Private collection, Ireland

Belfast, Queen’s University Common Room, John Luke Exhibition, 1960, no.24;
Belfast, The Bell Gallery, John Luke: Work from the Studio, February-March 1980, no.71;
Dublin, Irish Museum of Modern Art, The Moderns: The Arts in Ireland from the 1900s to the 1970s, 20 October 2010–13 February 2011, no.75

Joseph McBrinn, Northern Rhythm: The Art of John Luke (1906-1975), Belfast, National Museums Northern Ireland, 2012, p.16

Original canvas. Undulates slightly and a few minor frame abrasions along extreme right edge; otherwise appears in good overall condition. Under ultraviolet light there appears to be a small spot of retouching near centre of the hat. Held in a wood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

During the three years John Luke attended the Slade School of Fine Art in London he is known to have painted several self-portraits. Two of these, both dating from 1928, were purchased by the Ulster Museum in Belfast following the major retrospective of the artist’s work mounted there in 1978. One is in a traditional academic style typical of the rigorous approach to draughtsmanship taught at the Slade. The other, which the artist gave the enigmatic title The Tipster, is similarly realistic yet full of imaginative symbolism heightened by the striking blue, green and black decorative frame reminiscent of the work of the Bloomsbury group. This self-portrait was painted in 1929 and was submitted by Luke as part of his 'Diploma' work at the Slade in June 1930. Like the slightly later Self-Portrait as St. Francis and Natas (Self-Portrait) paintings, remained in the artist’s possession until his death. As with The Tipster a detailed preparatory pencil study for this self-portrait survives (sold Whyte's, 15 March 2010, lot 50) that shows the artist’s systematic approach to painting as underpinned by his exceptional drawing skills. The painting’s heightened decorative qualities, such as the palate of primary colours and the flat amber-gold background, indicates the increasing importance of the Italian Primitives, that Luke studied so assiduously in the National Gallery as a student, and that would eventually lead him to a lifelong study of tempera and fresco painting.

Dr. Joseph McBrinn