Biography

Hieronymus Bosch Biography: Introduction

Hieronymus Bosch is famous as the painter of impossible gardens, hybrid bodies, walking knives, birds with human errands, and Hell scenes that still feel disconcertingly modern. His biography is less spectacular at first glance. It survives through civic records, family documents, membership lists, payments, later inventories, and early comments on works that had already begun to travel through elite collections. That imbalance is the first honest fact about Bosch: the images are loud, but the life is mostly documented in small, practical traces. ^[1]

Those traces are enough to change the way we read him. Bosch was not an isolated dreamer producing private nightmares at the edge of European culture. He was Jheronimus van Aken, a painter from a family of painters in 's-Hertogenbosch, a prosperous Brabant city in the Burgundian Netherlands. He married into property, moved within the higher social circles of his town, joined the Brotherhood of Our Lady, received at least one major princely commission, and became collectible among courtly and aristocratic owners soon after his death. ^{[4] [6]}

This biography therefore follows the documents before it follows the myths. Bosch's art can still look astonishingly strange, but the surviving record places him inside a recognisable world: workshop training, urban craft, devotional institutions, wealthy patrons, technical experimentation, and a market in which Bosch's name quickly became valuable enough to be copied, imitated, and disputed. For a broader entry into the cluster, see the main Hieronymus Bosch hub; for the surviving and debated corpus, see Bosch paintings and workshop and attribution.

Contents

1. Jheronimus van Aken, Called Bosch
2. A Painter's Family and Workshop
3. 's-Hertogenbosch and the World Bosch Knew
4. Marriage to Aleid van de Meervenne
5. The Brotherhood of Our Lady
6. Documents, Silences, and the Problem of Knowing Bosch
7. Commission, Status, and Patrons
8. Works, Workshop, and the Biography of an Oeuvre
9. Devotional Culture and Moral Imagination
10. Death in 1516

Jheronimus van Aken, Called Bosch

The artist now known in English as Hieronymus Bosch was born Jheronimus, or Jeroen, van Aken in or shortly before 1450. The family name points back to Aachen, but the family had been established in the northern Netherlands before Bosch's birth. Rijksmuseum commentary traces the artistic line through his great-grandfather Thomas van Aken, grandfather Jan van Aken, and father Antonius van Aken; several of Jan's sons also became painters. Bosch was therefore not simply born near art. He was born inside a multigenerational painting business. ^[6]

The name "Bosch" came from his city. 's-Hertogenbosch, often called Den Bosch, was the place that gave him the identity he used on some signed works: "Jheronimus Bosch". This matters because the signature is not only a personal label. It turns a city into a brand. In the same way that "van Aken" preserved a family origin, "Bosch" advertised a place of practice and recognition. The painter's later fame would detach the name from the city in the imagination of many viewers, but the documents keep putting him back there. ^[6]

BoschDoc, the database created within the Bosch Research and Conservation Project, is especially valuable because it does not pretend that the biography is fuller than it is. It gathers documents in which Bosch himself appears, but also sources concerning his family, patrons, immediate surroundings, and works, chiefly handwritten documents and early printed sources before 1800. The result is not a diary, and not a memoir. It is an archive of social facts: names, transactions, obligations, memberships, references, and later testimony. ^[1]

The earliest named document highlighted by Rijksmuseum is dated 5 April 1474. In it Bosch acted with his father and brothers as witnesses for his sister Katherijn. That is a modest beginning for a famous biography, but it is revealing. The young Jheronimus appears not as a solitary prodigy but as part of a family acting together. He is visible because family, property, and civic procedure required him to be visible. ^[6]

The gap between this kind of evidence and Bosch's later reputation is one of the most interesting things about him. Modern viewers often meet Bosch through The Garden of Earthly Delights, and then search for a life dramatic enough to explain it. The documents do not offer that kind of life. They offer a socially embedded painter whose originality worked through inherited craft, urban opportunity, religious culture, and patrons who wanted extraordinary images.

A Painter's Family and Workshop

Bosch500 describes the Van Aken family as a family of painters: his great-grandfather, grandfather, father, and at least three of his four uncles practised the trade. Jheronimus and his brothers probably learned painting from their father. This is one of the safest biographical claims we can make, even though no apprenticeship contract survives. It follows from the density of painters in the family and from the normal workshop patterns of the period. ^[4]

The family worked first at Vughterstraat in 's-Hertogenbosch, which Bosch500 identifies as the most likely place of Jheronimus's birth. In 1462 his father, Anthonis or Antonius van Aken, moved to the Market. That move was a step upward in the urban geography of the city. It also gave the family workshop a position at the commercial and civic centre of 's-Hertogenbosch. ^[4]

Erfgoed 's-Hertogenbosch connects this move with De Kleine Winst, also known as the House of Bosch. The local heritage account states that Anthonis van Aken bought the house in 1462 and that it served for several decades as a painters' workshop. It also says that Jheronimus spent his youth there and likely received his training in his father's workshop. The building itself has become important because later research into its medieval fabric offers a rare material anchor for Bosch's early life. ^[5]

This is not a romantic studio story. It is better than that. De Kleine Winst ties Bosch to rooms, cellars, beams, a street front, and the practical organisation of a household-workshop. It reminds us that panel painting in the fifteenth century was a trade as well as an art. Materials had to be bought. Panels had to be prepared. Assistants and relatives could work on different parts of a commission. Clients had to be met, contracts negotiated, and finished objects delivered.

