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Zwollo, An. “Jan Brueghel a Tervuren”. In L'arte nella storia, Contribute di critica e storia dell'arte per Giovanni Carlo Sciolla, 449 - 454. L'arte nella storia, Contribute di critica e storia dell'arte per Giovanni Carlo Sciolla. 2000. Reprint, Milan: Skira, 2000.
Zwollo, An. “Pieter Stevens: nieuwe werk, contact met Jan Brueghel, invloed op Kerstiaen de Deuninck”. Leids Kunsthistorisch Jaarboek, Leids Kunsthistorisch Jaarboek, 1982, 95 - 118.
Zupnick, Irving. “Pieter Bruegel and the Revolt of the Netherlands”. Art Journal, Art Journal, 23, no. 4 (1964): 283 - 289.
Zupnick, Irving. “Bruegel's Virtues as the Epitome of Folly”. In L'Umanesimo e la Follia, 89 - 106. L'Umanesimo e la Follia. 1971. Reprint, Rome: Abete, 1971.
Zupnick, Irving. “Appearance & Reality in Bruegel's Virtues”. In Evolution générale et développements régionaux en histoire de l'art. Actes du XXIIe Congrès International d'Histoire de l'Art (Budapest, 1969), 1:745 - 753. Evolution générale et développements régionaux en histoire de l'art. Actes du XXIIe Congrès International d'Histoire de l'Art (Budapest, 1969. 1972. Reprint, Budapest, 1972.
Zupnick, Irving L. “The Meaning of Bruegel's "Nobody" and "Everyman"”. Gazette des Beaux-Arts, Gazette des Beaux-Arts, 67 (1966): 257 - 270.
Zupnick, Irving. “Eloquent Images: Bruegel's Response to Religious Persecution”. In Album Amicorum Kenneth C. Lindsay: Essays on Art & Literature, 91 - 116. Album Amicorum Kenneth C. Lindsay: Essays on Art & Literature. 1990. Reprint, Binghamton, 1990.
Zupnick, Irving L. “The Influence of Erasmus' Enchiridion on Bruegel's Seven Virtues”. De Gulden Passer, De Gulden Passer, 47 (1969): 225 - 235.
Zupnick, Irving L. Bruegel. 1970. Reprint, New York: McGraw-Hill, 1970.
Zeri, Federico. La Galleria Spada in Roma: catalogo dei dipinti. 1954. Reprint, Florence: Sansoni, 1954.
Zehnder, Frank Günter. Stefan Lochner, Meister zu Köln: Herkunft, Werke, Wirkung. Exhibition Catalogue Cologne: Wallraf-Richartz-Museum. 1993. Reprint, Cologne: Verlag Locher, 1993.
Zagorin, Perez. “Looking for Pieter Bruegel”. Journal of the History of Ideas, Journal of the History of Ideas, 64, no. 1 (2003): 73 - 96.
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Yakush, Mary. Leonardo to Van Gogh: Master Drawings from Budapest. Exhibition Catalogue Washington DC: National Gallery of Art & Chicago: Art Institute of Chicago & Los Angeles: Los Angeles County Museum of Art. 1985. Reprint, Chicago: Art Institute of Chicago, 1985.
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Wyss, Beat. “Der Dolch am linken Bildrand. Zur Interpretation von Pieter Bruegels 'Landschaft mit dem Sturz des Ikarus'”. Zeitkuns Zeitschrift für Kunstgeschichte, Zeitkuns Zeitschrift für Kunstgeschichte, 51, no. 2 (1988): 222 - 242.
Wyss, Beat. Pieter Bruegel: Landschaft mit Ikarussturz : ein Vexierbild des humanistischen Pessimismus. 1990. Reprint, Frankfurt am Main: Fischer Taschenbuch Verlag, 1990.
Würtenberger, Franzsepp. “Zu Bruegels Kunstform, besonders ihr Verhältnis zur Renaissancekomposition”. Zeitschrift für Kunstgeschichte, Zeitschrift für Kunstgeschichte, 9, no. 1 (1940): 30 - 48.
Würtenberger, Franzsepp. Pieter Bruegel d. A und die deutsche Kunst. 1957. Reprint, Wiesbaden: F. Steiner, 1957.
Wubben, J.C. Ebbinge. Musée Boymans Rotterdam: choix de dessins. Exhibition catalogue Rotterdam: Museum Boymans. 1952. Reprint, Rotterdam: Museum Boymans-van Beuningen, 1952.
Wragg, Thomas S. Old Master Drawings from Chatsworth. Exhibition Catalogue Manchester (Eng): City of Manchester Art Gallery. 1961. Reprint, Manchester: City of Manchester Art Gallery, 1961.
Wood, Christopher S. Bosch's Demonology. Exhibition catalogue. 2001. Reprint, New Haven: Yale University Art Gallery, 2001.
Witt, Robert Clermont. Exhibition of Flemish and Belgian Art, 1300-1900, Organized by the Anglo-Belgian Union. Exhibition Catalogue London: Royal Academy of Arts. 1927. Reprint, London: Royal Academy of Arts, 1927.

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