A few examples of appraisal values for
AVIARY

• GIOVANNI OLINA, UCCELLIERA
  GIOVANNI OLINA, UCCELLIERA [AVIARY], 1622 Giovanni Pietro Olina. Uccelliera overo discorso della natura, e proprieta di diversi uccelli e in particolare di que' che cantano, con il modo di prendergli, conoscergli, allevargli, e mantenergli. [Aviary or discourse of nature, and properties of different birds and in particular of those that sing, with the way of catching them, knowing them, raising them, and keeping them], with 55 copper plate engravings by Tempesta, and Villamena, vellum binding, 81 pages plus index, 9.5"h x 7"w
• AVIARY GARDEN DESIGN RUNNER: 2’6” X
  AVIARY GARDEN DESIGN RUNNER: 2’6” X 15’10” 21ST CENTURYAVIARY GARDEN DESIGN RUNNER: 2'6" X 15'10", 21st Century, Dark slate gray field contains a variety of exotic birds on delicate branches, rendered in shades of gold, gray, salmon red, bright ivory, khaki and onyx. Narrow dark salmon red border.
• An impressively large Thomas Webb
  An impressively large Thomas Webb (unsigned) pastel opaque cased glass bowl, with floral and aviary designs and puffed shoulders, with a banded foot and lip. 10.5”H x 12”dia. Condition: overall very good CT Transfer Fee $20
• RARE BRANTA. Elmer Crowell
  RARE BRANTA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 19 in. long A rare species for the maker with his early oval brand on the underside. The breast features Crowell's signature rasp finish and the dry surface exhibits his wet-on-wet blending. An early example in exceptional condition, this is one of the finest brant by the maker know to exist. Excellent original paint with even gunning wear and a chip to tail has been darkened. Provenance: Emerson and Isabelle Tuttle Collection, acquired c. 1925 Private Collection, by descent in the family Private Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, pp. 195 (underside) and 256, exact bird illustrated. Brian Cullity, "The Songless Aviary: The World of A. E. Crowell & Son," Hyannis, MA, 1992.
• EXEMPLARY DOWITCHERA. Elmer Crowell
  EXEMPLARY DOWITCHERA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 12 1/2 in. long A rare and important working Crowell dowitcher decoy displaying glass eyes, richly painted detail, and split-tail carving with painted primaries. It is challenging to find early examples of this species by Crowell as he concentrated primarily on black-bellied plover and yellowlegs during the first quarter of the 20th century. Acutely describing a similar shorebird carving in his book, "American Wildfowl Decoys," Jeff Waingrow writes, "Crowell's dowitcher decoy is a transitional carving, displaying the virility of his earlier work with a measure of new refinement found in the later examples. It possesses enough of the best qualities from each period, however to deserve a place among the finer examples of Crowell shorebirds." Outstanding original paint with minor gunning wear, including a rub to the wing tip. Reset crack in original bill. Literature: Copley Fine Art Auctions, "The Winter Sale 2013," New York, NY, January 21, 2013, lot 215, exact decoy illustrated. Paul A. Johnsgard, "The Bird Decoy: An American Art Form," Lincoln, NE, 1976, p. 20 B, similar decoy illustrated. Jeff Waingrow, "American Wildfowl Decoys," New York, NY, 1989, p. 97, similar example illustrated. Brian Cullity, "The Songless Aviary: The World of A.E. Crowell & Son," Sandwich, MA, 1992, p. 49, pl. 1, similar bird illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, p. 213, related dowitcher illustrated.
• RARE LESSER YELLOWLEGSA. Elmer
  RARE LESSER YELLOWLEGSA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 9 1/2 in. long Crowell author and historian Brian Cullity states, "The lesser yellowlegs was a relatively uncommon species to be used as a model for a decoy." On the pattern for this decoy, Crowell identifies the species as "summer yellow leg." A closely related example with a replaced bill was exhibited in Dr. McCleery's "Call to the Sky" museum exhibition and accompanying book. It was also held back by the McCleery estate from the 2000 sale, along with four other of his best Crowell shorebirds. Original paint with light gunning wear and a replaced bill. Provenance: Private Collection, Cape Cod Literature: Sotheby's, "Important American Folk Art, Furniture and Silver," New York, NY, May 2005, front cover and lot 104, McCleery example illustrated. Brian Cullity, "The Songless Aviary: The World of A. E. Crowell & Son," Hyannis, MA, 1992, pp. 60 and 114, pl. 116, Crowell's pattern and related example illustrated. Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, pp. 14-15, McCleery example illustrated.
