Prints

Hieronymus Bosch Prints: Introduction

Hieronymus Bosch is not known today as an autograph printmaker. That is the first useful correction to make. His fame in print culture came chiefly through images made after him, images published under his name, and works by later artists who borrowed a Boschian language of demons, fools, temptations, grotesque bodies, and moral disorder.

The difference matters. Bosch's surviving reputation rests mainly on paintings and a small, carefully studied group of drawings. Prints belong to a different story: the circulation of Bosch's inventions after his death, the commercial energy of sixteenth-century Netherlandish publishers, the uncertain survival of lost compositions, and the long afterlife of a style that later viewers could recognise as "Bosch-like" even when Bosch's own hand was not involved.

Modern Bosch research makes that caution necessary. The Bosch Research and Conservation Project and Closer to Bosch distinguish accepted works, workshop material, followers, copies, and related images through object study and technical evidence, while BoschDoc anchors the artist in documentary records rather than legend.

For readers arriving here expecting a catalogue of prints made by Bosch, the answer is therefore cautious but interesting. The print tradition does not give us Bosch as Durer, the artist-printmaker. It gives us Bosch as a visual source: copied, marketed, reimagined, misattributed, and transformed across generations.

Contents

1. Why Prints After Bosch Matter
2. Hieronymus Cock and the Antwerp Print World
3. Saint Anthony: From Painted Triptych to Printed World
4. Lost Compositions and Uncertain Names
5. When "After Bosch" Becomes a Problem
6. Bruegel and the Boschian Mode
7. How to Look at Boschian Prints
8. Where to Go Next

Why Prints After Bosch Matter

Prints made after Bosch helped detach his imagery from particular panels and circulate it as a portable visual language. Paintings such as The Garden of Earthly Delights, The Haywain Triptych, The Last Judgement, and The Temptation of Saint Anthony were complex objects tied to patrons, collections, altars, or elite interiors. Prints could travel more easily. They could be collected, copied, studied, sold, and recombined.

That mobility helps explain Bosch's unusual reception. His monsters and moral satires did not remain locked inside the relatively small accepted corpus of paintings. They entered a wider market of sheets, copies, and imitations. Institutions such as the British Museum, the Metropolitan Museum of Art, and the National Gallery of Art record many works in which Bosch appears as "after" or "inventor" rather than as the physical maker.

This is also why workshop and attribution is inseparable from Bosch prints. A print can preserve a memory of a lost Bosch composition, transmit a subject known from a painting, or simply attach Bosch's name to a Boschian design. Those are not the same claim. The best print records are valuable because they show the chain of transmission, including the printmaker, publisher, date, inscription, and later scholarly doubts.

Hieronymus Cock and the Antwerp Print World

One of the most important names in Boschian print culture is Hieronymus Cock, the Antwerp publisher whose shop Aux Quatre Vents helped shape the market for Netherlandish prints. Cock's role is visible in several Bosch-related records. The Met's 1561 print of The Temptation of St. Anthony identifies the image as after Bosch, with Johannes van Doetecum I and Lucas van Doetecum as artists and Cock as publisher. The National Gallery of Art holds another impression of the same composition, also dated 1561, with an inscription naming Bosch as inventor and Cock as publisher.

That inscription is fascinating but not simple. "Bosch inventor" does not mean Bosch etched the plate. It indicates that the composition was presented as deriving from Bosch's invention. The Met's commentary describes the 1561 Temptation as made long after Bosch's death and loosely based on the Lisbon triptych of the same subject, while also noting that Cock issued numerous prints after Bosch at a time when Bosch's imagery remained popular.

The result is a useful model for reading the whole category. A print after Bosch may be evidence of reception, collecting, and commercial demand. It may preserve a composition related to Bosch. It may also introduce new choices by the engraver, etcher, publisher, or later copyist. It belongs to Bosch's afterlife, not automatically to Bosch's hand.

Saint Anthony: From Painted Triptych to Printed World

The Saint Anthony theme shows how Boschian imagery could move across media. Bosch's Lisbon triptych, centred on the saint's resistance to temptation, offered later artists an ideal subject: a calm holy figure surrounded by a theatre of hallucination, appetite, violence, and grotesque invention. It is not surprising that the subject became important in print.

The Met's 1561 Temptation of St. Anthony presents the saint kneeling at the right while a monster-filled landscape unfolds before him. Its record names Bosch in an after/inventor role, credits the Van Doetecum family, and connects the design loosely to the Lisbon painting. The National Gallery of Art's impression gives the same broad network: Johannes van Doetecum the Elder, Lucas van Doetecum, Hieronymus Cock, and Bosch as the artist after whom the print was made.

A second Met record for The Temptation of St. Anthony lists the work as an etching after Bosch by Jan and Lucas van Doetecum, with public-domain status and a Drawings and Prints classification. Taken together, these records show how the Saint Anthony subject became one of the easiest ways for later viewers to encounter Boschian imagination outside painting. The sheet did not replace the triptych; it extended the reach of its visual world.

Lost Compositions and Uncertain Names

Some after-Bosch prints are especially valuable because they may preserve traces of lost or altered compositions. The British Museum's Shrove Tuesday or the Fool's Kitchen, made by Pieter van der Heyden and published by Hieronymus Cock in 1567, is recorded as after Bosch. The museum's commentary says it was probably based on a now lost Bosch composition, and notes related copies of figures and of the whole composition.

