John Luke

The colours are slightly fresher than the catalogue illustration suggests. The board is slightly bowed at the edges. There is a surface abrasion by the bottom right edge, visible in the catalogue illustration, and there is some minor surface craquelure in the bottom left corner with some minor scattered surface dirt otherwise in good original condition. Under ultraviolet light, there appear to be no signs of retouching. Held in a simple metallic veneer 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."

John Luke's early work, influenced by his training at the Belfast College of Art, was representational, the emphasis being on observation and recording. In 1927, however, he won a scholarship to the Slade School in London and there, under the tutelage of the celebrated Henry Tonks, he developed a deep interest in drawing which in time set the character for his painting too. From now on his work became increasingly stylized, eventually reaching its apogee in pictures like The Fox, 1937, or The Three Dancers, 1945 (both Coll. Ulster Museum). A Farmstead in Co. Armagh stands at the beginning of this development. The precision of the drawing throughout, notably in the stance and observation of the figures and the gentle stylization of the buildings and the landscape, attesting to the influence of Tonks, whom Luke greatly admired. The setting may be Killylea, Co. Armagh, where Luke went from time to time.

We are grateful to S.B. Kennedy for his kind assistance with the cataloguing of this lot.