• THE DU MONT EARLY HANGING GREATER
  THE DU MONT EARLY HANGING GREATER YELLOWLEGSA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 16 3/4 in. long “Seldom does one find special orders made by Crowell and when you do they tend to be the best. These were usually done for gunning friends. The [du Mont] hanging greater yellowlegs is a prime example of what lengths Crowell would go to for special customers. It is a life size bird with two applied wings and wonderful dry brushed paint and tack eyes. It was made to hang by the legs to simulate a recent bag from a hunt. It is a particularly early carving with tack eyes and the best ‘folky’ look one could ask for in a Crowell." — Brian Cullity, author and curator of “The Songless Aviary, The World of A.E. Crowell and Son” discussing this exact carving “When I was shooting for market on shore birds, the yellowlegs (lesser and greater) were the most plentiful. I made many good bags, with a few Jack Curlews and other shore birds.” — A. Elmer Crowell, “Cape Cod Memories” in "Duck Shooting Along the Atlantic Tidewater" Much of Elmer Crowell’s portfolio references his origins as a young market hunter, but few works do so as directly as this early and elaborate hanging game carving. Incredibly, the young hunter built his first gunning stand in 1876 in order to harvest birds for sale, shipping his quarry by rail to Boston’s famous Faneuil Hall marketplace. This rare, if not unique, carving from the esteemed du Mont Collection is among the most nuanced carvings that Crowell ever attempted, with applied raised wings, a curved tail, and detailed wooden legs. Each wing received significant carving detail, with scalloped edges, delineated feather groups, and incised secondary feathers. As seen with his more common flying birds and wing-up preeners, the painter showcases his knowledge and ability on every inch of the expanded surfaces. The feather blending throughout is especially fine with the head and interiors of the wings exhibiting notable care. This carving hails from the distinguished collection of John Sanderson du Mont, a third generation friend and patron of Crowell's. Du Mont's great aunt and uncle were Roland C. (1859–1906) and Addie D. Nickerson (1859–1955) and John's father was Horatio S. du Mont (1886–1970). In a 1987 article introduced by Alan Haid, the younger du Mont recalled, “My father, either at my request or when doing errands, would drop me at Crowell's where I would sit quietly and watch him carve and paint. He never objected.” He also recounts, "Recognizing Crowell's ability, my father assembled a collection of 21 shorebird and duck heads, some miniatures, and a series of life-size bird carvings. Mother's diary indicates that most of these were collected by 1917." This carving dates to that early period and may have come down to John from his father and shorebird hunting companion. Regarding related works, there are few known to have survived in any condition. One later lesser yellowlegs is in the collection of the Shelburne Museum, and another is in private hands. One hanging bobwhite quail is in the Paul Tudor Jones II Collection and is illustrated in "Elmer Crowell: Father of American Bird Carving." Excellent overall condition, original paint with light wear including craquelure to breast. Restoration to 2 1/2 inches of primary feathers of left wing tip, to right corner of tail, and toes of left leg. Right leg is reset. Provenance: John S. du Mont Collection Private Collection, Cape Cod Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, p. 42, hanging quail carving and related Harry V. Long journal entry illustrated. A. E. Crowell and Eugene V. Connett, ed., "Duck Shooting Along the Atlantic Tidewater," “Cape Cod Memories,” New York, NY, 1947, pp. 56-57, early market hunting discussed by Crowell. Northeast Auctions, "The John S. du Mont Collection," Portsmouth, NH, August 19, 2007, p. 13, Brian Cullity quote and lot 709, exact carving illustrated.
• 1810 NEEDLEWORK, JANE COOK. With
  1810 NEEDLEWORK, JANE COOK. With friendship verse over tree, candles, aviary, and other animals, with geometric border. Jane Cook, aged 12 1810 at bottom. Image 11”H x 9.25”W, in a Birdseye maple frame 15.25”H x 13.5”W. Sussman Collection.
• 1811 BIBLICAL VERSE NEEDLEWORK,
  1811 BIBLICAL VERSE NEEDLEWORK, ANNELIZA PIREARA. Ecclesiastes verse over scene with building, flora, aviary, and figures. Tan, red, black, and brown thread. 11.5”H x 11.5”W, in a period gilt frame 14”H x 14”W. Sussman Collection.
• 1840 ALPHANUMERIC SAMPLER, ELIZA C.