That workshop background also helps explain why modern attribution is complicated. Bosch's surviving oeuvre includes works widely accepted as by Bosch, works connected with the workshop, follower works, copies, and disputed paintings. BRCP and Closer to Bosch distinguish these categories carefully, using technical examination as well as art-historical comparison. A family-workshop biography therefore prepares readers for the central problem of Bosch studies: his name became attached not only to paintings by the master but to a broader Boschian production and reception culture. ^{[7] [8]}

The workshop question should not shrink Bosch's achievement. It clarifies it. Originality in his world did not require modern artistic isolation. It could emerge from a trained painter who knew inherited methods well enough to bend them into something startling.

's-Hertogenbosch and the World Bosch Knew

's-Hertogenbosch was not a provincial nowhere. In Bosch's lifetime it belonged to the Duchy of Brabant within the Burgundian Netherlands, a region of active trade, courtly ambition, urban wealth, and religious institutions. The city connected local craft to wider networks of patrons, clergy, merchants, and courts. Bosch's biography makes the most sense when the city is treated as an active setting rather than a backdrop. See also 's-Hertogenbosch. ^[4]

The city gave Bosch his public name, but it also gave him visual and social material. Late medieval urban life was full of processions, guilds, market display, church ritual, household devotion, civic regulation, jokes, warnings, and performances of status. Bosch's paintings do not simply illustrate those things, and they cannot be reduced to a city chronicle. Yet his art's obsession with choice, temptation, folly, social masking, and public moral theatre feels more intelligible when placed within an intensely communal urban culture.

Erfgoed's account of De Kleine Winst is especially useful because it links Bosch to the Market, where commercial, civic, and devotional life overlapped. The painter's childhood and training likely unfolded in a house that was both residence and workplace. Behind the later facade, building research has identified medieval fabric including the cellar, stair, and roof structure. Those survivals do not tell us what Bosch thought, but they make the painter less abstract. ^[5]

The biography also resists a common simplification: the idea that Bosch's imagery must have come from personal trauma or private hallucination. The documents do not support that. They point instead to a painter formed by a city whose religious and social life constantly staged moral questions. Bosch's devils and hybrid creatures may be unique, but the questions around sin, salvation, fraud, appetite, false piety, and judgment were not private obsessions. They were central to late medieval Christian culture.

That is why Bosch's city is not just an address. It is part of the evidence. His art asks what human beings do with freedom, desire, fear, property, bodies, rituals, and promises of salvation. 's-Hertogenbosch gave those questions institutions, audiences, ceremonies, and clients.

Marriage to Aleid van de Meervenne

A document dated 15 June 1481 mentions Jheronimus as the husband of Aleid van de Meervenne. Bosch500 says they probably married in or shortly before that year. Rijksmuseum places the marriage between July 1477 and June 1481. The exact date is uncertain, but the marriage is one of the major turning points in the surviving record. ^{[4] [6]}

Aleid came from a well-to-do merchant family. Bosch500 notes that she was born around 1447, a little older than Jheronimus, and that the couple remained childless. Rijksmuseum identifies her as from Oirschot and says that through the marriage Bosch became prosperous and moved in higher social circles. The couple settled in a house owned by Aleid, known as Inden Salvator, or In the Saviour, though the exact timing of the move is not fully clear. ^{[4] [6]}

These are dry facts with large implications. Marriage altered Bosch's economic position. It placed him in property relations beyond his birth family and helped situate him among the city's more comfortable households. It may also help explain how he could operate at a level of social visibility that later brought him into the Brotherhood of Our Lady as a sworn brother.

The marriage evidence is also a useful guardrail. It discourages the temptation to turn Bosch into a marginal outsider. Whatever was unusual about his imagination, the record places him inside respectable urban life. He was a husband, property holder by marriage, taxpaying townsman, family witness, and member of an elite devotional society. His art may be full of beggars, impostors, fools, demons, and moral wreckage, but it was produced from within the social world it scrutinised.

There is no secure evidence that Bosch and Aleid had children, and no surviving household account gives us their domestic life in intimate detail. The silence matters. It keeps the biography from pretending to know the emotional climate behind the works. We can say that the marriage improved his social and economic position; we cannot safely use it to explain the psychological charge of the paintings.

The Brotherhood of Our Lady

Bosch became an ordinary member of the Illustrious Brotherhood of Our Blessed Lady in 1486-87 and a sworn brother in 1488. Bosch500 states that his grandfather and father had also belonged to the Brotherhood. Rijksmuseum gives the closely related sequence: ordinary member in 1486-87, elected sworn brother the following year, 1487-88. ^{[4] [6]}

The Brotherhood was not only a pious association. It was a social and devotional institution with elite membership. Bosch500 describes the sworn brethren as meeting regularly at St John's Church and elsewhere, and notes that becoming a sworn brother admitted Bosch to the city's social-religious elite. Fellow members included clergy, university graduates, and important civic figures. ^[4]

This matters for biography because the Brotherhood gives Bosch a documented religious and social context without forcing a simplistic reading of his art. His paintings are saturated with temptation, judgment, prayer, saints, sin, and salvation. The Brotherhood does not explain each symbol, but it locates Bosch among people for whom devotional practice, moral instruction, liturgy, and civic prestige were intertwined.

