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Bronzino (Agnolo di Cosimo di Mariano) – Portrait of a Young Man – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435802?exhibitionId=%7B2c98eb4f-1cd0-43dc-912e-1fd5d5ef9c00%7D&oid=435802&pkgids=689&pg=1&rpp=4&pos=1&ft=*&locale=en

This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
Harry B. Wehle.

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Joshua and David (from the Heroes Tapestries) – South Netherlandish – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/468230

Marking: Arms (on thirteen banners atop turrets, on bosses of vaulting above Joshua and David): azure, semé of fleurs-de-lis gold, within a border engrailed gules [Arms of Jean duc de Berry];(on banner next to end turret at right of tapestry): bendy of six, azure and gold [Arms of Burgundy];(on shield at right of figure): argent, a dragon vert [Arms of Joshua];(on shield at right of figure): azure, a harp gold [Arms of David]
Rorimer, James J., and Margaret B. Freeman.

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Antoine Watteau – Mezzetin – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/437926

Watteau, the son of a roofer, left Valenciennes for Paris about 1702 to work there as a copyist and assistant to Claude Gillot (1673–1722) and Claude III Audrun (1658–1734). He became interested in theater and fell under the spell of Peter Paul Rubens (1577–1640)
, ill. opp. p. 226 [reprinted, Paris, 1929, p. 67, no. 414, ill. opp. p. 66].

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