  1840 ALPHANUMERIC SAMPLER, ELIZA C. COOK. Having several fonts over attribution inscription, with house, foliate, and aviary below, and a red, tan, and white border. Black, blue, tan, red, and green thread. Image 10.75”H x 14”W. Sussman Collection.
• 19TH C. NEEDLEWORK SAMPLER, TABITHA
  19TH C. NEEDLEWORK SAMPLER, TABITHA IRELAND. Alphanumeric with large green border and hearts over central medallion inscription terminating in landscape of geometric shapes, canine, equine, and aviary. Green, blue, tan, black, and white thread. 16”H x 7.25”W, Frame 18”H x 9.25”W. Sussman Collection.
• 1821 BOOK RHYME SAMPLER, ANN
  1821 BOOK RHYME SAMPLER, ANN KARR. Alphanumeric sampler over Josiah Dubois’ 1790 book rhyme and Ann Karr inscription, with heavily stitched border of flora, aviary, canine, and naval themes. White, black, tan, and green thread. Image 17.25”H x 14.75”W, Frame 19.25”H x 17”W. Sussman Collection.
• 1832 ALPHANUMERIC SAMPLER, MARGARET
  1832 ALPHANUMERIC SAMPLER, MARGARET PURELL. Featuring several examples of alphanumeric samples over decoration, attribution inscription, and flora, aviary, and canine, with a geometric floral repeating border, in tan, black, red, and green thread. Image 16.25”H x 11.75”W, Frame 20.75”H x 16.25”W. Sussman Collection.
• 19TH C. HYMNAL NEEDLEWORK
  19TH C. HYMNAL NEEDLEWORK SAMPLER. From Isaac Watt’s “O, That The Lord Would Guide My Ways,” sampler has alphabet over large Garden of Eden stitching with Adam, Eve, apple, snake, flora, canine, and aviary, terminating in hymnal verse. Black, tan, green, and white thread. Unattributed. Image 11.75”H x 7.5”W, Frame 14”H x 10”W. Sussman Collection.
• 1813 MARY BROWNING NEEDLEWORK
  1813 MARY BROWNING NEEDLEWORK ANECDOTE. Portraying the anecdote of a sister in a shattered glass, needlework font in black thread with well stitch white ovine in center bottom, with tan geometry, fauna, aviary, and flora throughout, with a florate border. Image 15”H x 12”W, Frame 17.25”H x 14.25”W. Sussman Collection.
• TWO 19TH C. NEEDLEWORK SAMPLERS.
  TWO 19TH C. NEEDLEWORK SAMPLERS. One example depicting alphanumeric needlework over a crowned lion, aviary, and floral designs. Image 6.25”H x 8”W. Lemon gold frame 10.25”H x 12.25”W. The second example depicting lion, deer, aviary, floral, and geometric design with a vines border. 10”H x 6.5”W. Frame 12”H x 8.75”W. Sussman Collection.
• LARGE 19TH C. SOUTHWEST NATIVE CLAY
  LARGE 19TH C. SOUTHWEST NATIVE CLAY STORAGE VESSEL. Likely Acoma Pueblo origin, with black, orange, and white geometric designs, and a center band depicting a repeating aviary design. 11”H x 11”dia..
• A contemporary room size rug,
  A contemporary room size rug, with an Aviary motif and pink border. 6’1”W x 7’11”L Condition: overall good CT Transfer fee $20
• Carol Summers 1925–2016. The
  Carol Summers 1925–2016. The Raja's Aviary. 1992, woodcut in colors. 13¾ h × 12 w in. result: $441. estimate: $300–500. Signed, titled and numbered to lower edge ‘154/200 The Raja's Aviary Carol Summers’. This work is number 154 from the edition of 200.
