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Lot 484
A 1940’s INTERNATIONAL WALES RUGBY UNION JERSEY MATCH-WORN BY BILLY CLEAVER (1921 – 2003) in traditional red with white collar, Prince of Wales feathers embroidered directly on to the jersey, with blue ribbon and ‘ICH DIEN’, bears label for D L Davies’ outlet ‘The Bon’, Swansea (faintly inscribed J W Kyle – please see provenance below), printed black ‘F’ to canvas panel stitched to back, together with a black and white still photograph of Cleaver’s kicking action Auctioneer’s Note: William Benjamin Cleaver was born in Treorchy in 1921. He was known as Billy Cleaver and later by his nickname, ‘Billy Kick’. There is perhaps an unfair perception that the typical Welsh amateur era rugby-player was a man lacking in culture, that their strength and determination came from hard labouring jobs in the collieries and heavy industry. Such a theory was often disproven, especially in the years following the second world war. The famous Welsh backline quartet during that period consisted of Bleddyn Williams, a product of Rydal School, Doctor. Jack Matthews – a physician, Haydn Tanner who attended Harvard Business School and then Billy Cleaver. Cleaver was a graduate of Mining at Cardiff University, he was a wine connoisseur, a tenor and an art enthusiast who later became the Secretary of the Contemporary Art Society of Wales. Cleaver’s nickname ‘Billy Kick’ was a betrayal of his personality and his rugby play, which was as cultured as the man himself. He had a far greater depth to his game than simply kicking. Cleaver was a robust, reliable and charismatic individual. With his distinguishable mop of blonde hair, he is an unmistakable figure in the team photos from the period - even in black and white. Cliff Morgan in ‘Heart and Soul: The Character of Welsh Rugby’, described one such photograph from the 1950 British Lions tour : ‘Rex Willis, Jack Matthews, Bleddyn Williams, Billy Cleaver and Cliff Davies look like a complete team in themselves; they stand (all much the same size and height whatever their position) with the confidence of gentlemen, some with their hands in their pockets, Bleddyn holding the ball, not unlike a group of army officers who have just won a regimental tour in Penang’. Cleaver was not only cultured and a gentleman of distinction, but he was one of the great utility backs of the early post-war era. He was best known for his defensive play but he had great technical ability in attack, being able to seamlessly take a pass on the move without interrupting the rhythm of play, while then moving the ball on to his outside with elegance, invariably he would then spirit behind his centres to make himself available again in the move. If the ball was dropped or came loose, he regularly scooped the ball effortlessly from his toes before it was turned over to the opposition. As with many naturally gifted sportsmen, Cleaver was not inclined to train too hard. His playing colleagues were staggered that he could muster such emphatic performances in a match while having such a casual approach to the game. He won 14 caps for Wales between 1947 and 1950, winning nine matches and drawing two. His many achievements included the distinction of playing in three different positions against the 1947-48 Wallabies on their tour of Europe and finishing on the winning side each time. He was also an intelligent and very effective pivot in Wales’ Grand Slam of 1950, their first after a thirty-nine-year barren spell. In the same year, he toured Australia and New Zealand with the British Lions, when he played in all three of the New Zealand tests at fullback. One of the old after-dinner stories from the 1950 British Lions tour was that the tourists stopped at Ceylon on their sea-passage home, where they played a one-off match against the national team. Billy Cleaver, much to the amusement of the rest of the party, ended up running the line for the match where he was constantly heckled by the locals to give the score. Cleaver could excel anywhere in the backline, but fly-half is where he enjoyed playing the most. He spent six years at Cardiff RFC primarily as a fly-half, between 1945 and 1951, making 150 appearances. During the Second World War years he firstly played with Billy Darch as his half-back partner for Cardiff, who was replaced when Haydn Tanner joined the club, and they teamed up in one of the most famous halfback partnerships in rugby history. The 1947/48 season was particularly special at Cardiff, one in which he partnered with Tanner at scrumhalf and with the sublime partnership of Bleddyn Williams and Jack Matthews on his outside. That season was regarded as Cardiff’s best, they scored a remarkable 182 tries in 41 games and lost only twice. In ‘Rugger, My Life’ Bleddyn Williams writes a glowing tribute: ‘Cleaver was a natural footballer; but because people wanted a fly-half moulded on classical lines he was in and out of the Welsh team, playing at centre and full-back as well. But fly-half was his position, and I felt so all the time I was playing there for Wales against England in 1947. If “Billy Kick” had been out half that day I think Wales might have won.’ On his return from the Lions tour of 1950, Cleaver declined an invitation to be captain of Cardiff, instead retiring from the game entirely at the age of 29, to pursue further his career in mining. By the young age of 28 years of age, he had already become manager of North Celynen Colliery in Monmouthshire, eventually becoming a Deputy Director of the South Wales Coalfield. His premature retirement was a great loss to Welsh Rugby. But it was typical of the man who regarded rugby casually, as just another of his many interests and talents. He did however come back to figure at scrumhalf for the Lions against his beloved Cardiff to commemorate their 75th anniversary in 1951, partnering with Jack Kyle for one of the most spectacular games in post war rugby. Provenance: consigned in Ireland, from the collection of the late Jack Kyle OBE (1926 - 2014), one of Ireland's most famous players. The two players swapped jerseys on one of the occasions that they faced each other in 1947 or 1949 before the Wales team used a numbering system. The two players became good friends on tour with the British Lions where ‘he and Jack Kyle were as loth to appear at training periods as modern players are to pass the ball out in their own “25”….both their names will never be forgotten in the history of Rugby football.’ (Rugger, my life; Bleddyn Williams; Anchor press, 1956) Condition Report: one of the two buttons missing, faded printed ‘F’ on panel, small area of fading on back down spine, one small stitching repair on back which is believed to have been done during playing days, a few small blemishes but not serious, structurally no problems, in excellent condition overall, it has not been displayed so generally not faded and without pinholes or long-term folds
Lot 458
CECIL KENNEDY (1905 - 1997) oil on canvas - still life of flowers with ladybird in a silver figural vase, entitled "Spring", signed, Haynes Fine Art label verso, 51 x 41cms Provenance: private collection, Swansea. Presentation & Condition: lightly cleaned, period frame with title plaque, excellent overall condition ready to hang
Lot 778
Walther Kunze (1872-?), "Nächtliches Blumenstillleben", um 1930, Öl/Hartfaser, unten links signiert "W. Kunze", H*B 59,5*50cm, wenig craqueliert, kleinere Farbfehlstellen, Platte rechts mit alten Nagelspuren; Rahmen mit AltersspurenWalther Kunze (1872-?), "Nocturnal flower still life", around 1930, oil/hard fiber, signed "W. Kunze", h*w 59,5*50cm, little crackled, minor paint flaws, plate right with old nail traces; frame with traces of age
Lot 351
JOHN ELWYN oil on canvas - early career still-life with fruit, signed verso and dated c.1937, 29 x 37cms Provenance: private collection mid-Wales Auctioneer's Note: John Elwyn would have been around twenty-one and art school at Carmarthen and living at Emlyn Mill, his family home in Newcastle Emlyn. He painted still-life throughout his career in order to practise his observation skills. The first painting that Elwyn exhibited at Royal Academy was a flower study. This work is understood to be his earliest surviving still-life painting Presentation & Condition: no apparent problems other than surface dust, seemingly original antique-type gilt wooden frame
Lot 1141
Joy Bently (20th century) A still life of chrysanthemums in a vase, signed and dated 1987, watercolour, together with a large collection of miscellaneous predominantly 20th century works on paper to include examples by Mary Farnell, Christopher Richardson, Michael G Bilton, Peggy Skee, John Carter, and Richard Sell, etc (qty)
Lot 802
A Victorian silk work on cotton embroidered floral still life, late 19th century, framed and glazed, 53.5cm x 45.5cm overall, with an oriental silk embroidered panel, 20th century, 39.5cm x 23cm overall, framed and glazed, and a Victorian fan leaf depicting a scene of maidens fishing, signed 'A Laurence', framed and glazed, 33cm x 56cm overall (3)
Lot 144
LOMBARD SCHOOL, CENTRAL DECADES OF THE 17th CENTURY Still life with vase, flowers, game, mushrooms and vegetablesOil on canvas, cm. 94x100. FramedThe painting is accompanied by an expertise by Emilio Negro who refers the artwork to Angelo Maria Rossi (formerly Pseudo Fardella and Pittore di Carlo Torre).
Lot 93
A mid 20th century Royal Worcester twin handled vase and cover, the body painted with still life of apples, peaches and berries, signed T Nutt, with acanthus capped twin handles, and pierced cover with bud finial, with black printed mark beneath, and painted shape number H 314, H27.5cm. - Condition Report This lot is in very good overall condition. There is light surface wear, rubbing to the gilding, and some light surface scratches. Slight unburnished gilding to the cover.
Lot 1278
Gusztav Sikuta 1919 Budapest - 1985 ebenda Stillleben mit Blumen und Obst. Öl auf Leinwand. Signiert unten rechts. Verso Klebeetikett bezeichnet auf Ungarisch. 60,5 x 80,5 cm. Gerahmt. Gusztav Sikuta. 1919 Budapest - 1985 ibid. Still life with flowers and fruit. Oil on canvas. Signed lower right. Verso adhesive label inscribed in Hungarian. 60.5 x 80.5 cm. Framed.
Lot 1259
Lou Albert-Lasard 1885 Metz - 1969 Paris Stillleben mit Früchten. Öl auf Karton. Verso Signaturstempel und Reste eines Klebeetiketts. 53 x 75 cm. Gerahmt. Lou Albert-Lasard. 1885 Metz - 1969 Paris. Still life with fruits. Oil on cardboard. Verso signature stamp and remnants of an adhesive label. 53 x 75 cm. Framed.
Lot 961
Hermann Morres 1885 Kronstadt - 1971 ebenda Blumenstillleben mit Rosenstrauß in Vase. Öl auf Hartfaser. Signiert oben rechts und datiert '65. Verso Stempel. Ungerahmt. 52 x 40 cm. Hermann Morres (1885 Kronstadt - 1971 Kronstadt). Floral still life with bouquet of roses in a vase. Oil on hardboard. Signed top right and dated '65. Verso stamp. Unframed. 52 x 40 cm.
Lot 309
(See English version below)Julie Wolfthorn (Thorn 1864 – 1944 Theresienstadt). Blumenstilleben. Öl auf Leinwand. 46 × 38 cm ( 18 ⅛ × 15 in.). Unten rechts signiert: J. Wolfthorn.Nicht bei Carstensen. Mit einer Expertise von Dr. Heike Carstensen, Stralsund, vom 30. Mai 2020. Das Gemälde wird aufgenommen in das Werkverzeichnis der Werke Julie Wolfthorns von Dr. Heike Carstensen, Stralsund. [3014] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Julie Wolfthorn (Thorn 1864 – 1944 Terezin). Flower still life. Oil on canvas. 46 × 38 cm ( 18 ⅛ × 15 in.). Signed lower right: J. Wolfthorn.Not in the catalogue raisonné by Carstensen. Accompanied by a certificate by Dr. Heike Carstensen, Stralsund, dated 30 May 2020. The painting will be included in the catalogue raisonné of Julie Wolfthorn's works by Dr. Heike Carstensen, Stralsund. [3014] Framed. We charge 30% premium on the hammerprice.
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