Quotes

Hieronymus Bosch Quotes and Reception: Introduction

Hieronymus Bosch is a difficult artist to quote honestly. Unlike later painters whose letters, notebooks or interviews survive in abundance, Bosch left no secure body of personal writing that explains his intentions in his own voice. The safest starting point is therefore simple: there are very few reliable direct quotations by Bosch, and many lines circulated online as "Bosch quotes" are weakly sourced or later commentary in disguise.

That does not make a Bosch quotes collection useless. It changes what the collection should do. The best evidence comes from documents about Bosch, early witnesses who saw works associated with him, writers who shaped his reputation, and modern museum or scholarly commentary that helps explain what can and cannot be claimed. In that sense, Bosch is most revealing when heard through the historical record around him rather than through invented sayings placed in his mouth.

This guide gathers that material carefully. It belongs beside the main Hieronymus Bosch overview, the document-led biography, the paintings hub, The Garden of Earthly Delights, The Haywain Triptych, Workshop and Attribution, and the wider Reception and Influence discussion.

Contents

1. Are There Any Direct Bosch Quotes?
2. Karel van Mander on Bosch's Strange Inventions
3. Antonio de Beatis and the Garden in 1517
4. Felipe de Guevara and Spanish Reception
5. Museum Voices: Caution, Not Certainty
6. What Bosch's Paintings Say Without Words
7. How to Use Bosch Quotes Responsibly

Are There Any Direct Bosch Quotes?

No secure collection of direct Bosch sayings is known from the sources used for this Bosch cluster. BoschDoc, the key documentary database for Bosch and his world, gathers written material about the artist, his family, patrons, surroundings and works, especially handwritten documents and early printed texts before 1800. Its value is enormous, but those records are not the same thing as a personal memoir, diary or correspondence by Bosch himself. ^[1]

That distinction matters. A legal or civic document can tell us where Bosch appears in the record, how his family and social networks functioned, or how works were later owned and described. It does not automatically tell us what Bosch thought a monster meant, why he chose a particular detail, or how he wanted viewers to interpret the Garden. Those questions have to be answered through paintings, context, technical evidence and reception, not through fabricated autobiographical quotation.

For readers, the most trustworthy habit is to treat any neat motivational line attributed to Bosch with caution unless it comes with a precise source. Bosch's art is strange enough without borrowed words. The honest record is more fragmentary, but it is also more interesting: a painter known through panels, patronage, workshop practice, collecting, technical study and the responses of viewers who were already trying to make sense of him within a century of his death.

Karel van Mander on Bosch's Strange Inventions

One of the most important early voices on Bosch is Karel van Mander, the Dutch artist and writer whose Schilder-Boeck appeared in 1604, nearly a century after Bosch's death. Van Mander did not give us Bosch speaking for himself. He gave later readers a powerful reception image of Bosch as an inventor of strange and frightening scenes.

The National Gallery's Bosch artist entry quotes Van Mander asking who could describe "the strange and wondrous ideas" that Bosch had in his mind, and connects that admiration to the "gruesome and horrific" character of Bosch's pictures. ^[2] The short passage matters because it shows how early modern viewers already saw Bosch as a painter whose imagination exceeded ordinary description. Van Mander's Bosch is not merely a skilled panel painter. He is a maker of images that challenge language.

That reputation still shapes modern viewing. When visitors stand before Bosch's Hell scenes, hybrid bodies or crowded temptations, they often reach first for amazement: how could anyone imagine this? Van Mander helps explain why that reaction has a long history. But his testimony is also reception, not evidence of Bosch's private psychology. It tells us how Bosch was being framed in the early seventeenth century, not what Bosch said about himself.

Antonio de Beatis and the Garden in 1517

Antonio de Beatis is one of the crucial early witnesses for The Garden of Earthly Delights. In 1517, while travelling in the Low Countries with Cardinal Luigi of Aragon, he recorded seeing a remarkable painted work in the Nassau palace in Brussels. Modern Prado scholarship connects that account with the Garden's early history and treats it as an important clue to the work's ownership and reception. ^[3]

De Beatis's account is often paraphrased because the wording survives through an early travel record rather than through Bosch. What matters for a public reader is the status of the evidence: this is not Bosch explaining the triptych; it is an early viewer describing a spectacular painting in an elite collection soon after Bosch's lifetime. The account helps anchor the Garden in the world of courtly collecting and high-status display, rather than leaving it as a timeless fantasy with no historical setting.

The Prado's current account of the Garden also cautions against older simplified provenance stories. The triptych is associated with the Nassau palace at Coudenberg, and modern scholarship tends to treat Engelbert II of Nassau as the likelier early owner rather than accepting every later story about the work as settled fact. ^{[3] [4]} That caution is exactly the kind of discipline a Bosch quotes page needs: early testimony is valuable, but it has to be labelled for what it is.

