Saint Jerome Attributes To "master Of The Greenville Tondo", Tuscan Pupil Of Pietro Vannucci.

This interesting and rare painting was originally part of a domestic tabernacle, for which this panel served as the door for the doors that enclosed it, as can be deduced from the small hinge holes on the right side of the painting.

This Saint Jerome was painted by a talented student or assistant of Pietro di Cristoforo, known as Perugino, as can be deduced from the unmistakable style of the master, born in Citta della Pieve in 1446.

It is plausible that this panel was produced between the late 15th century and the very early 16th century, when Vannucci, at the height of his highly regarded art, maintained two workshops, one in Perugia and one in Florence. These workshops contained a breeding ground for artists closely linked to the master's figurative compositions, contributing to the widespread dissemination of his artistic canons.

Hazardous attribution is not easy, as numerous artists worked for or apprenticed to Vannucci, such as Andrea d'Assisi, known as l'Ingegno, Giannicola di Paolo, Antonio da Viterbo, known as Pastura, and others in Perugia. Certainly, the quality of this painting allows for this, based on a careful study of the sources and a careful stylistic analysis.

It is plausible that it was created by these faithful assistants, mentioned above, but it is important to remember the numerous works in the Perugia area attributed to anonymous artists, who already contributed to spreading the master's taste and style.

Indeed, stylistic similarities are found with works attributed to the so-called Master of the Greenville Tondo, whom scholars suggest was an artist of Tuscan origin. Following his Florentine apprenticeship with Pietro Vannucci, he produced numerous devotional works for ecclesiastical and private commissions in Tuscany and Umbria, even reaching Campania in his late career. Scholars Everett Fahy and Federico Zeri grouped around thirty known works under this name.

Oil on panel, executed between the 15th and 16th centuries. 1500 ca.

The painting is in excellent condition.

Height 65cm x width 20cm.

Critical research on the painting for the purpose of attribution was conducted by Dr. Marco Bompadre, and if interested, he is willing to provide expertise.

We enclose a historical certificate of authenticity with the sale.

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