A few examples of appraisal values for
BAURY

• BAULE FERTILITY CARVING CIRCA 1950:
  BAULE FERTILITY CARVING CIRCA 1950: 26'' h.
• AFTER ANTOINE-LOUIS BARYE
  AFTER ANTOINE-LOUIS BARYE (FRENCH, 1795 - 1875) 1 ?" x 2 ?" x 1 ½" Cast bronze with brown patina sculpture of a recumbent hare on a hill, with "Barye" cast into the oval base.
• Adrian Bury
  Adrian Bury (1891-1991)/Landscape/signed and dated 1947/watercolour, 27cm x 38cm/Carruthers (20th Century)/Estuary #Scene/pastel, 20cm x 24cm and/Mary Flemming (20th Century)/Views in Provence/a pair/oil on board, 19cm x 29cm
• BARYE, Antoine Louis, (French,
  BARYE, Antoine Louis, (French, 1785-1875) after: Arab Soldier on Horseback, Patinated Bronze, 26 1/2'' h., 21'' w., signed, affixed to marble plinth, 2 1/4'' thick.
• VION & BAURY (ATTRIB.) BISQUE
  VION & BAURY (ATTRIB.) BISQUE PORCELAIN FIGUREFrench bisque porcelain figure, attributed to Vion & Baury, 19th c., woman in 18th century style dress with masquerade mask, green anchor mark underfoot, restoration to front foot, left arm, and mask, approx 23.5"h, 10.5"diam
• BARYE CROUCHING HARE BRONZE: 1
  BARYE CROUCHING HARE BRONZE: 1 3/4'' h. x 2 1/2'' stamped Barye incised Barbedienne foundry mark incised under the base 43 and 649.
• After Antoine-Louis Barye
  After Antoine-Louis Barye (French, 1795-1875) rabbit Bronze, medium brown patina, realistically modeled, on an oval base inscribed 'BARYE'. L: 3 in. PROVENANCE: Property of a gentleman, Washington DC. ,000-
• PAIR OF PORCELAIN BISQUE FIGURAL
  PAIR OF PORCELAIN BISQUE FIGURAL SCULPTURESPAIR OF PORCELAIN BISQUE FIGURAL SCULPTURES, the standing male with goats, the standing female with a sheep and birds. Marked with the Vion and Baury trademark on the base of each. Heights 19.5 inches.
• BARYE BRONZE HARE ON HIS
  BARYE BRONZE HARE ON HIS HAUNCHES: 3 1/4'' h. x 2'' incised Barye and F. Barbedienne foundry mark incised under the base 43.
• A Barle carved wood figure of a
  A Barle carved wood figure of a female bust, in traditional dress, 40cm high
• BYRON BURFORD (AMERICAN,
  BYRON BURFORD (AMERICAN, 1920-2011)Byron Burford American, 1920-2011 The Tournabouni Twins , 1983 Aquatint, signed and titled, edition of 250 Two young women back-to-back in matching kimono wielding crosses, unframed. Byron Leslie Burford, Jr., born July 12, 1920, in Jackson, Mississippi, blossomed as a young artist in a fascination with the carnivals and circuses booked by his YMCA director father, before leaving at age 14 to work as a roadie for the Tom Mix Circus, all the while using his exposure to circus life as inspiration for his work. Burford studied at the University of Iowa School of Art and Art History, where he mentored by Grant Wood. In 1941 Burford completed a commission for the Treasury Department's Section of Painting and Sculpture, a mural for the U.S. post office in Houston, Mississippi. He received his bachelor's degree in 1942 and, after a brief stint in the Air Corps during Word War II, completed his Master of Fine Arts degree in 1947. He would continue at University of Iowa for 38 years as a painting instructor - developing a camaraderie with Kurt Vonnegut, who taught at the Iowa Writers' Workshop for two years in the 1960s. Burford's academic success did not defer him from his aesthetic interest in circus life, and continued to subject soldiers, athletes, jazz musicians, factory workers and circus people in his work. A well-known artist in the Midwest, Burford exhibited widely and received many honors and awards, including a Guggenheim Fellowship in 1960 and a grant from the National Academy of Arts and Letters in 1967. Plate: 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm.), sheet: 20 1/2 x 15 in. (52.1 x 38.1 cm.) Ex Iowa Wesleyan University collection 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.
