Joseph Bartholomew Kidd Paintings & Artwork for Sale | Joseph Bartholomew Kidd Art Value Price Guide

Oct. 12, 2022
Kidd Joseph Bartholomew, Views of Jamaica. Volume I (-II). Kingston: Eagle Merchant Bank of Jamaica Ltd & Paul Cheng-Young, 1989.
Est: €280 - €560
2 volumi in-folio grande (mm 507x400). [1] carta di occhietto, [1] di frontespizio, [1] di introduzione + 25 tavole a colori fuori testo, protette da carta lucida (numerate 1-25); [1] carta di occhietto, [1] di frontespizio + 25 tavole a colori fuori testo, protette da carta lucida (numerate 26-50). Bell'esemplare, con fioriture concentrate principalmente alle veline e ad alcune tavole. Legatura originale in piena pelle, con titoli in oro al dorso. Dorsi bruniti e tracce di usura ai piatti. Entro cofanetto editoriale in tela coordinata. Copia n. 456/500. Dedica manoscritta dell'Editore al frontespizio, datata Kingston - October 1994 (2)
Gonnelli Casa d'Aste
Mar. 31, 2018
Kidd's Oil After Audubon's Baltimore Oriole
Est: $80,000 - $100,000
"The Baltimore Oriole". Joseph Bartholemew Kidd (1808-1889), after John James Audubon. Ca. 1831-1833. Oil on canvas. Canvas size: 26 x 20 1/2. Framed size: 30 1/2 x 25. Provenance: Mrs. John James (Lucy Bakewell) Audubon; the Shaffer Collection, Cincinnati. Literature: A. Ford, John James Audubon (Norman, Oklahoma, 1964), p.441. A Rare Example of Joseph Kidds Collaborative Work with John James Audubon: An Oil Painting of The Baltimore Oriole The "Baltimore Oriole" is perhaps one of the most historically important images from John James Audubons Birds of America. In 1828, Audubon travelled to Paris in search of subscriptions and was introduced to Louis-Philippe, the Duc dOrleans by the great French flower painter, Pierre Joseph Redoute. The introduction is documented in a letter dated November 2, 1828, from Audubon to his wife Lucy. In his meeting with the Duc, he presented the watercolor of the Baltimore Oriole and this left such an impression that the Duc provided Audubon with a letter of recommendation to the Viscount Martignac, Minister of the Interior, in charge of the royal libraries, and lines of introduction to many of Europes monarchs. Thus, it was partly upon the basis of this composition that the Birds of America became a success. However, Audubons entrepreneurial skill was also apparent at his meeting with the Duc dOrleans. Louis-Philippe was so enraptured with the watercolor of the Oriole that he asked to be allowed to keep it as part of his subscription. Audubon declined the sale and instead encouraged him to purchase his oil painting of the Black Grouse, thus introducing the future king to yet another project. Audubon was intent on creating a "Natural History Gallery of Paintings" which was intended to be an integral compliment to the Birds of America. This was to be made up of oil paintings of the Birds. While Audubon completed some of the paintings for this, the demands of finding subscribers for the Birds of America encouraged him to find a partner in his new venture. Thus, he employed the Scottish painter, Joseph Bartholomew Kidd to copy his watercolors. The main goal of the collaboration was to create a "gallery" of embellished compositions based upon Audubon's birds, thereby working both to promote the Birds of America, then in production, and to create a business venture which would hopefully prove quite lucrative in and of itself. By 1833, Kidd had copied and added sophisticated, dramatic landscapes to almost one-hundred of Audubon's watercolor compositions. Yet some tension was beginning to arise in the arrangement with Kidd, and by 1834 the collaboration was over. However, Joseph Bartholemew Kidd's "Baltimore Oriole" is a striking example of this unusual partnership with John James Audubon. His skill was such that the authorship of many of these oils, to Audubon or Kidd, has often been contested. Indeed, this is the case with the "Baltimore Oriole" which entered the Shaffer Collection with certification from Audubons own granddaughter, Harriet, stating that it was the work of her grandfather. It has since been given to Kidd. In his painting, he captured the elegance and vitality of Audubon's orioles with great facility. Every detail of the birds is identical to both Audubon's watercolor study and the aquatint engraving (see Plate 12). Yet, while Kidd was completely faithful in his rendering to the ornithologist's original intent, compositionally and otherwise, he placed them in a setting that adds emphasis and refinement to the image of the small birds. Kidd's addition of a sky as background to the birds is deceptively simple, but it creates effects that highlight his ability to work with and improve upon Audubon's compositions. Towards the bottom of the composition, Kidd added dark clouds which, rather than serving to create an ominous ambience, give way to light blue sky which frames and highlights the birds. Clearly, one of Kidd's greatest talents was his ability to create a breathtaking environment, and use it to emphasize and frame the birds, not to overshadow them. Kidd's painting appears, in this way, as the logical culmination of Audubon's efforts. Because the "Natural History Gallery of Paintings" was not brought to completion, the project has basically been lost to the public eye, in contrast with the amazing, enduring financial and artistic success of both the printed series and also Audubon's watercolor studies. This is greatly unfortunate in many respects: Audubon intended Kidd's individual paintings to be, in a sense, the most valuable of his birds, and also the most refined images he would present to the public. This striking example demonstrates the ideal outcome of the two artists' partnership, before the premature end to their cooperative efforts.
