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Discover a unique and eclectic art collection where everything is centered around a pivotal theme: Lebanon. Philippe Jabre, an avid collector, presents a multifaceted perspective of the Cedar Nation through his assembled works, which range from orientalist paintings to modern pieces by David Hockney. Curated by Gaby Daher, this collection, displayed in Beit Chabab, offers a journey through time, styles and perceptions, all bound together by a deep affection and intrigue for Lebanon.
From paintings by David Hockney and prominent orientalist artists to engraved crockery, dolls and an exhibition of colorful posters… What is the common thread connecting these diverse pieces? Lebanon. But it’s a multifaceted Lebanon, one shaped by the perceptions of various foreign artists across different eras. These works constitute Philippe Jabre’s collection and are exhibited in a stone mansion in Beit Chabab. The residence can best be described as a house museum, where these two facets coexist and intertwine, creating a distinct ambiance. Moreover, the artworks inhabit this space with their myriad yet unique stories. Far from inducing confusion, their diversity is in perfect harmony within this realm. To be credited here is also Gaby Daher, a curator who has worked with collector Philippe Jabre for many decades.
There’s nothing quite like a guided tour by Gaby Daher to narrate and reconstruct these historical and artistic pieces for enthusiasts. To cater to art aficionados, the Cultural Agenda, in collaboration with Artscoops, organized two guided visits.
Meeting with the curator sheds light on the history of this collection, with a focus on its timeline that helps trace the collection’s continuity.
How did you begin your collaboration with Philippe Jabre?
I met Philippe Jabre at his London residence in 1989 during a weekend trip from Paris, where I had recently settled. I began to learn about his profound interest in his native country. He had just acquired numerous antique books on the Middle East from the famed Blackmer sale (an American banker based in Athens) at Sotheby’s in London. I also learned of his interest in purchasing paintings by renowned Lebanese artists (Farroukh, Onsi, Gemayel, etc.). It then occurred to me to suggest that he should rather buy views of Lebanon painted by foreign traveling painters, thereby excluding Lebanese and Arab artists.
How did the Beit Chabab residence gradually evolve into a museum, and how was it arranged to accommodate such diverse artworks?
Since 1989, we’ve acquired around 500 works (oil on canvas, sketches, watercolors) themed around Lebanon. We’ve decided to currently display only the oil paintings while awaiting a suitable space for the watercolors and sketches, which are sensitive to light and moisture. The plan is to store these paper works in an old house adjacent to his, which still requires restoration. Additionally, we renovated the Naffah bell factory, recently acquired by Mr. Jabre, where old tourism and cinema posters about Lebanon are displayed on the ground floor, and works by Lebanese artists on the first floor.
The artworks vary greatly in their pictorial style, medium and movement. Is there a common thread that ties this expansive collection over the years?
The unifying theme is Lebanon. Among others, we have a 17th-century canvas (from the time of Emir Fakhreddine), three works by David Hockney (he visited Lebanon in 1966) and two pieces by Andy Warhol.
Considering the current era when orientalism is under scrutiny, amassing artworks referencing it seems unusual. What makes this interesting? What perspective can this evoke?
This collection is orientalist in name only. I’d argue it’s more a collection of topographical views of Lebanon with immense iconographic significance. Hockney, Penck and Lapicque aren’t orientalist painters. They simply created works with Lebanon as their theme.
Penned by Noame Toumiat
