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PROPERTY FROM 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 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.

Lorna Selim (Iraqi, 1928-2021)

Untitled

Details

Lorna Selim (Iraqi, 1928-2021)
Untitled
signed and dated in Arabic (lower right)
oil on board
13 7/8 x 44in. (35.3 x 112cm.)
Painted in 1968

Provenance

Acquired directly from the artist.

Special notice

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Lot Essay

Born in 1928 in Sheffield, UK, Lorna Selim, wife of renowned Iraqi artist Jewad Selim (1921–1961), received a scholarship to study at the Slade School of Fine Arts, London, where she received a diploma in painting and design in 1948. Soon thereafter, she met her husband and they married in 1950 in Baghdad. They returned to Baghdad where she became a member of new-founded group, Baghdad Modern Art Group.

This work depicts an age-old building that from time to time, Lorna would enjoy going to draw. The building, Beit El Yehud (House of Jews), was one of many of its kind. In fact, at the time of this painting, dating to even before that, the entire length of the bank of the Tigris and Euphrates rivers were covered in similar wooden structures called qasrs or castles/palaces. These structures were a masterpiece of architectural design, and Lorna was drawn to this particular one.

Spending days on end going out in the early mornings, she would have to be done by 8 AM, as it would be too hot to continue after that. She would sketch the base of the structure as fast and as accurately as she could, saying ‘I never took any photographs of the houses as I wanted the paintings to be my own interpretation of what I saw. I do regret that now, but I was right at the time.’

The present piece is one of the many paintings she created of this site. She created the sketches and paintings between 1963 and 1970. During that time, most of the houses were in poor repair or were falling down as she sketched them. It was the time when these beautiful homes were coming under the wrecker’s ball. However, Lorna chose to specifically depict the houses that were going to be demolished. As a house was being demolished she would quickly go to the site and bring out her sketchpad. She then would go home to paint the base and outline ‘she would be lost for the rest of the day in her studio,’ recalled her daughter, Miriam. Lorna would fully intend to return to the location and fill in the details later. However, when she returned, it would sometime be too late and she would have to paint from memory or from properties that were the same or similar.

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