Arader Galleries
Jan. 28, 2018
2 RARE J.B. KIDD JAMAICA LITHOGRAPHS
Est: $800 - $1,200
KIDD, Joseph Bartholomew, (Scottish, 1806-1889): 2 Hand Colored Lithographs; 1) sight size 13.5" x 19", framed, 21" x 27"; 2) "Distant View of Port Royal and Kingston", sight size 13" x 19.5", 21.5" x 27".
Burchard Galleries Inc
Aug. 13, 2017
Joseph Bartholomew Kidd (1806/08 - 1889)
Est: $2,500 - $5,000
Joseph Bartholomew Kidd (New York / United Kingdom, Scotland, 1806/08 - 1889). Signed lower right. Sight Size: 13 x 17 in. Oil on canvas painting of a young girl giving her pet dog a bath while a cat is watching in the background.
Sarasota Estate Auction
Aug. 20, 2016
" JB Kidd - 1837 " Original Landscape Drawing
Est: -
" JB Kidd " Signed Original Pencil Landscape Drawing on Paper ( with embossed seal ) - Dated " 1837 " Figures and Temple in a Landscape beside water with waterfall - Sight Size 12 1/2 inches by 9 1/4 inches - J.B.
Terri Peters & Associates
Aug. 20, 2016
" JB Kidd " Original Drawing - " 1837 "
Est: -
" JB Kidd - RSA " Signed Original Pencil on Paper Landscape Drawing Dated " 1837 " and Titled " Loch Leven Castle - Scotland " - Sight Size 9 1/8 inches by 7 1/8 inches - J.B. Kidd ( Joseph Bartholomew Kidd ) was
Terri Peters & Associates
May. 18, 2016
Joseph Bartholemew Kidd (1806-1889) Baltimore Oriole (after John James Audubon)
Est: $25,000 - $35,000
Joseph Bartholemew Kidd (1806-1889) Baltimore Oriole (after John James Audubon) oil on canvas 26 x 20 1/2in Provenance Mrs. John James (Lucy Blackwell) Audubon. The Shaffer Collection, Cincinnati, Ohio, by 1964. W. Graham Arader III, King of Prussia, Pennsylvania. Private collection, San Francisco, California, acquired from the above.
Bonhams
Feb. 26, 2015
Joseph Bartholemew Kidd (1808-1889), APPROACHING STORM, 17.5" x 13.5" - 44.5 x 34.3 cm.
Est: -
JOSEPH BARTHOLEMEW KIDD (1808-1889), SCOTTISHAPPROACHING STORMOil on canvas17.5" x 13.5" - 44.5 x 34.3 cm.Provenance:Odon Wagner Gallery, TorontoEstimate: $1,000-1,500
Waddington's
Jan. 27, 2015
AFTER JOSEPH BARTHOLOMEW KIDD (BRITISH, 1808-1889) THE PARADE AND UPPER PART OF KINGSTON FROM THE CHURCH Photoreproductions: each 11...
