A few examples of appraisal values for
BARRY CHARLES

• BARRIE WENTZELL (b. 1942): JAMES
  BARRIE WENTZELL (b. 1942): JAMES BROWN 1971 AND CHUCK BERRY 1972 Two gelatin silver prints 20 x 16 in. each signed numbered 28/50 and dated. Note: Proceeds to benefit Touro College NYC.
• AFTER CHARLES BARRY, ‘THE NEW
  AFTER CHARLES BARRY, ‘THE NEW PALACE AT WESTMINSTER’ two hundred colour reprints after the lithograph by Day & Son, published by Thanet Press, each 47cm x 97cm, contained in sealed brown paper packet
• AFTER CHARLES BARRY, ‘THE NEW
  AFTER CHARLES BARRY, ‘THE NEW PALACE AT WESTMINSTER’ one hundred and sixty colour reprints after the lithograph by Day & Son, published by Thanet Press, each 47cm x 97cm
• BARRY John (English 1784-1827):
  BARRY John (English 1784-1827): Portrait of a Gentleman Half-Length Facing Right Blue Coat White Waist Coat and Frilled Cravat image size 2 3/4'' x 2 3/8'' gold frame with pearled border and cobalt blue reverse oval 3 1/2'' x 2 1/2''.
• JAMES BARRY (Irish 1744-1806).
  JAMES BARRY (Irish 1744-1806). PORTRAIT OF MICHAEL MULVANEY AND HIS GRAND DAUGHTER MARY artist identified titled and dated 1795 on label verso. Oil on canvas - Framed 36 in. x 28 in.
• BRUCE BARRY(American, 20th/21st
  BRUCE BARRY(American, 20th/21st century) Journal Entry #159, 2003, signed "00 BAB" underside, lidded stoneware vessel with brown to cream/yellow glaze and script decoration, approximately 15 x 7 in. Provenance: Elaine Baker Gallery, purchased in 2004 for $1,320 (accompanied by receipt and write up, consignor's inventory document); Jerry and Deena Kaplan Collection of Modern Art and Crafts Condition: surface dirt and accretion, scattered light surface scratches, some minor pitting/pinholes to glaze
• BARRIE WENTZELL (b. 1942): JERRY
  BARRIE WENTZELL (b. 1942): JERRY LEE LEWIS 1972 AND JOHNNY CASH 1968 Two gelatin silver prints 20 x 16 in. signed numbered 28/50 and dated. Note: Proceeds to benefit Touro College NYC.
• Robert Thomas Barry (New York, born
  Robert Thomas Barry (New York, born 1936) Untitled, 1988, with words "Real, Only You, Did Not, Involved, Wait, Great Care, Nearly, Enough", signed verso with initials and date "R B 8 8", acrylic on canvas, 28-1/8 x 28-1/8 in.; black-painted shadowbox frame,
• Barry Moser (American, b. 1940)
  Barry Moser (American, b. 1940) "Spring Bacchus", limited edition lithograph, signed, titled and numbered "34/50" lower center, sight dia. 17", glazed, matted and framed; together with a First Edition of Three Little Pigs, retold and illustrated by Barry Moser, published by Little, Brown & Company, 2001.
• D.F. Barry & Chief Rain-in-the-Face
  D.F. Barry & Chief Rain-in-the-Face Photograph Silver gelatin photograph of Barry and Rain-in-the-face 6 x 8 in. (sight) mounted in cardstock with closing cover 9 x 13 in. photograph and mount include Barry's blindstamp plus cardstock folder's verso features printed paper stamp advertising Barry's Superior Wisconsin studio. Accompanied by an illustrated biography of Chief Joseph which also features a reproduction of the image of Barry with Rain-in-the-face. Condition: With penciled notes on folder's verso; some light toning to photograph; expected folds in illustrated biography plus few small light stains.