• PAIR OF DESSIN FOURNIR
  PAIR OF DESSIN FOURNIR CHINOISERIE STYLE AVIARY PANELSPair of Dessin Fournir Chinoiserie Style Aviary Panels , with watercolor highlights, in partial gilt frames and pediments. NOTE: Previously cataloged as Maitland Smith Style. Height 107 in. Width 47 in. Provenance : Estate of Jennie K. Scaife, Shawkemo Hills, Nantucket Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• CHINESE EXPORT ORANGE UNDERGLAZE
  CHINESE EXPORT ORANGE UNDERGLAZE FLORAL AND AVIARY CHIN...Chinese Export Orange Underglaze Floral and Aviary China, Lamp and Side Table, circa 1800 , orange underglaze with gold clobbering and decorated with foliage, blossoms, bugs and birds. The lot consists of two teapots, sugar bowl, covered chamber pot, vase mounted as a lamp, meat platter set as side table. Lamp Height 15 ½ in. Provenance: Estate of Linda Loring, 6 Louisburg Square, Boston Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• 1SET OF 7 COLLECTIVE VINTAGE
  1SET OF 7 COLLECTIVE VINTAGE PLATES.Haviland Plumes: 2 plates Inspired by our aviary friends, the fabulous Plumes Or features a beautiful band of fine gold feathers rimming each piece. 2 Haviland Plume Platinum: The Plumes Platinum Limoges porcelain dinnerware collection offers elegant styling. Bright white Limoges porcelain is trimmed in a band of platinum making this chic porcelain dinnerware the ideal canvas for your favorite meals. Christofle Malmaison Plates: 1 plate The Limoges porcelain dinner plate in the Malmaison pattern has a platinum frieze around the rim and is the perfect size for main courses. 1 plateThe Limoges porcelain dinner plate in the Malmaison pattern has a brightly gilded frieze around the rim and is the perfect size for main courses 2 Silver oriega plates
• COLIMA REDWARE POTTERY BIRD VESSEL,
  COLIMA REDWARE POTTERY BIRD VESSEL, EX ARTE PRIMITIVO**First Time At Auction** Pre-Columbian, West Mexico, Colima culture, ca. 100 BCE to 250 CE. A charming pottery vessel in the form of a swallow mid-flight with wings widely spread and head lifted at attention. The bird's flared tail rises to the back, with the area behind it opening to the rim of the vessel. The composition of this handcrafted indigenous swallow is remarkably symmetrical. The bird alights to the sky in a gallant swoop; note the cohesive motion implied by its upward beak and wings. Liberal remains of lively feather-markings embellish the exterior as the animated visage features wide eyes and a curved beak. Recreate a vision of the landscape of these ancient indigenous peoples of West Mexico with this aviary gem! Size: 9.6" W x 5" H (24.4 cm x 12.7 cm) Provenance: private Charlotte, North Carolina, USA collection; ex-Arte Primitivo, New York City, New York, USA, December 2, 2014, lot 35; ex-private California, USA collection; ex-Harold Wagner, California, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #178431 Condition: Professionally repaired with some restoration and chipping along visible break lines. Small chip to tip of proper right wing, as well as expected surface wear as shown. Otherwise, excellent with nice manganese deposits and liberal remaining pigments. Old collection labels on underside of base.
• PAIR OF CHINESE MOTHER OF PEARL
  PAIR OF CHINESE MOTHER OF PEARL TABLE SCREENS WITH STAN...PAIR OF CHINESE MOTHER OF PEARL TABLE SCREENS WITH STANDS Chinese, late 19th century, abalone shell. The pair finely reticulated, carved as naturalistic scenes of rams surrounded by aviary and floral motifs. Matching, prunus branch form lacquered stands. Carvings: 5 3/4 x 7 3/4 in. (14.61 x 19.69 cm.); with stands: 8 3/4 in. (22.23 cm.) The Wallace Estate: Lee Renfrew Wallace and her husband Mahlon Brookings Wallace III lived an extremely happy and luxurious life filled with world travels, safaris, collecting, and philanthropy. From backgrounds in race-horse breeding and championship cattle ranching, the socialite couple paid homage to the St. Louis area community in a variety of ways. Mr. Wallace served as Director of Commerce Bank, President of the St. Louis Zoo Friends Board, and was charitable to numerous organizations he believed in. Behind every great man is a better woman, and his wife Lee was renowned for being the glue of the family while she warmly served as Director of Development for local educational institutions and made an impact with her lasting spirit. The couple’s art collection ranges in style and period and spans a broad price-point.
• FLOCK OF HARDSTONE BIRDSFLOCK OF
  FLOCK OF HARDSTONE BIRDSFLOCK OF HARDSTONE BIRDS Chinese, mid-20th century, hardstone. Four (4) carved aviary forms in differing designs, including egret and paradise flycatcher. Tallest on stand: 7 in. (17.8 cm.)
