John (1860) Kane Sold at Auction Prices

John Kane (American, 1860-1934) - My Birthplace

John Kane (American, 1860-1934) - My Birthplace Signed ‘JOHN KANE’ bottom right; also inscribed with title verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) Provenance Dusening Gallery, New York, New York. Hirschl & Adler Galleries, New York, New York.  Christie's, New York, sale of December 5, 1980, lot 213.  Acquired directly from the above sale.  The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Lot Essay Born in 1860 to Irish parents in Scotland, Kane emigrated to the United States in 1880, settling in Pittsburgh where he worked several manual jobs, including painting boxcars,signs, houses, before eventually deciding to make a living out of his art. When his Scene from the Scottish Highlands was accepted by the jury for the annual international exhibition of the Carnegie Institute in Pittsburgh in 1927, Kane’s name became a sensation despite his lack of formal training. Considered to be “the find of the generation” by The New York Times, Kane rose to fame quickly, though his art was difficult to classify. Even Dr. Barnes, who intensely collected the artist’s work, struggled to display his cheerful scenes of rural life in his Lower Merion home. Known for his panoramic landscapes (either of the Scottish highlights or of Pittsburgh, in which green pastures coexist with industrial buildings), his self-portraits, as well as some patriotic subjects that often involved Abraham Lincoln, Kane used art to reflect on the difficult world around him. It may also have been an outlet to counter the many difficulties life brought him. The present and previous works, both incredibly personal, present a window into Kane’s thought process and personal biography. My Birthplace, on the other hand, likely portrays a scene from the artist’s childhood hometown in West Calder, Scotland. As an expatriate, Kane frequently depicted landscapes reminiscent of his Scottish roots, despite his life and artistic career unfolding in the United States. In this artwork, Kane invites the viewer to reflect on themes of identity, memory, and the passage of time, evoking a sense of nostalgia for the artist’s origins. An intriguing element is the floating head in the upper left corner, a self-portrait which adds a surreal and dreamlike quality to the piece. Here, the floating head reinforces the intimate nature of the artwork and his connection to the depicted scene. The foreground of the painting features train tracks, possibly alluding to Kane’s artistic origins of painting boxcars, or to the tragic accident that cost him a leg. 

John Kane (American, 1860-1934) - Grandma at Fireside

John Kane (American, 1860-1934) - Grandma at Fireside Signed 'JOHN KANE' bottom right, oil on canvas 8 x 10 in. (20.3 x 25.4cm) Executed circa 1928-29. Provenance Valentine Gallery, New York, New York.  Maynard Walker Gallery, New York, New York.  M. Knoedler & Co., New York, New York.  Collection of Joseph H. Hirshhorn, New York, October 21, 1958-1966. Sotheby's Arcade, New York, sale of January 24, 1989, lot 281. Acquired directly from the above sale.  The Collection of Sidney Rothberg, Philadelphia, Pennsylvania.  Exhibition “Paintings by John Kane,” Junior League Headquarters, Pittsburgh, Pennsylvania, May 25-June 6, 1931 (exhibited as Grandma at 90). “Paintings by John Kane,” Valentine Gallery, New York, New York, December 1936, no. 133. “Exhibitions of Paintings by John Kane,” The Arts Club of Chicago, Chicago, Illinois, March 3-24, 1939, no. 11.  “20th Century American Primitives,” Zabriskie Gallery, New York, New York, September 12-October 1, 1960, no. 3.  Literature Leon Anthony Arkus, John Kane, Painter, University of Pittsburgh Press, Pittsburgh, 1971, p. 131, 195, no. 9 (illustrated p. 195).  Lot Essay Born in 1860 to Irish parents in Scotland, Kane emigrated to the United States in 1880, settling in Pittsburgh where he worked several manual jobs, including painting boxcars, signs, houses, before eventually deciding to make a living out of his art. When his Scene from the Scottish Highlands was accepted by the jury for the annual international exhibition of the Carnegie Institute in Pittsburgh in 1927, Kane’s name became a sensation despite his lack of formal training. Considered to be “the find of the generation” by The New York Times, Kane rose to fame quickly, though his art was difficult to classify. Even Dr. Barnes, who intensely collected the artist’s work, struggled to display his cheerful scenes of rural life in his Lower Merion home. Known for his panoramic landscapes (either of the Scottish highlights or of Pittsburgh, in which green pastures coexist with industrial buildings), his self-portraits, as well as some patriotic subjects that often involved Abraham Lincoln, Kane used art to reflect on the difficult world around him. It may also have been an outlet to counter the many difficulties life brought him. The following two works, both incredibly personal, present a window into Kane’s thought process and personal biography. In Grandma at the Fireside, Kane opens a very personal door, and brings us forward in his life. The central figure in the painting is the artist’s wife, Mrs. Kane, portrayed as the focal point. Created around 1928-29, this scene likely depicts the early days of their reconciliation following a tumultuous marriage. Married in 1897, John Kane and Maggie Halloran faced adversity after the loss of their infant son, leading to Kane’s deep depression and exacerbated drinking issues. The couple separated, and Kane remained estranged from his wife and children until the late 1920s, when news of his success and whereabouts reached her through newspapers. The two eventually reconciled and remained together for the rest of Kane’s life. With the fireplace enhancing the overall warmth and intimacy of the scene, Grandma at the Fireside embodies domestic harmony. The inclusion of a small child on Mrs. Kane’s lap conveys a tender and affectionate quality. In this painting, Kane reveals his contentment at being back home, portraying a poignant narrative of familial reunion and domestic bliss. My Birthplace, on the other hand, likely portrays a scene from the artist’s childhood hometown in West Calder, Scotland. As an expatriate, Kane frequently depicted landscapes reminiscent of his Scottish roots, despite his life and artistic career unfolding in the United States. In this artwork, Kane invites the viewer to reflect on themes of identity, memory, and the passage of time, evoking a sense of nostalgia for the artist’s origins. An intriguing element is the floating head in the upper left corner, a self-portrait which adds a surreal and dreamlike quality to the piece. Here, the floating head reinforces the intimate nature of the artwork and his connection to the depicted scene. The foreground of the painting features train tracks, possibly alluding to Kane’s artistic origins of painting boxcars, or to the tragic accident that cost him a leg.

