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Inscription: (in each corner and in center): A [image of a knot] E [reversed] (unidentified)(on scabbard hanging from man on left): AVE : / REGINA . C[AELORVM] (Hail the Queen of the Heavens [reference to one of the Marian antiphons]) (on dog’s collar, left): OFANGRE (too fragmentary for interpretation) (on dog’s collar, center): A [image of a knot] E [reversed] (unidentified)
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Inscription: (on each corner and center): A [image of a knot] E [reversed] (unidentified)(on dog collar; twice): AE(on dog collar bearing arms; twice): AMarking: Arms (on dog collar on right): Quarterly, 1 and 4, barry of six or and azure, the first two bars debruised by three roses gules, seeded proper; 2 and 3, or, three escutcheons gules
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Inscription: (on each corner and in center): A [image of a knot] E [reversed] (unidentified)(on red horn): W [backwards E] D H N O H N M E H O M (too fragmentary for interpretation)
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Inscription: (On scroll): . Ave . / . gracia . / . ple / na . (Hail [Mary] full of grace)Marking: Arms [on shield held by two angels, center top]: Vilanova of Castile, Catalonia, etc
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04.3.217: Ferdinand I de Medici, Florence (1587–d. 1609; by descent in the Medici armory through the Grand Dukes of Tuscany to Peter Leopold); Peter Leopold of Habsburg Lorraine, Grand Duke of Tuscany, Florence (1773–76; sale of Grand ducal armory, Florence, August 1776); Philip James de Loutherbourg, London (until d
Jahrbuch Der Kunsthistorischen Sammlungen in Wien (1962), pp. 145–46, fig. 125.

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In Bloemaert’s version of the Old Testament subject (Exod. 17:1–6), the children of Israel march out of Egypt either naked or provocatively dressed, and weighed down with earthenware pots, copper-lined cookware, and, in the arms of the young woman at center, a silver-gilt ewer dating from the late sixteenth century
„Neuerwerbungen der Sammlung Matsvanszky in Wien.“

This composition, in which half-length figures of the three magi are viewed behind a fictive arcade, offering their gifts to the Christ Child—an event celebrated in the Church as the Feast of Epiphany (January 6)—conforms to the rising popularity in the Netherlands for close-up devotional paintings that put the viewer in a direct relationship with the event depicted
Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 12 (1938), p. 60 n. 13,

Attribution, Date, and Bruegel’s Working Methods: When The Met acquired The Harvesters in 1919, the extraordinarily low sale price in part had to do with the art market that had virtually collapsed during World War I
made on the “Inside Bruegel� website produced by the Kunsthistorisches Museum Wien