• NEOCLASSICAL GILT CHERIBUM
  NEOCLASSICAL GILT CHERIBUM MIRRORA mirror set in a rectangular gilded frame adorned with cherubs, aviary, and vegetative motifs along its border. Mirror backing is slightly loose on the top, and bottom right acanthus corner is missing. Good condition. The back of the mirror is missing a felt pad on its bottom left. No maker's marks identified. 48" Tall X 41" W
• LOUIS XV STYLE PORCELAIN MOUNTED
  LOUIS XV STYLE PORCELAIN MOUNTED TABLE AMBULANTLOUIS XV STYLE PORCELAIN MOUNTED TABLE AMBULANT French, mid- to late 19th century, burled elm with rosewood veneer. Three-quarter brass gallery around the parquetry-framed aviary plaque, the single drawer over a shaped apron, brass caryatid masks above the knees, and a kidney-shaped stretcher shelf, terminating in paw foot mounts. 29 x 16 x 18 in. (73.7 x 40.6 x 45.7 cm.) Condition: Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• ROCKWELL, Norman, (American,
  ROCKWELL, Norman, (American, 1894-1978): An Aviary Scene, Lithograph, sight size is 23.50'' x 19.25'', pencil signed lower right, numbed 1/200 lower left, framed 29.50'' x 25.50''.
• LARGE DUTCH DELFT BLUE AND WHITE
  LARGE DUTCH DELFT BLUE AND WHITE AVIARY ON STAND 19th c., Continental, blue underglazed earthenware, brass wire and pullouts, the large circular domed birdcage modeled in three parts, decorated on all sides with floral panels, the dome interior embellished with stars and flying birds, on cast iron stand, 41"h x 22"dia (cage), 78"h (total)
• MASSIVE FRENCH WIREWORK PAGODA
  MASSIVE FRENCH WIREWORK PAGODA BIRDCAGE 19th/20th c., painted wrought iron and metal mesh aviary, with two hinged doors, the interior fitted with tiered wooden perches, raised on scrolled wrought iron stand, 80"h x 43"l x 20"w (total)
• MASSIVE FRENCH WIREWORK PAGODA
  MASSIVE FRENCH WIREWORK PAGODA BIRDCAGE 19th/20th c., painted wrought iron and metal mesh aviary, with three hinged doors, the interior fitted with tiered wooden perches, raised on a scrolling wrought iron stand, 78"h x 43"l x 20"w (total)
• VICTORIAN STYLE AVIARY, SOURCED
  VICTORIAN STYLE AVIARY, SOURCED PARISH-HADLEY 20th c., England, openwork carved and assembled wood birdcage in the form of a Victorian house, 22"h x 23"l x 17"w
• MARKET GUNNER’S RECORD DATED
  MARKET GUNNER’S RECORD DATED 1702-1706 SHEET SIZE 8” X 12.25”. FRAMED 12” X 17”.MARKET GUNNER'S RECORD, Dated 1702-1706, Notation on back mentions John Pierce, Dorchester, Massachusetts. Notes the number of brant killed, monies paid and dates. Used in the 1992 "Songless Aviary" exhibit at Heritage Museums & Gardens, Sandwich, Massachusetts. Dimensions: Sheet size 8" x 12.25". Framed 12" x 17".
• NEEDLEPOINT TAPESTRY/CARPET: 9’9” X
  NEEDLEPOINT TAPESTRY/CARPET: 9’9” X 13’10” LAST HALF OF THE 20TH CENTURYNEEDLEPOINT TAPESTRY/CARPET: 9'9" X 13'10", Last Half of the 20th Century, Motifs in the classical French taste in shades of gold, ivory and pastel colors, including scrolling acanthus leaves surrounding a central oval medallion containing a floral bouquet. Additional oval floral and aviary medallions at corners of the ivory field.
• CHINESE DESIGN RUG: 3’0” X 5’1”
  CHINESE DESIGN RUG: 3’0” X 5’1” LATE 20TH CENTURYCHINESE DESIGN RUG: 3'0" X 5'1", Late 20th Century, Pastel green field with ivory geometric medallions at center and corners, each containing floral and aviary motifs in shades of pink, violet, tan and green. Borders composed of rectangular cartouches featuring motifs matching medallions.
• PERSIAN RUG: 3’5” X 5’10” LATE 20TH
  PERSIAN RUG: 3’5” X 5’10” LATE 20TH CENTURYPERSIAN RUG: 3'5" X 5'10", Late 20th Century, Bright cream geometric medallion with a red center is surrounded by menagerie and aviary themes amidst colorful flowering branches on a bright red field. Dark blue border with meandering flowering vine.