Sir Winston Churchill, K.G., O.M., F.R.S., HON. R.A.

Lady Spencer Churchill
Sarah Lady Audley, from whom acquired by the present owner

David Coombs with Minnie Churchill, Sir WInston Churchill's Life Through HIs Paintings, Chaucer Press, London, 2003, C443, pp.197 and 255, fig. 403, illustrated in colour.

The canvas is unlined and appears to be providing a very good sound support. The paint surface also appears to be in lovely condition, sound and stable throughout. It would however benefit from a light professional clean to remove an accumulation of surface dirt and occasional tiny fly spots. Inspection under UV light reveals some minor retouching on the river bank at the extreme left edge of the picture, and some further light 'brushes' of retouching at the top of this edge and along the top edge of the canvas. There is also a tiny spot of retouching (less than 1cm. diameter) in the sky upper right, to the right of the most distant tree. Presented unglazed in a decorative gilt wood frame in good condition. Ready for the wall.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1948, 22 years after Churchill’s first visit to Morocco, Valley of the Ourika, near Marrakech takes as its subject one of his favourite winter painting locations. Fascinated by the exotic, desert landscape and the variety of subjects that presented themselves, as well as the climate, colour and light, Churchill’s Moroccan paintings can be counted amongst the most successful works that he ever produced.

Churchill had first written of his love for a Morocco in a 1936 article for the Daily Mail. Here he recounted how quickly he had fallen under the spell of what was then a French colony: "Morocco was to me a revelation. Reading about the Moroccan question in the newspapers or official documents affords not the slightest impression of the charm and value of this splendid territory." Later in the same article he confessed himself, "captivated by Marrakesh. Here in these spacious palm groves rising from the desert the traveller can be sure of perennial sunshine, of every comfort and diversion, and can contemplate with ceaseless satisfaction the stately and snow-clad panorama of the Atlas Mountains. The sun is brilliant and warm but not scorching; the air crisp, bracing but without being chilly; the days bright, the nights cool and fresh."

Such was the draw of Morocco as a painting location, that Churchill was prompted to attempt his one and only war-time painting here in the immediate aftermath of the Casablanca Conference of 1943 (Tower of the Katoubia Mosque, Private Collection). Following the ten-day conference, Roosevelt was intent on returning immediately to America while Churchill planned to spend a few days in Marrakesh before continuing his month-long tour of the Middle East. Eager that his friend and fellow statesman should accompany him to the "Paris of the Sahara", Churchill pleaded  "You cannot come all this way to North Africa without seeing Marrakesh... Let us spend two days there. I must be with you when you see the sun set on the Atlas Mountains." Soon after their arrival, Churchill insisted that Roosevelt accompany him up the tower of the villa to look over Marrakesh as the sun went down. Roosevelt was lifted from his wheelchair and carried up the winding stairs to the roof-top. Reclining on a divan, the American was so taken by the scene he said to Churchill, "I feel like a sultan: you may kiss my hand, my dear." In his diary Churchill's doctor recorded, "We stood gazing at the purple hills, where the light was changing every minute. 'It's the most lovely spot in the world,' the PM murmured."

Churchill was later to give his one war-painting to President Roosevelt in memory of their shared experience. He also made further gifts of his prized Moroccan paintings to Presidents Eisenhower and Truman and General George C. Marshall (see View of Tinherir, sold in these rooms, 13th December 2006 for £612,800, a world auction record for the artist). Further notable recipients of Churchill's Moroccan paintings, directly from the artist, include Viscount Montgomery and Earl Lloyd-George, and members of his own family. The fact that so many of Churchill's finest Morrocan subjects were given away to such notable figures goes some way to explaining the lack of  Moroccan subjects available to collectors on the open market in recent years. Indeed, until the end of last year, only two had been offered for sale at auction over a twenty-year period. 

Adopting the typical Moroccan palette of sandy pinks and ochres contrasting with the brilliant blue of the desert sky, Valley of the Ourika, near Marrakech is a strong and accomplished example of its type, painted in a year that was distinguished for Churchill by its artistic achievement. In 1948 the Royal Academy unanimously appointed Churchill as Honorary Academician Extraordinary, a unique accolade made ‘in consideration of [his] eminent services to our Realm and People, and of your achievements in the Art of Painting’.