• Two Charl
  Two Charl
• PAIR OF BARBARA BARRY FOR BAKER
  PAIR OF BARBARA BARRY FOR BAKER NEEDLEPOINT PILLOWSPAIR OF BARBARA BARRY FOR BAKER NEEDLEPOINT PILLOWS, (2)
• Charl
  Charl
• SAMUEL CHAMBERLAIN & LIONEL
  SAMUEL CHAMBERLAIN & LIONEL BARRYMORE PRINTS Group of six prints of etchings comprising two after Lionel Barrymore (American/California, 1878 - 1954) and four after Samuel Chamberlain (American/Massachusetts, 1895-1975). Each with Christmas greetings attached from Atlanta business man Bolling Jones Jr. and his wife Dorothy. Approx. 16" x 12" (sheet)
• Barry Bailey (American/Louisiana,
  Barry Bailey (American/Louisiana, Contemporary) "Palm Trees", 1986, pair of mixed media on paper, sight 24-1/2" x 16", both examples are signed and dated by the artist, retains gallery label en verso "Arthur Roger Gallery, 432 Julia Street, New Orleans, Louisiana". Glazed, matted and framed en suite. Provenance: Arthur Roger Gallery, New Orleans, Louisiana, to The Sheraton New Orleans Hotel, 500 Canal Street.
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• BARRIE WENTZELL (b. 1942): JOAN
  BARRIE WENTZELL (b. 1942): JOAN BAEZ AND JAMES TAYLOR Two gelatin silver prints each signed titled dated 1965 and numbered 28/50; 20 x 16 in.
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• MARTIN BARRY, SIGNED AND NUMBERED
  MARTIN BARRY, SIGNED AND NUMBERED CHROMOLITHOGRAPH OF ST. MICHAEL'S, MD AND HERB JONES, SIGNED AND NUMBERED CHROMOLITHOGRAPHMartin Barry, Signed and Numbered Chromolithograph of St. Michael's, MD and Herb Jones, Signed and Numbered Chromolithograph
• BARRY A. BURDNEY (CANADIAN. B.
  BARRY A. BURDNEY (CANADIAN. B. 1943)Evening, Stooks Near Ethelbert, Manitoba. Signed l/r, the reverse inscribed, titled by the artist. Oil on Board. Measuring 22 by 28 in., overall 26 by 31 in. Cf. Barry Burdney, a Canadian born artist attended The Ontario College of Art in 1969, furthering his studies in London at The Slade School from 1969 through 1971 and at The Banff School in 1971. The artist has had multiple one-man showings in London, Paris, Denver and throughout Canada. His work has been purchased by renowned private collectors and it can be seen in numerous public institutions.
• Frank Charl
  Frank Charl
• Frank Charl
  Frank Charl
• BARRY X BALL, MANIPULATED DIGITAL
  BARRY X BALL, MANIPULATED DIGITAL PHOTOGRAPH Barry X Ball (American, b. 1955) Matthew McCaslin Homunculus in Mexican (Puebla) Translucent Green Onyx The "Ai Do San Marchi" Pharmacy - Ca' Rezzonico, Venice, 2011-2013, Epson Stylus Pro 3880 archival inkjet print on Slickrock Metallic Pearl 260 paper mounted on aluminum with 1-ply tagboard interlayer, signed and numbered 2/15 verso label, framed under Plexiglas in shadow box, 23h x 15"w (sheet). 32"h x 24"w (frame)
• BARRIE WENTZELL (b. 1942): REV.
  BARRIE WENTZELL (b. 1942): REV. GARY DAVIS 1974 FREDDY KING 1971 BO DIDDLEY 1972 ALBERT KING 1969 AND B.B. KING 1971 Gelatin silver prints signed numbered 28/50 and dated; 16 x 20 in. and 20 X 16 in. Note: Proceeds to benefit Touro College NYC.
• PRINT, BARRY HEREM Barry Herem
  PRINT, BARRY HEREM Barry Herem (American/Kwakiutl, 20th century), "Myth Canoe," 1986, embossed serigraph, pencil signed and dated lower right, edition 41/195, overall (with frame): 30"h x 57.5"w. Provenance: Property from the estate of internationally recognized textile artist and designer, Mr. Julian Tomchin, (San Francisco, CA).
