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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)
Illustrierte Berichte aus Berlin, London, New-York, Minneapolis, München, Paris, Wien

Although better known as a painter of large-scale canvases, Tintoretto produced numerous portraits and was highly esteemed by his contemporaries as a portraitist. It was he, indeed, and not Veronese, Titian’s protégé, who replaced Titian as official portraitist of the Venetian government (in 1559, although the sansaria, or state stipend, was granted in 1574)
"Zur Ausstellung in Wien: Tintoretto und der ‚Weissbärtige Mann‘ im ‚Bordone-Saal

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.

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
Illustrierte Berichte aus Berlin, London, New-York, Minneapolis, München, Paris, Wien

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)
Illustrierte Berichte aus Berlin, London, New-York, Minneapolis, München, Paris, Wien

Illustrierte Berichte aus Berlin, London, New-York, Minneapolis, München, Paris, Wien

Illustrierte Berichte aus Berlin, London, New-York, Minneapolis, München, Paris, 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,

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."

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