Rome, Dabdoub initiated his artistic practice in wood carvings; because of this, we can clearly see elements of these carvings in his paintings. It is actually said of his works that he paints as he carves; his paintings possess a certain strength and color density which suggest a third dimension. Haunted with the lights and shadows of his hometown, Mosul, his talent is to capture what’s in front of him. Art consumes his life, and his life obviously consumes his art. In each of his panels, we clearly see the influences of his Arab heritage.
Using warm colors, mostly yellow and orange, it’s clear that Dabdoub uses his surroundings as his main influencers. The almost square canvas seems to have a frame within itself. Within this frame, we see clear connotations to symbolism with graffiti-like inscriptions and figurative forms. Expressing himself through this canvas does not seem like a difficult task for Dabdoub, as his brushstrokes create a sense of three dimensionality and as he allows the audience’s view to really seep into the painting as this dimensionality doesn’t seem to end.
In his early years at the Academy of Fine Arts in Rome, Dabdoub initiated his artistic practice in wood carvings; because of this, we can clearly see elements of these carvings in his paintings. It is actually said of his works that he paints as he carves; his paintings possess a certain strength and color density which suggest a third dimension. Haunted with the lights and shadows of his hometown, Mosul, his talent is to capture what’s in front of him. Art consumes his life, and his life obviously consumes his art. In each of his panels, we clearly see the influences of his Arab heritage.
Using warm colors, mostly yellow and orange, it’s clear that Dabdoub uses his surroundings as his main influencers. The almost square canvas seems to have a frame within itself. Within this frame, we see clear connotations to symbolism with graffiti-like inscriptions and figurative forms. Expressing himself through this canvas does not seem like a difficult task for Dabdoub, as his brushstrokes create a sense of three dimensionality and as he allows the audience’s view to really seep into the painting as this dimensionality doesn’t seem to end.