Harry Kernoff, R.H.A.

Acquired from Miss Lina Kernoff, the artist's sister;
Their Sale, Adams, Dublin, 8 December 2004, lot 148, where purchased by the present owner

The canvas is lined and undulates slightly. There is a vertical line of craquelure in the upper left corner, also some surface abrasions to the left of the legs of the statue, around the base of the vase and in places along the right edge. The work is sound overall. Ultraviolet light reveals an opaque varnish, which makes the surface difficult to read conclusively, some areas across the canvas fluoresce, these appear to be the hand of the artist, possibly some retouching by the upper left edge. Held in a gilt-glass 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."

The son of a Russian Jewish father and Spanish mother, Kernoff moved to Dublin aged fourteen and became an active member within Dublin's artistic and literary circles, later becoming full member of the Royal Hibernian Academy, where he exhibited regularly, and also with Victor Waddington Galleries. The present work is an early example from when Kernoff studied at the Metropolitan School of Art in the early 1920s. It may have originally been called The Judgement of Paris and been intended for entry to a competition such as the Taylor Scholarship in the RDS. Ciaran MacGonigal has commented, 'It’s reference is classical and he used the statue to deal with what would have been tricky for him being both Jewish and under the thumb of his mother and sister, and in addition in Dublin…any direct reference to a nude female figure would have broken several conventions.'