The association may also have created patronage opportunities. Bosch500 names Jan Heyns, architect of St John's Church, and Pieter van Os, town clerk and patron of an Ecce Homo triptych in the style of Bosch, among the fellow brethren. It also notes that members of the Brotherhood could act as patrons as individuals. That is a cautious but important point: the Brotherhood was not merely a spiritual environment but a network of educated and well-connected men who could know, discuss, commission, or recommend art. ^[4]

Two meals recorded by the Brotherhood are especially evocative. Bosch500 notes that brethren were invited to Bosch's home in 1488-89 and again in 1510. The evidence does not let us reconstruct the conversations at those meals. It does, however, place Bosch as host to men whose devotional and social standing mattered in the city. The painter of extravagant moral worlds was also a participant in structured communal piety.

For readers of Bosch's symbolism, this context is essential. His imagery should not be treated as a private code waiting for a single key. It belongs to a culture of sermons, exempla, popular sayings, devotional exercises, and moral images, but it also exceeds formula. The Brotherhood helps us see the religious seriousness of Bosch's environment while leaving room for the ambiguity and invention of the paintings.

Documents, Silences, and the Problem of Knowing Bosch

The surviving documents mention Bosch in 's-Hertogenbosch between 1474 and 1516. They show him witnessing a family matter, marrying, holding property, joining the Brotherhood, paying taxes, receiving or being connected with commissions, and dying in his native city. They do not record his training in a formal contract. They do not preserve letters. They do not tell us what he thought of his own images. ^{[1] [6]}

This absence is not a weakness to rush past. It is one of the defining conditions of Bosch biography. The closer we stay to the documents, the more clearly Bosch appears as a historical person; the further we move into motive, the more quickly speculation enters.

One example is travel. Bosch500 discusses possible indications that Bosch may have gone abroad, including periods when his name is absent from the archives and later evidence of Bosch's reputation in Italy and Spain. But the same account is careful: there is no hard evidence that Bosch stayed elsewhere. His works became known abroad, and South-European patrons or collectors may have encountered Boschian images through Netherlandish networks, but that does not prove that Bosch himself travelled. ^[4]

This distinction is vital. Bosch's art circulated beyond 's-Hertogenbosch. His biography may not have. Later owners in Spain and Italy do not automatically become travel documents. A painter's reputation can move faster and farther than his body, especially when courtly, merchant, and collecting networks are involved.

Another example is personality. Bosch's works often tempt writers into diagnosing the painter: satirist, heretic, visionary, pessimist, moralist, proto-Surrealist. Some of those labels may be useful in limited contexts; none should replace evidence. No surviving document lets us hear Bosch explain The Haywain Triptych, The Last Judgement, or The Temptation of Saint Anthony in his own words.

The responsible biography is therefore not thin because it refuses fantasy. It is richer because it lets uncertainty do real work. We know enough to place Bosch in a family workshop, a city, a marriage, a devotional elite, and an emerging patronage network. We do not know enough to reduce his art to autobiography.

Commission, Status, and Patrons

The most important documented commission dates from September 1504, when Philip the Handsome, Duke of Brabant and later King of Castile, asked Bosch to paint a Last Judgement. Rijksmuseum identifies this as the only documented commission for a painting by Bosch. That single record is powerful because it shows the painter recognised at the highest level of Burgundian-Habsburg patronage. ^[6]

The commission also fits the subject matter through which Bosch is now famous. Last Judgment imagery was not a marginal interest in his art. It was central to the moral and eschatological force of several major works, including the Vienna Last Judgement triptych and the infernal panels associated with the Garden and Haywain. Whether or not the 1504 commission corresponds to any surviving work, it confirms that elite patrons valued Bosch for precisely the kind of visionary moral painting that later defined his reputation.

Rijksmuseum states that Bosch's patrons belonged to the circle of the Burgundian-Habsburg court and the wealthy bourgeoisie in Brabant. That phrasing is useful because it avoids making patronage too narrow. Bosch was not simply a court painter, and not simply a local craftsman. His work seems to have moved between urban, devotional, aristocratic, and courtly environments. ^[6]

The Garden of Earthly Delights shows how complicated that movement can be. Prado research links the triptych to the Nassau palace at Coudenberg in Brussels, where Antonio de Beatis saw it on 30 July 1517. Prado's current account, following the dating of the work to the 1490s, points toward Engelbert II of Nassau as the likely commissioner rather than the older explanation that made it a later work for Henry III of Nassau. ^[10]

That change is biographically important. It shows how evidence can alter the story around Bosch without reducing the fascination of the work. A triptych that once seemed tied to one Nassau generation is now understood differently because date, provenance, and early testimony have been reconsidered. Bosch biography is full of this kind of correction: not sudden revelation, but careful adjustment as documents, technical study, and collection history are brought together.

