Winston Churchill’s painting of Marrakesh sells for $11.5 million

“Tower of the Koutoubia Mosque” was painted by Sir Winston Churchill painted in 1943. (AFP)
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Updated 04 March 2021
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Winston Churchill’s painting of Marrakesh sells for $11.5 million

LONDON: A painting of Marrakesh by Britain’s famed wartime prime minister Winston Churchill, owned by Hollywood star Angelina Jolie, smashed expectations to sell for $11.5 million at auction in London on Monday.

Churchill, a keen artist, took inspiration from the Moroccan city and painted “The Tower of the Koutoubia Mosque” oil work during a World War II visit in 1943.

He gave the finished article to fellow wartime leader, US president Franklin Roosevelt.

Auction house Christie’s called it “Churchill’s most important work.”

“Aside from its distinguished provenance, it is the only landscape he mad”  during the war, it added.




The work eventually found its way into the hands of actress Angelina Jolie, who recently put it up for sale. (AFP)

The work eventually found its way into the hands of actress Angelina Jolie, who recently put it up for sale.

After frenzied bidding, much of it carried out over the phone, the gavel eventually came down at $11.5 million, smashing the pre-sale expectations of $2.09 to $3.49 million. 

Two more of his paintings also went under the hammer, with the three works together fetching $13.09 million.

A career army officer before entering politics, Churchill started to paint relatively late, at the age of 40.

His passion for the translucent light of Marrakesh, far from the political storms and drab skies of London, dates back to the 1930s when most of Morocco was a French protectorate.

He went on to make six visits to the North African country over the course of 23 years.

“Here in these spacious palm groves rising from the desert the traveller can be sure of perennial sunshine... and can contemplate with ceaseless satisfaction the stately and snow-clad panorama of the Atlas Mountains,” he wrote in 1936 in Britain’s Daily Mail newspaper.




Churchill took inspiration from the Moroccan city and painted “The Tower of the Koutoubia Mosque” oil work during a World War II visit in 1943. (AFP)

He would set up his easel on the balconies of the grandiose La Mamounia hotel or the city’s Villa Taylor, beloved by the European jet set of the 1970s.

It was from the villa, after a historic January 1943 conference in Casablanca with Roosevelt and France’s Charles de Gaulle, that he painted what came to be regarded as his finest work, of the minaret behind the ramparts of the Old City, with mountains behind and tiny colourful figures in front.

“You cannot come all this way to North Africa without seeing Marrakesh,” he is reputed to have told Roosevelt. “I must be with you when you see the sun set on the Atlas Mountains.”

A newspaper photograph taken at the time shows the two wartime Allied leaders admiring the sunset.

After the US delegation had left, Churchill stayed on an extra day and painted the view of the Koutoubia Mosque framed by the mountains.

He sent it to Roosevelt for his birthday.

“This is Churchill’s diplomacy at its most personal and intense,” said Christie’s head of modern British and Irish art, Nick Orchard.

“It is not an ordinary gift between leaders. This is soft power, and it is what the special relationship is all about.”

A second Churchill landscape, “Scene in Marrakesh,” painted on his first visit to Morocco in 1935, earlier sold for $2.6 million.

That was painted while on a stay at Mamounia, where he marvelled at the “truly remarkable panorama over the tops of orange trees and olives,” in a letter to his wife Clementine.

Churchill’s painting of London’s St Paul’s Cathedral also sold, fetching $1.5 million.


Riyadh exhibition to trace the origins of Saudi modern art

Updated 07 January 2026
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Riyadh exhibition to trace the origins of Saudi modern art

  • Features painting, sculpture and archival documents
  • Open from Jan. 27-April 11 at Saudi national museum

DUBAI: A new exhibition in Riyadh is focusing on the origins of Saudi Arabia’s modern art scene, examining how a generation of artists helped shape the Kingdom’s visual culture during a period of rapid change.

The “Bedayat: Beginnings of Saudi Art Movement” show reportedly traces the emergence of creative practices in Saudi Arabia from the 1960s to the 1980s, an era that laid the groundwork for today’s art ecosystem.

On view from Jan. 27 until April 11 at the National Museum of Saudi Arabia, it includes works and archival material that document the early years of modern and abstract art in the Kingdom, according to the organizers.

It will examine how artists responded to shifting social, cultural and economic realities, often working with limited infrastructure but a strong sense of purpose and experimentation.

The exhibition is the result of extensive research led by the Visual Arts Commission, which included dozens of site visits and interviews with artists and figures active during the period.

These firsthand accounts have helped to reconstruct a time when formal exhibition spaces were scarce, art education was still developing, and artists relied heavily on personal initiative to build communities and platforms for their work.

Curated by Qaswra Hafez, “Bedayat” will feature painting, sculpture, works on paper and archival documents, many of which will be shown publicly for the first time.

The works will reveal how Saudi artists engaged with international modernist movements while grounding their practice in local heritage, developing visual languages that spoke to both global influences and lived experience.

The exhibition will have three sections, beginning with the foundations of the modern art movement, and followed by a broader look at the artistic concerns of the time.

It will conclude with a focus on four key figures: Mohammed Al-Saleem, Safeya Binzagr, Mounirah Mosly and Abdulhalim Radwi.

A publication, documentary film and public program of talks and workshops will accompany the exhibition, offering further insight into a pivotal chapter of Saudi art history and the artists who helped define it.