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Adam Andrusier Autographs

Churchill's Half-Smoked cigar

Churchill’s Half-Smoked cigar, with Related signed Letter

Winston Churchill The end portion of a cigar, measuring 2.25? in length, presented to Sir George Elliston by Prime Minister Winston Churchill during a meeting at 10 Downing Street in early January 1954. Included with the cigar is a typed letter signed ‘Yours sincerely, Winston S. Churchill’, Prime Minister letterhead, January 8th, 1954. The letter, which makes reference to the very meeting that Churchill would present the souvenir cigar to Elliston, reads, ‘I should be greatly honoured by the suggested memorial in the Guildhall and it would give me great pleasure to receive Mr. Walker and yourself at Downing Street next week. I expect to be there on Tuesday and will, if I may, suggest a time to you a little later.’ Churchill adds the salutation in his own hand, "Dear Sir George.’ In very fine condition. Accompanied by the original mailing letter, a transcribed copy of the original letter sent from Elliston, and a provenance note, which reads, ‘This is the end of a cigar presented to George Sampson Elliston at 10 Downing Street by Sir Winston Churchill and smoked during an interview between the two to decide upon the sculptor for the statue of Sir Winston in Guildhall which was originally conceived and proposed by Sir George Elliston. This interview was the last official business undertaken by Sir George before his death.’ On June 21st 1955, the Lord Mayor of London unveiled Oscar Nemon’s statue of Sir Winston Churchill in London’s Guildhall. At this event, Churchill said of his statue, ‘I greatly admire the art of Mr. Oscar Nemon whose prowess in the ancient realm of sculpture has won such remarkable modern appreciation. I also admire this particular example, which you, my Lord Mayor, have just unveiled, because it seems to be such a very good likeness.’
ILLUSTRATED Autograph Letter Signed By Lautrec

ILLUSTRATED Autograph Letter Signed By Lautrec

Henri Toulouse-Lautrec A marvellous four-page autograph letter signed by Toulouse-Lautrec (‘Henri de Toulouse-Lautrec’) to his great aunt, August 1879, incorporating a detailed drawing of a carriage pulled by horses. The young artist describes with great wit his pilgrimage to Lourdes, and a stay in Barèges with his parents. Tragically, within a few days of writing this letter, Toulouse-Lautrec broke his right leg in Barèges, having already broken his left leg the previous year, leaving him with lifelong injuries. In part, ‘We arrived last night after a very good trip, although a little hot. Our car was full almost all the time. There was a baby who was also going to the pilgrimage and changing clothes from time to time who knocked over a large glass of wine. We have been several times to the grotto and we have not forgotten you ‘ ‘Sunday at vespers we sang very well and a good priest read us the story of a miracle, but he spoiled his speech by adding that since the event that took place last year the person who received the miracle had put on twenty pounds in weight We left the next day at eight o’clock and arrived safely after several long hours spent in a horse-drawn coach. At the bottom of the third page, Toulouse-Lautrec draws the coach. Then he evokes their arrival in Barèges: We are eating at the hotel. I have already taken a bath.’ In the post-script, he adds various comments, including, ‘thank you for the pie which was excellent’. A superb letter, whose sketch shows the burgeoning talents of the 14-year old Lautrec. Some tears, including close to the signature, have been skilfully repaired. Otherwise in fine condition.
An archive of over 40 fascinating letters from Oskar Kokoschka to a fellow artist

An archive of over 40 fascinating letters from Oskar Kokoschka to a fellow artist, 1941 – 1968