Felipe de Guevara and Spanish Reception

Felipe de Guevara is another important early commentator, especially for the way Bosch was valued and debated in Spain. His writing is often invoked around the Prado's Table of the Seven Deadly Sins and the Four Last Things, a work that the Prado attributes to Bosch but that has been questioned in modern scholarship and BRCP-related debate. ^{[5] [6]}

Guevara matters because he helps show how Bosch's reputation was already being sorted by later viewers: admired, collected, copied and discussed in relation to authenticity. The Prado's material on the Seven Deadly Sins uses the Guevara passage as part of a larger attribution argument, while also acknowledging that some scholars have rejected Bosch's authorship. ^[5] That is not a contradiction to hide. It is a productive example of Bosch studies at work.

In quotation terms, Guevara's value is not that he supplies Bosch's own words. He supplies early reception evidence. Spanish collectors, including Philip II, played a major role in preserving and valuing works associated with Bosch, and Prado provenance records connect several major Bosch works with royal and religious settings in Spain. The Haywain Triptych, the Adoration of the Magi, the Seven Deadly Sins and the Garden all belong in that broader Spanish afterlife. ^{[3] [5] [7]}

Museum Voices: Caution, Not Certainty

Modern museum commentary is often more useful than a dramatic quote because it keeps Bosch tied to evidence. The Prado's Bosch material is central for the Garden, Haywain, the Adoration of the Magi, the Seven Deadly Sins and attribution controversies. Pilar Silva Maroto and Prado colleagues have helped frame Bosch as a painter whose works demand technical, iconographic and historical study rather than quick symbolic decoding. ^{[4] [6] [7]}

Museum Boijmans Van Beuningen offers a different but equally important Dutch route. Its Bosch material discusses works such as The Pedlar, also known as The Wayfarer, and places Bosch within a world of devils, workshop practice, restoration and later interpretation. Boijmans also warns, in effect, that symbolic readings around the travelling figure and related panels must remain careful. ^[8]

The National Gallery in London adds another kind of voice through Christ Mocked (The Crowning with Thorns). Its record presents the work as the only known painting of Christ mocked that can now be attributed to Bosch, and its catalogue material notes technical evidence beneath the surface, including changes in the underdrawing and an unfinished Saint Christopher below the visible image. ^[9] That evidence is not a quote in the decorative sense, but it speaks powerfully about Bosch's working process.

The Bosch Research and Conservation Project and Closer to Bosch give the modern corpus its most important technical frame. They separate Bosch, workshop, followers and uncertain cases, and they use high-resolution and technical study to ask sharper questions about paintings and drawings. ^[10] For a famous artist whose name attracts imitations and overconfident claims, that cautious language is one of the most valuable forms of commentary.

What Bosch's Paintings Say Without Words

If Bosch did not leave a convenient set of sayings, his paintings still have a kind of verbal force. They argue visually. They ask what humans pursue, what they ignore, what tempts them, what frightens them and what happens when moral order collapses.

In the Garden, the closed world of creation opens into Eden, a vast central field of human activity and the punishments of Hell. ^[4] In the Haywain, humanity crowds around a wagon of hay, chasing worldly value as the triptych moves from the origin of sin toward infernal consequence. ^[7] In The Pedlar, a solitary figure on the road carries the burden of earthly life while related panels such as Ship of Fools and Death and the Miser deepen the moral network. ^[8]

These works do not need invented captions from Bosch. Their power comes from the pressure between detail and uncertainty. They are precise enough to feel observed, strange enough to resist easy summary and moral enough to make the viewer implicated rather than comfortable. A responsible account of Bosch's words therefore leaves room for silence. Bosch's own silence is not a gap to fill with fantasy. It is part of the historical record.

How to Use Bosch Quotes Responsibly

When quoting Bosch, begin by asking who is actually speaking. If the speaker is Bosch, the source should be exact and documentable. If the speaker is Van Mander, de Beatis, Guevara, a museum curator, a catalogue author or a modern scholar, the line should be labelled that way. Later commentary should never be made to sound like Bosch's own voice.

The second rule is to prefer short, sourced excerpts over long blocks of borrowed prose. Bosch's reception history is rich, but the article should explain the evidence rather than simply reproduce it. A short phrase from Van Mander can show early amazement; a Prado or Boijmans citation can support an attribution or reception point; BoschDoc can document the record around the artist. The interpretation still belongs in careful prose.

The third rule is to let uncertainty remain visible. Bosch studies involve disputed attributions, altered panels, copies, workshop practice, early inventories and changing museum labels. That does not weaken the story. It makes the story more truthful. The most useful Bosch quotations are not slogans. They are historical voices around an artist whose images have made people talk, argue, collect, copy and wonder for more than five hundred years.

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 database, Huygens ING / KNAW: View source
2. The National Gallery, London, Hieronymus Bosch artist page: View source
3. Museo Nacional del Prado, The Garden of Earthly Delights Triptych: View source
4. Museo Nacional del Prado, Bosch artist page: View source
5. Museo Nacional del Prado, Table of the Seven Deadly Sins: View source
6. Museo Nacional del Prado, "Controversies Regarding Hieronymus Bosch": View source
7. Museo Nacional del Prado, The Haywain Triptych: View source
8. Museum Boijmans Van Beuningen, The Pedlar: View source
9. The National Gallery, London, Christ Mocked (The Crowning with Thorns): View source
10. Closer to Bosch, Bosch Research and Conservation Project: View source