Spanish collecting further shaped Bosch's afterlife. Works by Bosch and works in his manner became prized in Spain, and later royal collecting helped preserve several major paintings now associated with the Prado and El Escorial. Bosch500 stresses, however, that popularity in Spain does not prove Bosch travelled there. The more cautious conclusion is stronger: his art had become desirable to powerful owners, and its religious and satirical force could speak beyond the city where it was made. ^{[4] [10]}

Works, Workshop, and the Biography of an Oeuvre

For Bosch, biography cannot be separated from attribution. That does not mean every disputed work belongs in a life story. It means that the painter's historical identity is partly reconstructed through the corpus: signed works, technical evidence, workshop practice, copies, follower paintings, and early collecting records.

The BRCP was created to study Bosch's paintings and drawings, his workshop, and his followers. Its work used macro photography in visible and infrared light, infrared reflectography, and digitised radiographs where available. The project resulted in a catalogue raisonne and technical studies that have become central to modern Bosch research. ^[7]

Closer to Bosch builds on that research by presenting high-resolution imagery and art-historical and technical explanations, with categories that distinguish works by Bosch, works from the workshop, follower works, and uncertain workshop-or-follower objects. This classification matters because Bosch's visual language became so influential that later artists could make pictures that look "Boschian" without being by Bosch himself. ^[8]

Rijksmuseum summarises the scale of the modern reappraisal: before the BRCP, more than 30 paintings were attributed to Bosch; the project concluded that 21 were by the master himself, with others assigned to the workshop, followers, or uncertain workshop/follower categories. Those numbers may look like specialist accounting, but they change the biography. They separate the historical Jheronimus from the expanded legend of "Bosch" as a name applied to many strange images. ^[6]

This is why pages on style and technique and workshop and attribution are not side issues. Technical study can reveal underdrawing, revisions, materials, condition, and workshop habits. It can also challenge older assumptions about which paintings Bosch made himself. The biography of Bosch is therefore partly a biography of changing evidence.

The caution is especially important for readers who encounter Bosch through isolated images online. A demon, a grotesque head, or a bizarre moral scene may look Bosch-like, but style alone is not authorship. The question is not whether an image feels weird enough to be Bosch. The question is whether documents, materials, technique, provenance, and scholarly comparison support the attribution.

Devotional Culture and Moral Imagination

Bosch's art is often described through strangeness, but his subjects are deeply rooted in Christian moral thought: creation, fall, temptation, sin, folly, judgment, Hell, saints, pilgrimage, repentance, and the danger of worldly appetite. His biography does not prove a single interpretation of those themes. It does show that he lived inside institutions and networks where such themes mattered intensely.

The Brotherhood of Our Lady is central here, but so is the wider culture of late medieval Brabant. Religious life was public and communal. Churches, confraternities, processions, sermons, devotional books, and household piety shaped how people understood images. Bosch's paintings can be playful, alarming, comic, and terrifying, but they repeatedly return to the problem of human choice.

The moral structure of works such as The Haywain Triptych and The Garden of Earthly Delights makes more sense in this environment. The Haywain turns worldly pursuit into a moving spectacle of greed and blindness. The Garden places Paradise, earthly delight, and Hell in a sequence that remains debated but unmistakably asks what human beings do with desire. The Last Judgement confronts viewers with the end point of moral history. The Temptation of Saint Anthony places endurance, fantasy, and spiritual testing inside a landscape of assault.

Yet Bosch should not be reduced to a simple preacher in paint. The power of his art lies partly in the way it refuses to behave like a clean diagram. Objects can be legible and elusive at the same time. A fruit may suggest pleasure, transience, appetite, or vulnerability; a hybrid creature may be comic, demonic, satirical, or all three. The safest reading begins with the religious and moral culture Bosch knew, then allows the paintings to remain visually and intellectually excessive.

This is also why psychological explanations are risky. Bosch may have had private fears, jokes, memories, and convictions, as every person does. But the sources do not give access to them. What the evidence gives us is a painter trained in a family workshop, living in an urban devotional culture, connected to elite networks, and capable of inventing images that made moral danger unforgettable.

Death in 1516

Bosch died in 1516 in 's-Hertogenbosch, the city where he had been born and documented throughout his adult life. Rijksmuseum notes that he was probably one of the victims of a plague outbreak in the city that summer and that he was buried in the churchyard of St John's Church. ^[6]

The date matters beyond biography because 1516 became the anchor for Bosch's modern commemorations. The 500th anniversary of his death in 2016 prompted major research, exhibitions, and renewed public attention, including BRCP-linked work and the Noordbrabants Museum's "Jheronimus Bosch: Visions of Genius" exhibition. The anniversary did not create Bosch's importance, but it accelerated the modern effort to separate the painter from legend through documents, technical study, and careful object research. ^{[7] [1]}

At his death, Bosch left no body of writing to guide later viewers through his art. That absence has been filled, over the centuries, by collectors, copyists, scholars, museum catalogues, restorers, and popular imagination. Some of that afterlife has clarified him; some has distorted him. The best modern biography keeps returning to the documents because they prevent the painter from becoming merely a screen for other people's fantasies.

Bosch's burial in the churchyard of St John's Church also brings the life back to the city. The painter whose images now belong to Madrid, Lisbon, Vienna, Rotterdam, London, Washington, Ghent, Berlin, and other collections ended where the record began: in 's-Hertogenbosch.