• Two Fine Pastoral Tapestries in the
  Two Fine Pastoral Tapestries in the manner of Francois Boucher (French, 1703-1770), Continental, probably 18th/early-19th century: one of courting couple by a fountain, barefoot woman with basket looking slyly at the couple; one of young man on ladder picking grapes from an arbor and handing them to a young woman, seated woman by wine barrel, applied woven trim to both, attached sleeves and Velcro for hanging, each 60 x 46 in.,
• A Bronze Statuette After Barye Cast
  A Bronze Statuette After Barye Cast bronze with brown patina mounted on a green/black marble base racetrack shape two horses standing on a naturalistic ground partial name of Barye cast into the bronze.
• BUBBY MOORES FOLK ART NUDE FEMALE
  BUBBY MOORES FOLK ART NUDE FEMALE BAR SCULPTURE United States,20th CenturyCarved wood standing female figure holding liquor with opening chest for bar storage.
• GARDEN BUNNY CAST COMPOSITE in
  GARDEN BUNNY CAST COMPOSITE in the upright position with a bulbous body
• ANTOINE-LOUIS BARYE (FRENCH, 1795 -
  ANTOINE-LOUIS BARYE (FRENCH, 1795 - 1875) 2" x 3 ?" x 2 ?" overall, 1 ¼" x 2 ?" x 1 ?" hare Cast bronze with brown patina sculpture of a recumbent hare on a hill, with "Barye" cast into the oval base; mounted to rectangular marble base with rounded corners and beveled edges.
• Theodor de Bry (1528-1598) a
  Theodor de Bry (1528-1598) a group of six engravings after drawings by Jacques Le Moyne from Brevis narratio eorum quae in Florida Americae provincia Gallis... Frankfurt 1591 illustrating murder of a Frenchman fortified village widows hermaphrodites and a tribal battle sheets approx. 11 in. x 8 in. attractively float-mounted and framed.
• FRENCH BRONZE FIGURE OF A CROUCHING
  FRENCH BRONZE FIGURE OF A CROUCHING RABBIT AFTER ANTOINE-LOUIS BARYE (FRENCH 1796 - 1875) 19TH CENTURY dark brown patina, on an oval mounted plinth base stamped 'BARYE 101'8cm wide, 5cm high, 4cm deep
• (2) VION & BAURY (ATTRIB) BISQUE
  (2) VION & BAURY (ATTRIB) BISQUE PORCELAIN FIGURES(pair) Large French colored biscuit porcelain figures, Virtue and Vice, attributed to Vion & Baury, 19th c., including: (1) woman holding a Bible, (1) gentleman in tricorne hat, casket with jewels and dice, marked with a green anchor underfoot, largest: approx 27.5"h
• BAUER, Willi, (German, 1923 -):
  BAUER, Willi, (German, 1923 -): Pastoral Landscape with Marsh, Village and Figures By A Fire, Oil/Canvas, 30'' x 39'', signed lower left, framed, 36.5'' x 45.5''.
• Northern French Provincial Carved
  Northern French Provincial Carved Oak Gothic Figure of St. Barbara, fourth quarter 15th century, the figure robed, wimpled and holding a miniature castle, one of her attributes, the surface cleaned and renewed and now in a soft wax finish, h. 32", w. 9", d. 7-1/2".
• A Bernard Bloch Sculpture
  A Bernard Bloch Sculpture "Courtyard Confessions" Terracotta matte enamel depiction of lady with fan and traveling friar on a bench enveloped by flora and fauna. Impressed BB 4588 D.
• Nicolaus Baur (Bauer) (German
  Nicolaus Baur (Bauer) (German 1816-1879) Racing Amazons (Jagende Amazonen). Oil on cradled wood panel signed in red to the left of center along the lower edge framed in a massive gilt frame overall 37" x 47-1/2". Interesting narrative with women and dogs hunting a stag; to the left of the composition one of the dogs has brought two male figures to earth. They appear to be satyrs who are often described as accompanying the hunters in myths.
• Barry Woods Johnston (American b.