Est: $100 - $200
AFTER JOSEPH BARTHOLOMEW KIDD (BRITISH, 1808-1889) THE PARADE AND UPPER PART OF KINGSTON FROM THE CHURCH Photoreproductions: each 11 x 18 in. (sight) Framed; lower center "No. 4. Retreat Penn. St. Anns"; lower right "From Nature &on Stone by J.B. Kidd, S.A.", lower center "Plate, 8. The Parade and Upper Part of Kingston from the Church", lower right "W. Clerk 202, High Holborn, London." (2)
Potomack Company
Oct. 21, 2014
AFTER JOSEPH BARTHOLOMEW KIDD (BRITISH, 1808-1889) THE PARADE AND UPPER PART OF KINGSTON FROM THE CHURCH Photoreproductions: each 11...
Est: $100 - $200
AFTER JOSEPH BARTHOLOMEW KIDD (BRITISH, 1808-1889) THE PARADE AND UPPER PART OF KINGSTON FROM THE CHURCH Photoreproductions: each 11 x 18 in. (sight) Framed; lower center "No. 4. Retreat Penn. St. Anns"; lower right "From Nature &on Stone by J.B. Kidd, S.A.", lower center "Plate, 8. The Parade and Upper Part of Kingston from the Church", lower right "W. Clerk 202, High Holborn, London." (2)
Potomack Company
Oct. 08, 2014
The Windward Falls, near Kingston; Port Royal; and Claremont Pen, St Mary's Annotto Bay, in the distance (Abbey Travel 686, pls. 7, 28, 37)
Est: £2,000 - £3,000
Joseph Bartholomew Kidd, R.S.A. (1808-1889) The Windward Falls, near Kingston; Port Royal; and Claremont Pen, St Mary's Annotto Bay, in the distance (Abbey Travel 686, pls. 7, 28, 37) handcoloured lithographs, from Kidd's West Indian Scenery. Illustrations of Jamaica, published by Smith, Elder & co., London, 1838-1840 S. 12 ½ x 17 ¼in. (31.7 x 43.7cm.) and similar (3)
Christie's
Jul. 29, 2014
JOSEPH BARTHOLOMEW KIDD (BRITISH, 1808-1889) THE PARADE AND UPPER PART OF KINGSTON FROM THE CHURCH Two hand-colored lithographs: eac...
Est: $700 - $900
JOSEPH BARTHOLOMEW KIDD (BRITISH, 1808-1889) THE PARADE AND UPPER PART OF KINGSTON FROM THE CHURCH Two hand-colored lithographs: each 11 x 18 in. (sight) Framed; lower center "No. 4. Retreat Penn. St. Anns"; lower right "From Nature &on Stone by J.B. Kidd, S.A.", lower center "Plate, 8. The Parade and Upper Part of Kingston from the Church", lower right "W. Clerk 202, High Holborn, London." (2)
Potomack Company
Jun. 11, 2013
Joseph Bartholomew Kidd, Scottish 1808-1899- View
Est: £300 - £400
Joseph Bartholomew Kidd, Scottish 1808-1899- View of Abbotsford, Galashiels, the home of Sir Walter Scott; watercolour, signed, 10x13.5cm
Roseberys
Mar. 30, 2011
Joseph Bartholemew Kidd (British, 1806-1889) 'Dutch Boats in a Calm'
Est: £400 - £500
'Dutch Boats in a Calm' signed 'J.B.KIDD RSA' (lower left); signed and inscribed with title (on a label attached to the stretcher) oil on canvas 31 x 50cm (12 3/16 x 19 11/16in).
Bonhams
May. 23, 2007
Joseph Bartholomew Kidd, after John James Audubon circa 1801-1889 , Pigeon Hawk (Falco Columbarius)
Est: $50,000 - $70,000
oil on canvas
Sotheby's
Apr. 20, 2005
Attributed to Joseph Bartholomew Kidd, R.S.A. (1808-1889)
Est: £5,000 - £7,000
A sugar plantation in Jamaica oil on canvas 15 3/8 x 23in. (39 x 58.4cm.)