Reputation, Copies, and the Boschian Afterlife

Bosch's reputation expanded quickly after his death. The 1517 account by Antonio de Beatis at the Nassau palace shows that at least one of his most remarkable works was already installed in an elite setting almost immediately after the artist's lifetime. Later Spanish collecting, especially the taste for Bosch among powerful owners, helped secure the fame of works now central to the Prado's Bosch holdings. ^{[10] [4]}

The afterlife of Bosch is not only a story of preservation. It is also a story of imitation. The categories used by BRCP and Closer to Bosch make clear that Bosch's name became attached to a wider visual culture: workshop pieces, follower works, copies after lost or famous compositions, and paintings that adopt Boschian motifs without being by Bosch. ^{[7] [8]}

That afterlife affects biography because it changes what people think Bosch was. If every strange monster is treated as direct self-expression, the historical painter disappears under a pile of later attributions. If every copy is dismissed as irrelevant, we miss how Bosch's inventions circulated. The balanced view is more interesting: Bosch was a specific painter in a specific city, and also the source of a visual language that other makers and collectors extended.

This is why his biography belongs beside his works rather than behind them. To understand Bosch, readers need both the archival Jheronimus van Aken and the painter whose images became collectible, copied, debated, and technically re-examined. The documents set limits; the paintings test them.

What Can Be Known

The most reliable Bosch biography is built from a paradox. We know very little about Bosch's inner life, but we know enough about his social world to resist the easiest myths. He was not a medieval outsider in the modern romantic sense. He was not simply a mad visionary. He was not a painter whose works can be decoded by one secret doctrine. He was a trained painter from a painterly family, a citizen of 's-Hertogenbosch, husband of Aleid van de Meervenne, member and sworn brother of an elite devotional confraternity, and an artist recognised by patrons whose networks reached well beyond his city.

We also know that the documents are uneven. Some facts are firm: documented appearances from 1474 to 1516; marriage by 1481; Brotherhood membership in the late 1480s; the 1504 Last Judgement commission from Philip the Handsome; death in 1516. Other matters are probable: training in his father's workshop, youth at De Kleine Winst, increased prosperity through marriage, possible death during plague. Still others remain uncertain: travel abroad, the precise chronology of many works, the authorship of disputed paintings, and the original meanings of his most complex images.

Those limits do not make Bosch smaller. They make him sharper. The archival record gives us a disciplined portrait of Jheronimus van Aken, while the paintings show what that documented life could produce when craft, devotion, satire, technical skill, and imagination met on panel.

The biography of Bosch is therefore not the hidden key to the art. It is the frame that keeps the art historically alive. His works still astonish because they refuse to settle into easy explanation; his documents matter because they remind us that the astonishing was made by a real painter, in a real city, for real viewers who lived with the same questions of temptation, status, death, judgment, and hope.

Artworks and related attributions

Browse paintings, drawings and related attributions. Records group triptychs, fragments and two-sided sheets where appropriate. Dates follow the cited museum records or catalogue headings and are generally estimates. Rows marked “2016 catalogue” report that publication’s attribution and collection information; these are dated opinions, rather than a claim that every work is an accepted autograph Bosch.