JOHN KANE OIL ON CANVAS PORTRAIT COLONEL TORY

John Kane (Scottish/American, 1860-1934) A portrait painting of Colonel Tory, oil on canvas. Image size: 36" x 26"

John Kane American, 1860-1934 In a Library

John Kane American, 1860-1934 In a Library Signed John Kane (lr) Oil on canvas 14 1/8 x 8 inches Provenance: Stefan Hirsch By descent to the family Richard York Gallery, New York C The Patricia and Donald Oresman Collection

JOHN KANE (1860-1934) - Scots' Day at Kennywood

JOHN KANE (1860-1934) Scots' Day at Kennywood oil on canvas 19 x 27 in. (48.3 x 60.6 cm.) Painted circa 1931.

John Kane

John Kane (Pennsylvania, 1860-1934) SQUIRREL HILL FARM (double-sided painting) oil on board, framed, signed lower right H15 1/2" W18 1/2" Provenance: Edward Duff Balken collection Millicent Rogers Estate of Arturo Peralta Ramos II Exhibitions: Carnegie Institute (label on verso) listed as property of Mr. Edwin Duff Balken

Kane, John, b. 1951, New Hampshire/ New York, "Mr. Crabs House" Oil on Canvas.

Kane, John, b. 1951, New Hampshire/ New York, "Mr. Crabs House" Oil on Canvas. Signed "J Kane" in lower left. Titled on reverse. h:11 w:14 in.

Kane, John, b.1951, New Hampshire/ New York, "Hills of Splendor" Oil on Canvas.

Kane, John, b.1951, New Hampshire/ New York, "Hills of Splendor" Oil on Canvas. Signed "J. Kane" in lower left. Titled on reverse. h:12 w:16 in.

LANDSCAPE BY JOHN KANE (AMERICAN, 20TH CENTURY).

LANDSCAPE BY JOHN KANE (AMERICAN, 20TH CENTURY). Oil on canvas, signed lower right. Farmhouse across a field. 8"h. 11"w., in a frame, 12.5"h. 15"w.

John Kane (1860-1934)

John Kane (1860-1934) Portrait of a Girl signed 'John Kane' (lower left) oil on board 12¼ x 10½ in. (31.1 x 26.7 cm.)

JOHN KANE ( American, b.1951)

Oil on canvas, "Lambertville Winter Scene," (framed); Signed; 11" x 14"

John Kane (Am, 1860-1934) Halstead Pennsylvania

View of Halstead Pennsylvania 1933. Oil on canvas laid on board, signed and dated l.r. 1933, titled l.c. Sight size 15 1/2 x 18 1/2 inches.

John Kane (Am, 1860-1934) Farm Scene

Oil on canvas laid on board, signed l.l. 15 x 21 1/2 inches.

John Kane (Am, 1860-1934) George Washington Bridge

Oil on canvas, signed and dated l.l. 1933. 17 1/2 x 23 1/2 inches.

JOHN KANE (AMERICAN, 1860-1934)

JOHN KANE (AMERICAN, 1860-1934) Oil on canvas. "Stately Mansion." 23.5 x 37." Relined.

MODERN OIL ON BOARD

MODERN OIL ON BOARD Abstract in pink and blue. Signed lower left. 36 x 25."

John Kane American, 1860 - 1934 HARBOR SCENE