Christie's
Dec. 03, 2003
* JOSEPH BARTHOLOMEW KIDD, AFTER JOHN JAMES AUDUBON CIRCA 1801-1889
Est: $40,000 - $60,000
MATERIAL/MEDIUM oil on canvas
Sotheby's
Feb. 16, 2001
JOSEPH BARTHOLOMEW KIDD MOONLIT SCENE, INVERGARY CASTLE 27cm x 40cm
Est: £150 - £250
JOSEPH BARTHOLOMEW KIDD MOONLIT SCENE, INVERGARY CASTLE Inscribed on a label on the reverse, oil on panel, 27cm x 40cm Estimate £ 150-250
Lyon & Turnbull
May. 25, 1994
*JOSEPH BARTHOLOMEW KIDD (C. 1801-1889)/AFTER AUDUBON PIGEON HAWK (FALCO COLUMBARIUS)
Est: $250,000 - $350,000
oil on canvas 26 1/4 by 20 3/4 in.66.7 by 52.7 cm. While visiting Pennsylvania during the spring of 1812, Audubon first recorded the Pigeon Hawk in a watercolor which depicts a single male bird. Thinking the species to be newly discovered, he named it Le Petit Caporal. As Audubon explained: "The name which I have given to this new and rare species was chosen at the time when Napoleon le Grand was in the zenith of his glory. Everybody knows that his soldiers frequently designated him by the nickname of Le Petit Corporal, which I thought more suitable to our little Hawk, than the names Napoleon or Bonaparte, which I should have adopted, had I been so fortunate as to procure a new Eagle." In 1829, Audubon executed a second watercolor of this subject (23 1/8 by 18 inches; New York Historical Society, New York), which depicts both a male and female bird. It is most likely that this work served as the basis for the present painting. Audubon is known to have made or commissioned oil copies of certain watercolors in order to help finance the publication of The Birds of America underway in London at this time. According to Mary Tyler Winters, Joseph Kidd painted this work on commission from Audubon between November 1830 and April 1833. "It is on one of the sizes of canvas which Audubon supplied to Kidd in 1830 (Howard Corning, ed., Letters of John James Audubon, Boston, Club of Odd Volumes, vol. 1, p. 124). This image appears on Audubon's list of drawings sent to Kidd for copying in oil on July 29, 1831 (Waldemar Fries, The Double Elephant Folio, Chicago, 1973, Appendix C, p. 362, "75 petite corporal"). Mrs. Winters further states "I have compared [this] image with the Kidd after Audubon oil versions of the Junco and Maryland Yellow Throat at the Audubon Museum in Henderson and the Flicker and Passenger Pigeon at the Museum of Comparative Zoology at Harvard University. The backgrounds compare closely in concept: they lie in a band along the bottom of the picture, they are disjunct in scale between the birds and the trees and hills in the background, they are painted in the same color palette of tawny yellows and dark blue beneath a luminous orange blush sky, the birds and habitat are exact copies of the Audubon drawing." Furthemore Mrs. Winters states "It is well known that John James commingled his and John Woodhouse's and Kidd's oil pictures on his selling trips in 1840-1843 in New England and Canada (Howard Corning, ed., Journals, 1840-1843, Boston, Club of Odd Volumes, 1929). Maria Audubon in her preface to John James Audubon and His Journals commented on this practise (Maria Rebecca Audubon, John James Audubon and His Journals 1840-1843, vol. I, p. 65). The later affidavits for sale purposes of Lucy Audubon Williams, another granddaughter, have been discredited by the Metropolitan Museum of Art, and others." As in the earlier watercolor, in the oil the birds grasp a leafless branch, the male tensely poised above the female whose outstretched wings reveal delicate markings. In addition to its plumage, the birds" distinctive character is captured through each nuance of their particular movements, faithfully recorded by Kidd. The added landscape against which the birds are juxtaposed lends the work a sense of drama and immediacy entirely in keeping with Audubon's work which conveys the power and vitality of nature. A letter from Mary Tyler Winters accompanies this lot. Provenance: Mrs. John James Audubon C. W. Butlee, New York (acquired as a gift from the above) John E. Thayer Descended directly in the family to the present owner Exhibited: Greenville, South Carolina, Greenville County Museum of Art; Columbia, South Carolina, Columbia Museum of Art; Charleston, South Carolina, Gibbes Art Gallery, Expressions of Nature in Art, November 1975-February 1976, no. 1 Literature: Annette Blaugrund and Theodore E. Stebbins, Jr., Editors, John James Audubon, The Watercolors for The Birds of America, New York, 1993, p. 314, watercolor illustrated in color.
Sotheby's