The 'Hermanos' Garcia (circa 1580-1634), Spanish, Granada, circa 1625

Overall the condition of the terracotta is very good. There is some minor dirt and wear to the surface, including some chips, consistent with age. There is a chip to the saint's proper right big toe, a chip to the drapery by his right leg and a chip to the rockwork background on the top right corner. A section of the rockwork background is separate and has been attached with an old metal joint. There is some minor wear to the polychromy, including a few losses and nicks to the surface.
"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 brothers Jerónimo Francisco and Miguel Jerónimo García, active in Granada around 1600, have been credited with introducing this conception of St Jerome to Granadine sculpture. Jerome was a hermit saint who lived during the second half of the 4^th century B.C. A prolific scholar, he translated the Bible into Latin and is officially recognised as one of the Doctors of the Church. The present sculpture concentrates on Jerome's identity as an achorite. Situated in the wilderness, the saint appears nude, his body only partially concealed by red drapery, a stark contrast to the more prevalent iconography in which Jerome is presented as the robed intellectual at work in his study. The juxtaposition of the pink flesh of the ageing saint and the craggy brown rocks on which he rests underscores the harshness of the saint's ascetic lifestyle. The precise naturalism of the figure, particularly apparent in the modelling of the hair and beard, and the inclusion of details such as the upper teeth, is characteristic of sculptures by the Hermanos García. Another version, with an almost identical composition, but including a flat pictorial background, was exhibited at the Matthiesen Gallery in 2004. Four further renderings of this subject by the Hermanos García depict Jerome in a semi reclining pose, each with slight variations in the position of the head and arms.

RELATED LITERATURE
The mystery of faith. An eye on Spanish sculpture 1550-1750, exh. cat. Matthiesen Fine Art Ltd., London, 2009, pp. 78-83, no. 5