From the numerous works conserved and documented by this artist from the city of Cardona we have learned that he must have had his workshop in this city under the wing of the canonical church of Sant Vicenç. Through documentary information it seems that as a young man, in Barcelona, he established a professional relationship with the painter Pere Serra, who must have transmitted to him the basic ideas of the Italianate Gothic style that remained with him throughout his career. These three pinnacles, together with another two kept in private collections, may have been part of the high altarpiece dedicated to Saint Vincent installed in the Gothic period in the central apse of the canonical church of Cardona. The panel with the depiction of the Calvary must have been the top compartment of this large altarpiece, while the other two, with the scenes of the angels watching over the body of Saint Vincent and the miraculous recovery of the saint's body from the sea, must have been two of the upper panels. Given the important placing of these panels, it must have been one of the most important works in his professional career, and it therefore enables us to identify the salient features of his painting. His art is characterised by the use of a rather unsmooth canon for the figures depicted and by the creation of compositions somewhat lacking in dynamism, though they always clearly show simplicity and narrative clarity as well as a marked personality that makes it very easy to identify his work. In short, Pere Vall was a painter that despite being part of the generation of early International Gothic did not incorporate the new developments of this style. By Pere Vall, the Museum also conserves a panel with the scene of Saint Joachim and Saint Anne before the Golden Gate that, due to its fragmented state, is on display in the study galleries.