That kind of record does not prove that the lost original was certainly by Bosch in every modern sense. It shows that Bosch's name and pictorial inventions carried enough authority for a print publisher and later cataloguers to connect the design to him. For the history of reception, that is already important. It tells us how sixteenth-century viewers and makers valued the Boschian repertory: kitchens, fools, comic disorder, moral satire, and figures who seem halfway between everyday life and theatre.

The British Museum's St Martin and his Horse in a Ship offers another example. The record identifies it as after Bosch, made by Johannes van Doetecum I and Lucas van Doetecum, and published by Hieronymus Cock. Its commentary notes that the print may relate to a painting once in the collection of Emperor Rudolf II and to a tapestry in Madrid. Here print, lost painting, tapestry, imperial collecting, and scholarly reconstruction all meet. Bosch's afterlife was not a straight line from painting to print. It was a network.

When "After Bosch" Becomes a Problem

The phrase "after Bosch" is useful, but it can also conceal uncertainty. A print may have carried Bosch's name because a publisher added it, because a collector wanted it, because a composition looked Boschian, or because later scholarship grouped it with the Bosch tradition.

The British Museum's Sorghelos Leven is a good warning. The record lists the print as after Bosch and published by Joannes Galle, with a date range of 1625-1676. But the curator's comments add a more complicated history: an earlier state carried Cock's address, Galle added Bosch as inventor, and different scholars have proposed Pieter Baltens after Bosch, Jan Verbeeck, or an unidentified engraver after an unidentified artist.

That is not a weakness in the print's interest. It is the interest. Sorghelos Leven shows how Bosch's name could become a label within a broader Netherlandish market for comic, moralising, and grotesque imagery. The print is part of Bosch reception even if its exact relationship to Bosch's own invention is uncertain.

For that reason, this subject also belongs beside symbolism. Boschian prints encouraged later viewers to treat grotesque figures, instruments, tavern scenes, fools, and hybrid bodies as recognisable signs. Yet the responsible approach is not to turn every detail into a fixed code. It is to ask how a sheet uses Boschian motifs: for satire, moral warning, comic excess, religious reflection, or market appeal.

Bruegel and the Boschian Mode

The Boschian print tradition reaches beyond works directly labelled after Bosch. Pieter Bruegel the Elder's printed series of the Seven Deadly Sins provides a major bridge. The Met's record for Sloth (Desidia) identifies the print as engraved by Pieter van der Heyden after Bruegel, published by Hieronymus Cock, and dated 1558. Its commentary notes that Bruegel deliberately adopted a Bosch-like manner for the sins series, using fantastic creatures and hybrid structures that recall Bosch.

This does not make Bruegel a copyist. It shows Bosch's visual language becoming available as a mode: a way of staging vice, folly, and moral confusion through teeming landscapes and strange bodies. Bruegel could use that mode consciously, then turn to a more recognisably contemporary world in other print series. Bosch, in this sense, became both an artist and a vocabulary.

That connection is central to reception and influence. Bosch's influence is not only a matter of later admiration. It is visible in concrete works, publishers, prints, inscriptions, and stylistic choices. Print culture gave Boschian invention a repeatable form, and Bruegel's career shows how powerful that form became in the sixteenth century.

How to Look at Boschian Prints

When looking at prints after Bosch, begin with the wording of the object record. Is Bosch named as the artist, the inventor, or the artist after whom the print was made? Is a printmaker named? Is there a publisher? Does the date fall after Bosch's death in 1516? Is the composition tied to a surviving painting, a lost work, or a general Boschian style?

Those questions prevent a common misunderstanding. Boschian prints are not second-rate simply because Bosch did not make them. They are evidence of how his imagery travelled. They show which subjects were marketable, which compositions were remembered, which motifs became portable, and how later artists and publishers turned Bosch's moral imagination into a wider European visual culture.

They also send the reader back to the paintings with sharper eyes. The demons in the Garden, the temptations around Saint Anthony, the processional satire of the Haywain, and the terrifying density of Last Judgement all became easier to recognise because related images circulated beyond the original objects. Prints helped make Bosch famous as a world of invention.

Where to Go Next

For Bosch's accepted painted corpus, start with the main overview and paintings. For attribution terms such as Bosch, workshop, follower, copy, and after Bosch, see Workshop and Attribution. For the most relevant subject network, continue to The Temptation of Saint Anthony. For recurring motifs, read Symbolism. For the wider afterlife of Boschian imagery, see Reception and Influence.

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. British Museum, Shrove Tuesday or the Fool's Kitchen: View source
2. British Museum, Sorghelos Leven: View source
3. British Museum, St Martin and his Horse in a Ship: View source
4. Metropolitan Museum of Art, The Temptation of St. Anthony, after Hieronymus Bosch, Jan and Lucas van Doetecum: View source
5. Metropolitan Museum of Art, The Temptation of St. Anthony, 1561, after Hieronymus Bosch: View source
6. Metropolitan Museum of Art, Sloth (Desidia), from The Seven Deadly Sins: View source
7. National Gallery of Art, Washington, The Temptation of Saint Anthony: View source
8. Bosch Research and Conservation Project, project and publication information: View source
9. Closer to Bosch, Bosch Research and Conservation Project research platform: View source
10. BoschDoc / Huygens ING / KNAW: View source