- 'Dokładne odtworzenie czterdziestu ośmiu sokołów' ("Shô utsushi shijuhachi taka")
- 'Ze zbiorów ks. heskich w Muzeum Zamkowym w Darmstadt, złożone na zamku w Karpnikach \(Fischbach\) w latach 19421944, pozyskane w wyniku tzw. akcji rewindykacyjnej z Jeleniej Góry w 1945'
- <a href="http://cyfrowe.mnw.art.pl/dmuseion/docmetadata?id=18223&show_nav=true"
- <a href="http://cyfrowe.mnw.art.pl/dmuseion/docmetadata?id=18224&show_nav=true"
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- <en>A comparable work - an equally prestigious portrait of Louis II de Bourbon (1621-1686), prince de Condé (known as Le Grand Condé), dressed a l'antique and standing before a depiction of the battle of Rocroi, signed and dated 1645 on the reverse (as is the Warsaw painting) is in the Musée de l'Armée in Paris, (inv. no. 2007.31.1.) [Hanna Benesz]</en>
- <en> A replica, of inferiour quality and smaller size, is in the Národní galerie in Prague (inv. no. NG DO 4977). The figural group at the right is repeated in a painting by Vinckboons in a private collection, Ithaca, New York, USA.
- <en>A subject, unique in the iconography of Saint Elisabeth, is drawn from the original canonization document Dicta Quatuor Ancillarum from 1235, later repeated in the Legenda Aurea by Jacopo da Voragine. It tells about a young man of fashion, Berthold, who was converted thanks to the prayers of the pious landgravine of Thuringia and subsequently became a Franciscan friar. Elisabeth's prayers first caused in Berthold an insupportable sensation of burning, but later his bodily fire transformed into inner flames of love for God. The question of attribution is not solved definitely; previous propositions pointing to Theodor van Thulden, Cornelis de Vos and Artus Wolffort were rejected by specialists. A signed and dated (1634) painting by van Lint in the collection of the Royal Castle in Warsaw (inv. no. ZKW/1996) and some of his early drawings make a certain comparative material, however not without reservations. [Hanna Benesz]
- <en> A work by a 16th-century follower of Jan Gossaert; one of the many copies (ca 73) after a lost original (M. J. Friedländer ENP, VIII, 1972, no. 38a). The extant copies are usually differentiated by the composition of the background. Maryan W. Ainsworth (exh. cat. Man, Myth, and Sensual Pleasure. Jan Gossaert’s Renaissance, The Metropolitan Museum of Art, NY, National Gallery, London, 2010-2011, ed. Maryan W. Ainsworth, Yale University Press, New Haven and London 2010, cat. no. 10, pp.154-157) considers a little painting in the collection of the Mauritshuis from ca. 1520 (inv. no. 830) as a model for those later compositions, which originated probably from ca 1531. <en>
- <en> A work by a close follower of Q. Massys, related to a representation of the Virgin in the Koninklijke Musea voor Schone Kunsten van België in Brussels (inv. no. 6647). Martens (2009-2011 and 2011) pointed to two versions of the Warsaw Virgin and Child in a Landscape: in the Museo de Zaragoza (inv. no. NIG 9205, panel, 68x52 cm) linked with the Master of Magdalena Mansi and in the former collection of the duchess de Talleyrand (auctioned in Paris in 1907, panel, 105x75 cm), by anonymous Antwerp painter and suggested all three were executed after a lost original by Massys. The figures in Warsaw version are closest to the style of the master, the painting having been probably painted by his disciple or assistant. <en> [Hanna Benesz]
- <en> Earlier published (with reservations) as Rhinland/Cologne painter. In 2012 A. Ziemba changed the attribution to Netherlandish, most probably Bruges artist, due to the specific rendering of the architecture and the Netherlandish name of the donor.
- <en>Figures painted by Jan Brueghel.
- <en> In the museum of the State Hermitage, Saint Petersburg there is a similar composition (inv. no. GE 6062), attributed to Hieronymus II and analogically signed on the virginal with a monogram HFFIPMKC. De Maere, Wabbes 1994 (Plates L-Z, p.757) publish a painting signed by Pieter Lisaert from a private collection which also repeats this composition. A drawing of two groups of figures similar to our composition, in a private collection in Amsterdam was attributed by U. Härting to Pieter IV Lisaert. A picture repeating the left part of our painting with Sotheby's Milan, 21.05.1991, no. 1061 (as Flemish school, late 16th century). [Hanna Benesz]
- <en>One of several versions of the composition in the National Gallery in London, which considered to be the original. It is noteworthy for the ring with the Reymerswaele coat of arms worn by the man writing, an exceptional detail in such representations. The inscriptions in the book (deciphered by Mackor 1995) derive from the actual town archives of Reymerswaele. [Hanna Benesz]
- <en>One of the earliest Netherlandish paintings representing the Immaculate Conception of the "Tota Pulchra" type, which derives from woodcuts illustrating French prayer books printed in Paris in the first decade of the 16th century. The Virgin is shown surrounded by symbols of her purity, taken from the Loreto litany. A similar composition, in horizontal format and with inscriptions on banderols is in the Museu Monestir, Pendralbes, Spain. [Hanna Benesz]</en>
- <en>Robels and Koslow believed that the drawing in the print room of the British Museum (inv. no. AN193408001) was Snyders' preparatory sketch for the Warsaw paitning. The appearance of another painted version (Sotheby's London, 8.12.2004, lot 10), corresponding much more closely to the drawing changed the chronology of the three compositions. Sotheby's version is now considered the earliest (ca. 1605), the drawing is defined rather as a ricordo and the Warsaw picture, developed from it slightly later and altered in the construction of the space between foreground and background is still believed to be dated ca. 1608. [Hanna Benesz]</en>
- <en>The figures are by Sebastian Vrancx; U. Härting (Härting, Borms (n.d.)) suggests the cooperation of A. Govaerts for some parts of the landscape. [Hanna Benesz]</en>
- <en>The ruins depicted are probably part of baths of Diocletian and are based on a drawing in the collection of F.C. Butôt in Sankt Gilgen, signed: BB fecit Roma 1625 (Roethlisberger 1969, no. 32).
- <en>The specific iconography of the painting (Christ with the instruments of Passion, whose body however does not show the signs of Passion), trying to conciliate both Roman Catholic and calvinistic approach, is elucidated in Judson 1970 (pp. 80-81).</en>
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