79 records

Search records Medium All media Drawing Painting Reset

Name	Date	Medium, attribution and collection
A Crossbowman	Second half of the sixteenth century	Oil on oak panel · Copy after Hieronymus Bosch · Museo Nacional del Prado, Madrid · P002695 Source 1. Source 2.
A Woman Spinning and an Old Woman	Museum estimates: about 1480–1490 for the women and 1500–1505 for the reverse; the precise chronology is disputed	Pen and brown and grey ink on the front; pen and brown ink on the reverse · Hieronymus Bosch · Museum Boijmans Van Beuningen, Rotterdam · N 190 recto and verso (PK) Source 1. Source 2.
Adoration of the Child in Cologne	Second half of the sixteenth century	Oil on oak panel · Imitator of Hieronymus Bosch, in the city collection record · Wallraf-Richartz-Museum & Fondation Corboud, Cologne · WRM 0474 Source 1. Source 2.
Adoration of the Magi in Philadelphia	Early sixteenth century in the museum record; around 1495–1520 in the BRCP catalogue	Oil on oak panel · Hieronymus Bosch in the museum record; workshop of Bosch in the 2016 BRCP catalogue · Philadelphia Museum of Art, John G. Johnson Collection, 1917 · 1321; museum object 103592 Source 1. Source 2.
Adoration of the Magi — New York	c.1470–1480	2016 catalogue: Bosch; oil on oak · Metropolitan Museum 13.26 2016 catalogue.
Adoration of the Magi — Prado triptych	c.1494	Oil on oak; grisaille exterior · Bosch · Prado P002048 Object source.
Adoration of the Magi — three associated fragments	c.1515–1535	2016 catalogue: Follower of Bosch · Two Shepherds / Retinue in Philadelphia; associated Adoration in private collection in 2016 2016 catalogue.
Ascent of the Blessed — Venice	c.1505–1515	Oil on panel · Bosch · Gallerie dell’Accademia; Visions of the Hereafter Object source.
Battle of the Birds and Mammals	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink · Berlin KdZ 14715 2016 catalogue.
Beggars and Musicians	Around 1530–1540	Ink and wash on paper · Unknown follower of Hieronymus Bosch · Albertina, Vienna · 7798 Source 1. Source 2.
Christ Carrying the Cross Drawing	Around 1470 in the museum catalogue	Black chalk or charcoal, pen and brush in brown ink, white corrections · Anonymous, workshop of Rogier van der Weyden · Museum Boijmans Van Beuningen, Rotterdam · N 81 recto and verso (PK) Source 1. Source 2.
Christ Carrying the Cross in Vienna	Around 1490–1510 in the current KHM record and BRCP catalogue	Oil on oak, painted on both sides · Hieronymus Bosch; possible workshop involvement in the Passion side discussed by the BRCP · Kunsthistorisches Museum, Vienna · Gemäldegalerie, GG 6429 Source 1. Source 2.
Christ Carrying the Cross — El Escorial	c.1495–1505	2016 catalogue: Bosch; oil on oak · Patrimonio Nacional 10014739 2016 catalogue.
Christ Carrying the Cross — Ghent	c.1510–1516 (museum)	Oil on panel · Bosch in museum listing; authorship disputed · MSK Ghent 1902-H Object source.
Christ Mocked — London	c.1510	Oil on wood · Bosch · National Gallery NG4744 Object source.
Concert in the Egg, After Hieronymus Bosch	Around 1561; third quarter of the sixteenth century	Oil on canvas · Anonymous, after Hieronymus Bosch · Palais des Beaux-Arts, Lille · P 816 Source 1. Source 2.
Conjurer / Comical Concert — Louvre drawing	Not specified in catalogue heading	2016 catalogue: Bosch (recto), follower (concert verso) · Pen and brown ink · Louvre INV 19197 2016 catalogue.
Conjurer / Cross-bearing and beggars — Liège sheet	Not specified in catalogue heading	2016 catalogue: Bosch (verso), follower (recto) · Pen and brown ink · Album d’Arenberg 534 2016 catalogue.
Crowning with Thorns — El Escorial	c.1530–1540	2016 catalogue: Follower of Bosch; oil on oak · Patrimonio Nacional 10014743 2016 catalogue.
Crucifixion with a Donor	Circa 1495–1505; Circa 1490–1500	Oil on oak panel · Hieronymus Bosch · Royal Museums of Fine Arts of Belgium, Brussels · 6639 Source 1. Source 2.
Death and the Miser Drawing	Not securely established; probably made after the painting	Pen and brush, dark ink and white highlights on prepared paper · Workshop of Hieronymus Bosch in the BRCP catalogue; alternatives recorded by the Louvre · Musée du Louvre, Department of Prints and Drawings, Paris · RF 6947, Recto Source 1. Source 2.
Death and the Miser — Washington	c.1485/1490 (NGA)	Oil on panel · Bosch · National Gallery of Art 1952.5.33 Object source.
Ecce Homo Triptych — Boston	c.1495–1500; wings c.1500/1503	2016 catalogue: Workshop of Bosch; oil on oak · Museum of Fine Arts Boston; several production phases 2016 catalogue.
Ecce Homo — Frankfurt	c.1490	Mixed technique on oak · Bosch · Städel 1577 Object source.
Fall of the Damned — Venice	c.1505–1515	2016 catalogue: Bosch; oil on panel · Visions of the Hereafter · Venice 2016 catalogue.
Garden of Earthly Delights	1490–1500 (Prado)	Oil on oak; grisaille exterior · Bosch · Prado; triptych Object source.
Gluttony and Lust / Allegory of Intemperance — Yale fragment	c.1500–1510 (group dating)	2016 catalogue: Bosch; oil on oak · Yale 1959.15.22; fragment associated with Ship of Fools 2016 catalogue.
Group of Ten Spectators, a Follower of Bosch	Around 1510–1540 in the current museum record	Pen and two brown inks on paper, with a brown framing line · Follower of Hieronymus Bosch in the Morgan record; Bosch in the BRCP catalogue · Morgan Library & Museum, New York · I, 112 Source 1. Source 2.