• BARRIE WENTZELL (b. 1942): JACK
  BARRIE WENTZELL (b. 1942): JACK BRUCE 1971 ERIC CLAPTON 1967 ERIC CLAPTON 1974 AND GINGER BAKER 1968 Gelatin silver prints each signed numbered 28/50 and dated; 16 x 20 in. Note: Proceeds to benefit Touro College NYC.
• MARK BARRY "RUG CUTTERS" WATERCOLOR
  MARK BARRY "RUG CUTTERS" WATERCOLOR Mark Barry (American b. 1955) "Rug Cutters" watercolor on paper depicting a couple dancing, signed to lower right, framed. Approximate measurements: sight h. 8. 25", w. 9. 25"; frame h. 15. 625", w. 16. 625", d. 1. 625".
• 2 CHARLES M RUSSELL BOOKS
  2 CHARLES M RUSSELL BOOKS
• James Barry (Irish active in
  James Barry (Irish active in Italy and England 1741-1806) "A Group of Recumbent Figures Huddled Among Blankets" 1792 ink and wash on laid paper with all corners missing but made up on backing card dated in English "March 1792" at lower left 6 5/8 x 8 1/8 in. perhaps signed or inscribed en verso(?); laid down on card stock 7 1/8 x 8 7/8 in. the latter inscribed en verso in 20th c. black ink "Master of the Giants-James (Burry) / -Barry / Byrny" and in mid-20th c. red pencil "Fuseli [sic] / Christie's Auction / April 1961". Provenance: Christie's London (1961); purchased there by James R. Lamantia Jr. New Orleans and New York.Note: Though Lamantia bought this impressive drawing as a "Fuseli" (at a Christie's auction that he attended personally in April 1961 per his note on the outer mount) his question-mark preceding that name indicates that he (correctly) did not fully endorse Christie's attribution. The alternative ascriptions entered in black ink at the top of the verso-though mutually contradictory-are respectively equally mistaken and right on the mark. This fine drawing actually has nothing whatever to do with the so-called "Master of the Giants " a gifted amateur artist working in transparent black and grey washes in Rome in 1779 as recorded on various sheets of a now-dismembered notebook which suggested his name (purchased 1949 exhibited London 1952 separate sheets at the Fogg Art Museum Harvard University [1964] and recently [2002] with Lowell Libson London). The three alternate readings of the name of James Barry however do plausibly indicate that an inscription or signature was formerly visible (perhaps on the reverse of the pasted-down sheet) and that those various options were observed in its lettering. James Barry was born in Cork and trained in Dublin (1763) London (1764) Paris (1765) Rome (1766-70) and Bologna (1771). In London he was elected to the Royal Academy in 1773 and became its Professor of Painting in 1782. His masterpiece was a series of huge canvases representing The Progress of Human Culture which he executed for the Society of Arts in 1777-84; he was expelled from the R. A. in 1799 as a result of his eccentricity and irascibility though at the end he was awarded a funeral and burial in St. Paul's Cathedral. This rare dated drawing is emblematic of Barry's later work with its heavy jagged lines its idiosyncratic shading and its compression of emotionally charged forms-in "a coagulation of bodies" (as Tomory observed) or "a fantasy of intertwining shapes.achieving an expressionistic power rare in British art" (Cummings).References: William L. Pressly "Barry " Grove Dictionary of Art Jane Turner ed. London 1996 34 vols. vol. 3 pp. 284-287; Frederick Cummings and Allen Staley Romantic Art in Britain: Paintings and Drawings 1760-1860 Philadelphia 1968 pp. 114-118; Peter Tomory The Life and Art of Henry Fuseli New York 1972 p. 210 and passim.
• 19th century British School
  19th century British School portrait, portrait of a gentleman, unsigned, oil on canvas, inscription verso attributing painting to James Barry, British, 1741-1806, label verso for "Chas. A. Jackson, Manchester", late 18th/early 19th century, 20 x 16 in.; early 20th century gilt wood and composition frame. Crackle, laid down on plywood, possible retouch in background; frame with losses to gilding.