  Barry Woods Johnston (American b. 1941). ''Bather '' bronze figure brown and verdigris patinas modeled as half-length figure of young female nude coming out of water mounted on circular marble plinth 20 in. H. Estimate $ 1 000-2 000 No apparent faults.
• AFTER C. AGAR (British 19th
  AFTER C. AGAR (British 19th century). BURY HUNT Color engraving by F. Bromley; published by Joseph Zanetti London. Framed - 22 1/4 in. x 28 3/4 in. sight size
• BARRIAS, Louis-Ernest, (French,
  BARRIAS, Louis-Ernest, (French, 1841-1945): ''Nature Revealing Herself Before Science'', Gilded Bronze and Marble, 23'' h., signed, impressed Susse foundry marks, sold with custom revolving top pedestal with glass encasement, 42'' h., 70 1/2'' total.CONDITION: Repair to finger.
• BURBERRY UMBRELLA .
  BURBERRY UMBRELLA .
• ELBRIDGE AYER BURBANK GOUACHE ON
  ELBRIDGE AYER BURBANK GOUACHE ON BOARDELBRIDGE AYER BURBANK (United States, 1858-1949) gouache on board, peach still-life. Signed lower right and dated 1936, label attached verso which reads: "A peach. For a peach of a little girl Diane - My little sweet sweetest little sweet heart. Diane. E.A. Burbank." Image measures 6" x 7". In a wood frame; 9.5" x 10.5" overall.
• Antoine-Louis Barye (1795-1875).
  Antoine-Louis Barye (1795-1875). A small bronze model of a recumbent fawn signed 6in. Estimate ?200-300 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?300
• POL BURY (BELGIAN 1922-2005),
  POL BURY (BELGIAN 1922-2005), UNTITLED (ABSTRACT), MIXED MEDIA ETCHING AND LITHOGRAPH, FRAME: 35 3/4 X 25 1/8 IN. (90.81 X 63.82 CM.)Pol Bury (Belgian 1922-2005), Untitled (Abstract), Mixed Media Etching and Lithograph,, Dimensions: Frame: 35 3/4 x 25 1/8 in. (90.81 x 63.82 cm.)
• PHOTOGRAPH, MORLEY BAER Morley Baer
  PHOTOGRAPH, MORLEY BAER Morley Baer (American, 1916-1995), "Cache Creek, Capay Valley," 1975, gelatin silver print, pencil signed on mat lower right, image/sheet: 7.5"h x 9.5"w, overall (with frame): 16.25"h x 20.25"w. Provenance: Purchased directly from the artist in 1983; thence inherited through descent to Private Collection (Oakland, CA). Note: A copy of the original purchase receipt accompanies this lot.
• BARYE BRONZE RABBIT AND 2 SANTOS1st
  BARYE BRONZE RABBIT AND 2 SANTOS1st item: Carved wooden male Santos with polychome painted blue robe, mounted on wooden base. 9 1/4" H. 19th century. 2nd item: Female Santos figure with remnants of polychrome paint. Old label fixed to base. 6 7/8" H. Late 18th/Early 19th century. 3rd item: Antoine-Louis Barye, (French, 1795-1875) bronze depicting a crouching rabbit, mounted on a stepped base. Signed "Barye" on the side. 2" H x 3 1/2" L x 1 3/4" D. 19th century. Provenance: Forest Heights, Knoxville, TN collection. Condition: 1st item: Losses to ears, hands missing. Flaking and losses to paint decoration. 2nd item: Losses/breaks to left arm and hand. Most original paint missing. 3rd item: Overall very good condition with nice old patina.
• David Burliuk painting (David
  David Burliuk painting (David Davidovich Burliuk, Russian/American, 1882-1967), spring view at "Seven Barns", East Quoug, Long Island, New York, signed lower right "Burliuk", oil on Masonite, 4-1/2 x 4-7/8 in.; black-painted and gilt wood frame. Light grime; frame with abrasions. The Estate of the Late Frank Banker, New York, New York; by Descent to Consignor
• "The Bury Hunt", lithograph,
  "The Bury Hunt", lithograph, originally painted by C. Agar and engraved by F. Bromley; 21" x 26 1/2"; proof. Eglomise matte. Very good condition.
• William Baird American, 1847-1917
  William Baird American, 1847-1917 Boating on a River in France Estimate:$10,000-$15,000
• 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.