Head of an Old Woman	About 1500	Oil on panel · Attributed to Jacob Cornelisz. van Oostsanen · Museum Boijmans Van Beuningen, Rotterdam · 2439 (OK) Source 1. Source 2.
Hell and the Flood — Rotterdam panels	Around 1515 in the museum records; around 1510–1520 in the BRCP catalogue	Oil on oak panels · Jheronimus Bosch in the museum records; workshop of Bosch in the BRCP catalogue · Museum Boijmans Van Beuningen, Rotterdam Source 1. Source 2.
Hermit Saints Triptych	Circa 1495–1505	Oil on oak panels · Hieronymus Bosch · Gallerie dell’Accademia, Venice · 2044 Source 1. Source 2.
Infernal Landscape	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink, red accent · Private collection in 2016 2016 catalogue.
Infernal Scene with Anvil / Monster Studies	Not specified in catalogue heading	2016 catalogue: Bosch; attribution debated in entry · Pen and brown ink · Berlin KdZ 548 2016 catalogue.
Infernal Scene with Tree-Man / Standing Man	Not specified in catalogue heading	2016 catalogue: Workshop of Bosch; pen and brown ink · Dresden C 1875; historical reverse title includes a proposed prophet 2016 catalogue.
Job Triptych — Bruges	c.1510–1520	2016 catalogue: Workshop of Bosch; oil on oak · Groeningemuseum / Hoeke loan in 2016 2016 catalogue.
Last Judgement — Bruges triptych	c.1495–1505	2016 catalogue: Bosch; oil on oak · Groeningemuseum 2016 catalogue.
Last Judgement — Munich fragment	c.1530–1540	2016 catalogue: Follower of Bosch; oil on oak · Alte Pinakothek 5752 2016 catalogue.
Last Judgement — Vienna triptych	c.1500–1505 (BRCP 2016)	Oil on oak · Bosch and workshop (BRCP 2016) · Academy of Fine Arts Vienna 2016 catalogue.
Man in a Basket and Comic Figures	Around 1500–1515 in the museum record	Pen and brown ink on paper; the reverse is catalogued as iron-gall ink · Hieronymus Bosch in the current Albertina record; attribution has been debated · Albertina, Vienna · 7797 recto and verso Source 1. Source 2.
Man Seen from Behind	About 1550–1569; About 1565–1570	Traces of black chalk, pen and brush in light brown ink · Anonymous, circle of Pieter Bruegel the Elder · Museum Boijmans Van Beuningen, Rotterdam Source 1. Source 2.
Mary and John at the Foot of the Cross	About 1440	Brush in grey and black · Unknown, possibly Netherlandish · Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden · C 815 Source 1. Source 2.
Model Sheet with ‘Witches’	Disputed; proposals depend on the attribution	Pen and brown ink; the BRCP also records underlying black chalk · Hieronymus Bosch; follower attributions also recorded · Musée du Louvre, Département des Arts graphiques, Paris · INV 19721 recto Source 1. Source 2.
Peasant and Three Bust-Length Figures	1401–1500	Brown pen over a black preliminary drawing · Attributed to the Master of the Drapery Studies; Bosch circle also recorded · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 777 Source 1. Source 2.
River to Hell — Venice	c.1505–1515	2016 catalogue: Bosch; oil on panel · Visions of the Hereafter · Venice 2016 catalogue.
Saint Anthony and a Concert in an Egg	Around 1510–1525 in the museum’s 2016–17 exhibition texts	Pen in light and dark brown inks · Workshop of Hieronymus Bosch; underlying monsters: Bosch (BRCP), possibly Bosch (exhibition text) · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 711 recto and verso Source 1. Source 2.
Saint Christopher Carrying the Christ Child	c.1500; 1490–1505 in restoration material	Oil on panel · Bosch · Boijmans St 26 Object source.
Saint James and Hermogenes	About 1551–1575 in the KIK-IRPA catalogue	Oil on wood, painted on both sides · Anonymous follower of Hieronymus Bosch · Musée des Beaux-Arts, Valenciennes · P.46.1.44; older number 176 Source 1. Source 2.
Saint Jerome at Prayer	Circa 1485–1495	Oil on oak panel · Hieronymus Bosch · Museum of Fine Arts, Ghent · 1908-H Source 1. Source 2.
Saint John on Patmos / Passion Scenes	c.1495–1505; estimates vary	Oil on oak · Bosch · Gemäldegalerie Berlin 1647A Object source.
Saint John the Baptist in Meditation	Late 15th century; c.1485–1510 (Prado exhibition)	Oil on panel · Bosch · Lázaro Galdiano 8155 Object source.
Saint Liberata Triptych	Circa 1495–1505	Oil on oak panels · Hieronymus Bosch · Gallerie dell’Accademia, Venice · 2045 Source 1. Source 2.
Seven Deadly Sins and the Four Last Things	1505–1510 (Prado)	Oil on poplar · Bosch (Prado); workshop/follower disputed · Prado Object source.
Ship of Fools — Louvre painting	1475–1500 (record); c.1505–1515 (exhibition)	Oil on oak · Bosch · Louvre RF 2218; fragment Object source.
Ship of Fools — Louvre workshop drawing	Not specified in catalogue heading	2016 catalogue: Workshop of Bosch · Pen, brush, grey-brown ink and white highlights on prepared paper · Louvre RF 3714 2016 catalogue.
Studies of Monsters	About 1530–1550, according to the current Ashmolean record	Pen and brown ink on laid paper, both faces · Anonymous follower of Hieronymus Bosch · Ashmolean Museum, University of Oxford · WA1863.155 Source 1. Source 2.
Studies of Saint Anthony and Monsters	No execution date specified in the current Louvre records	Pen and brown ink on paper · Bosch listed; reverse questioned by Louvre; BRCP accepts both faces · Musée du Louvre, Département des Arts graphiques, Paris · INV 20871 recto and verso Source 1. Source 2.
