Lot 7

PROPERTY THE PRIVATE COLLECTION OF MR. FADHIL CHALABIBorn 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 it’s 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, even playing cello as a hobby. During his time in Paris, Chalabi forged a friendship with renowned Iraqi artist, Shaker 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.

Shakir Hassan Al Said (Iraqi, 1925-2004)

Untitled

Details

Shakir Hassan Al Said (Iraqi, 1925-2004)
Untitled
signed and dated in Arabic (lower right)
acrylic and oil on canvas
35 x 43in. (90 x 110cm.)
Executed in 1985

Provenance

Acquired directly from the artist.

Sale room notice

This Lot is Withdrawn.

Brought to you by

Michael Jeha

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Lot Essay

Teacher of art History at the Institute of Fine Arts, from 1970 to 1980, Shaker Hassan Al-Said developed in the meantime an innovative theoretical and philosophic approach to the One Dimension Group, “Al-Bu’d Al-Wahid. Since then, he investigated the limit between visual reality and surrealism, of which its exploration is resonant with the one dimension. Thus, this question on contemplation is in the heart of his oeuvre during the 1970’s to the extent that he regarded a painting not only as a plastic creation but also a spiritual quest.

These two untitled, mysterious and abstract compositions completely demonstrate the structures of the painter’s new thought. Applying mainly earthy tones on the background which seems to be a damaged wall, Shaker Hassan Al-Said maintains a certain peculiarity and intrigue through the striking colors he chooses to place to contrast the banality of the earth tones. One piece, lot 8, contains a striking red line that goes from top to bottom and drags the viewer’s sight throughout the entire painting. The line at first sight may seem like a continuous brushstroke but it is in fact a tear from a red paper. On the other hand, lot 7 is subtler in its color presentation as it has several small dots of colors going through the composition.

Unlike some of his other graffiti-like pieces, these compositions don’t include written inscriptions, however they still contain the essence of artistic vandalism. Belonging to the physical and material world, the subject turns into a vision that is only perceived by the viewer who feels a deep and emotional experience. He is confused losing his own specific spatial and temporal bearings for a short moment as the painter guides him towards a transcendental world. Finally, the support is metaphorically the “ego” and these physically energetic markings are associated with the expression of the conscious and subconscious of the human soul.

Undeniably influenced by the renowned Catalan artist Antoni Tàpies (1923-2012), Shaker Hassan Al-Said reinvented the art of calligraphy through an impressive modern manner which founded his distinctive artistic identity. After many conflicts which rattled the region in the 20th century, here, he honoured the Arabs celebrating their culture which will be always a strength of his practice.

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