Oskar Kokoschka A collection of over 40 letters between both the artist Oskar Kokoschka and his wife Olda and Count Chatin Sarachi, a fellow artist and former Albanian diplomat. Written over the course of nearly 30 years, between 1941 and 1968, the letters document with warmth and humour the enduring and at times complicated nature of their friendship, as well as provide insight into important events in each of their lives, incidents around the world at large, and Kokoschka s trenchant perspectives on modern art and the evolving aesthetics of the twentieth century.The correspondence commences in 1941, not long after Kokoschka and Olda Palkovsky arrived in England as refugees fleeing the Anschluss in Austria, and the ease and intimacy of the two men s relationship is already apparent in Kokoschka s very first letter, in which he describes the difficulties of life in wartime London ("Now I am getting fed up with the daily bombing, with black-out, with no possibilities of enjoying fresh air, good food, safety, sleep!"), the constraints inherent in being a foreigner in a strange land ("I begin to hate all of that silly business not to be allowed to paint where and what I feel, to write what I think right and to leave when I feel like moving from where I am not understood"), and his desire for creative independence ("I must give my best as an artist now or never!"). This directness and honesty permeates the subsequent letters, in which Kokoschka relates his thoughts on the aftermath of World War II ("There can be no Peace with a continent laid in ruins and a population that should kiss the hands of victors which do all in order to strengthen the same system which resulted in all the savagery and crimes of total war"), international politics ("But it is so crazy that governments have to finance Fascism first, then destroy it, then rebuild it for the sake of avoiding unemployment and just distribution of the plenty that can be produced by modern production"), and family matters ("I will have accumulated a little capital through paintings from here to help out my siblings a bit. Reading their letters from Vienna and from Prague, I get a bad conscience when I put myself in their shoes and compare their situation with mine."). The creation of art is a main topic throughout the letters, with a series of acid comments also levelled at the period s popular aesthetics, both on the types of work considered to be of serious merit and the art market s concurrent response, reserving special disdain for the works of Picasso ("Your American friend was not calling so far, he possibly thought better to go to Mr. Picasso and gets one eye on the hole for a blossom in the jacket and one ear where the nose should be in a normal portrait . Of particular interest are Kokoschka s discussions often in considerable detail of the projects he is working on, among them his portraits of Konrad Adenauer and Werner Reinhart, and his masterpieces the Thermopylae triptychs; in addition to remarks on various exhibitions and honours, all which provide crucial first-person insights into his process and the unfolding of his oeuvre. From the very beginning, Kokoschka also encourages Sarachi in his own painting, even writing the exhibition foreword for Sarachi s 1945 show at the Redfern Gallery (the manuscript of which is part of this collection). In one missive he states, "Your drawings, which I am keeping carefully and will be taking along, are an unexpectedly strong start. You have needed nature, movement, and work out of doors for such a long time. Keep on doing it until I come," while in another he writes: Be daring and insistent my dear friend, do not give away yourself, think what a recompense is paid to your faith if once in time you will discover your own world which slumbers only in your soul and only for the period of your existence. You can and must tell about it. Nothing else is what I do, and what the bigger lords of creation, the good great artists, did.’
Signed Army Document By Elvis

Signed Army Document By Elvis, SEVEN Times!

Elvis Presley An extraordinary document signed seven times ‘Elvis A. Presley’, four pages on two adjoining sheets, 8" x 11", dated between April 28 - September 3, 1958. Form DA/10/102, an initial issue organisational clothing and equipment record belonging to ‘Presley, Alvis. A., US 53310761’, consisting of alphabetized lists for ‘Articles, Organizational Clothing, Quartermaster’, ‘Organizational Equipment’, ‘Post, Camp and Station Equipment’ and ‘Other Services’, with correlating issued and turn-in dates. Each section includes an ‘Authorized Allowances’ field, with the ‘Quartermaster’ section also featuring sizes for various articles, including: ‘Overshoes, 1, 10 1/2’, ‘Shirt, Field, Wool, 2, M’, ‘Shoes, Athletic, 1, 10 1/2’, ‘Supporters, Athletic, 1, M’, ‘Trousers, Field, Wool, 1, 30 x 31’, ‘Trousers, Shell, Field, 2, 30 x 31’, ‘Hood fld jacket, 1, M’, ‘Liner fld jacket, 1, M’ and ‘Jacket FLD, 1, M/R’. The concluding ‘Other Services’ field includes: ‘Ordnance: Carbine, USCAL 30/M/1, 1, SER#3591134, Magazine, Carbine M/1, 6’, ‘Chemical: Mask Gas w/ carrier, 1’ and ‘Medical: Packet 1st Aid, 1’. Signed vertically at the bottom of the fourth page in blue ballpoint by Presley a total of seven times, each signature corresponding with the above issue date. Countersigned four additional times by Presley’s commanding officer. In generally fine condition, with scattered creasing and handling wear, and small areas of paper loss along intersecting folds. Between March 28 and September 17, 1958, Presley completed his basic and advanced military training as a member of Company A, 2nd Medium Tank Battalion, 37th Armour, while stationed at Fort Hood in Texas. As trying as his training was, the death of his mother on August 14th devastated Presley, who was afforded an extended leave of absence during his bereavement. Not long after his return to Fort Hood, Presley was sent overseas to Germany as a member of the 1st Medium Tank Battalion, 32d Armor, service which lasted from October 1st 1958, until March 2nd 1960. Germany had a profound effect on his life and career - he met his future wife Priscilla, was introduced to amphetamines, and as a result of his generous patriotic service, earned the respect of an older generation of Americans, many of whom had previously viewed him in a negative light. Featuring an unprecedented total of seven signatures, this phenomenal military form offers unique insight into perhaps the most formative period of Presley’s life.