Temptation of Saint Anthony — Kansas City fragment	c.1500–1510	2016 catalogue: Bosch; oil on oak · Nelson-Atkins 35–22 2016 catalogue.
Temptation of Saint Anthony — Lisbon triptych	c.1500	Oil on oak · Bosch · Museu Nacional de Arte Antiga 1498 Pint Museum.
Temptation of Saint Anthony — Prado panel	c.1530–1540	2016 catalogue: Follower of Bosch (2016 opinion); oil on oak · Prado P002049 2016 catalogue.
Terrestrial Paradise	Approximately 1505–1515	Oil on oak panel · Hieronymus Bosch · Gallerie dell'Accademia, Venice Source 1. Source 2.
The Burning Ship Drawing	1500–1520	Pen and iron gall ink on paper · Attributed to Hieronymus Bosch · Academy of Fine Arts Vienna, Graphic Collection · HZ-2554; numbered 2554 in the BRCP catalogue Source 1. Source 2.
The Comical Barber Scene	About 1550–1580, according to the British Museum	Pen and brown ink, grey and brown wash, over black chalk · Anonymous follower, after Hieronymus Bosch · British Museum, Department of Prints and Drawings, London · 1854,0628.46 Source 1. Source 2.
The Conjuror, After Hieronymus Bosch	Probably after 1525; around 1530–1540 in the BRCP technical report	Oil on oak panel · Anonymous follower of Hieronymus Bosch · Musée Ducastel-Vera, Saint-Germain-en-Laye · 872.1.87 Source 1. Source 2.
The Cure of Folly / Extraction of the Stone of Madness	1501–1505 (Prado)	Oil on oak · Bosch (Prado); workshop/follower disputed · Prado P002056 Object source.
The Entombment Drawing	About 1505–1515, current museum record	Brush and black and grey ink, with grey wash, over black chalk · Workshop of Hieronymus Bosch; drawn by the Master of the Prado Haywain Triptych; Hieronymus Bosch, argued by the BRCP in 2016 · British Museum, Department of Prints and Drawings, London · 1952,0405.9 Source 1. Source 2.
The Gathering of the Birds	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink · Berlin KdZ 13136 2016 catalogue.
The Haywain — Prado triptych	1510–1516 (BRCP 2016)	Oil on oak · Bosch (BRCP 2016) · Prado; separate Escorial version exists 2016 catalogue.
The Hearing Forest and the Seeing Field	Circa 1500–1505	Pen and brown ink on paper · Hieronymus Bosch; reverse: Bosch and workshop · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 549, front and reverse Source 1. Source 2.
The Owl’s Nest — Rotterdam	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink · Boijmans N 175 2016 catalogue.
The Passion Triptych in Valencia	Workshop of Bosch, about 1510–1520; Follower of Bosch; centre about 1530–1540, wings about 1540–1550	Oil and gold on oak panels · Workshop of Bosch, about 1510–1520; Follower of Bosch; centre about 1530–1540, wings about 1540–1550 · Museu de Belles Arts de València Source 1. Source 2.
The Pedlar / Wayfarer — Rotterdam	c.1500 (museum)	Oil on panel · Bosch · Boijmans 1079 (OK); rejoined exterior Object source.
The Tree-Man — Vienna drawing	c.1505	Pen and brown ink · Bosch · Albertina, Vienna Object source.
The Wedding at Cana, After Hieronymus Bosch	Approximately 1560 in the current museum record	Oil on panel, 93 cm high × 72 cm wide · Anonymous, after Hieronymus Bosch · Museum Boijmans Van Beuningen, Rotterdam, St 25 Source 1. Source 2.
Two Fantastical Creatures — Berlin KdZ 550	Around 1505–1515 in the museum’s 2016 exhibition text	Pen in brown ink on reddish prepared laid paper · Hieronymus Bosch · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 550, recto and verso Source 1. Source 2.
Two Figures Wearing Mitres	About 1480	Oil on panel · Anonymous (Boijmans); Bosch circle (RKD) · Museum Boijmans Van Beuningen, Rotterdam · 1177 (OK) Source 1. Source 2.
Two Men and the Temptation of Eve	About 1505–1515 in the Prado’s 2016 exhibition guide	Pen and grey-brown ink on paper · Hieronymus Bosch in the 2016 catalogues discussed here · Private collection, as recorded in 2016 Source 1. Source 2.
Two Men Fighting	Not specified in the current Louvre record	Pen and brown ink · In the manner of Hieronymus Bosch · Musée du Louvre, Département des Arts graphiques, Paris · INV 20660 recto; formerly NIII 8896 and MA 8400 Source 1. Source 2.
Two Men — Berlin KdZ 5210	Not specified in catalogue heading	2016 catalogue: Bosch questioned · Pen, brush, ink, chalk and white highlights · Berlin KdZ 5210; historical title Two Oriental Men 2016 catalogue.
Two Monsters — Berlin KdZ 547	Approximately 1500–1510 in Berlin's 2016 exhibition catalogue; an estimated range	Pen and brown ink on paper · Hieronymus Bosch · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 547, drawn on both sides Source 1. Source 2.

References

1. BoschDoc / Huygens ING / KNAW, online database of source material on Hieronymus Bosch: View source
2. Bosch500, "Family life": View source
3. Bosch500, "Illustre Brotherhood of Our Blessed Lady": View source
4. Bosch500, "Jheronimus Bosch abroad": View source
5. Erfgoed 's-Hertogenbosch, "Het Huis van Bosch (De Kleine Winst)": View source
6. Rijksmuseum collection biography text for Jheronimus Bosch: View source
7. Bosch Research and Conservation Project, project description and publications: View source
8. Closer to Bosch, BRCP high-resolution and technical research presentation: View source
9. Museo Nacional del Prado, "The Garden of Earthly Delights Triptych": View source
10. Museo Nacional del Prado, "The Haywain Triptych": View source