Reception and Influence

Hieronymus Bosch Reception and Influence: Introduction

Hieronymus Bosch's reputation was built almost as soon as his paintings began to move through elite collections, but it is safest to describe that reputation through evidence rather than legend. Bosch did not leave a large body of personal writings. What survives instead is a chain of testimony, collecting, copying, printmaking, attribution debate and museum research that shows how viewers have tried to understand his images for more than five hundred years.

That chain matters because Bosch is often treated as if his influence were simply a mood: monsters, Hell, dreams, hybrid creatures and strange symbols. The source-led story is sharper. Early witnesses noticed the extraordinary character of works associated with him; Spanish collectors preserved and debated major paintings; print publishers turned Boschian invention into a wider visual language; later Netherlandish artists, especially Pieter Bruegel the Elder, used that language in new ways; and modern institutions have rebuilt Bosch reception around technical evidence, corpus study and attribution caution ^{[1] [2]}.

For the core of Bosch's art, begin with the main Hieronymus Bosch overview, the document-led biography, the paintings hub and the major triptychs such as The Garden of Earthly Delights and The Haywain Triptych. This page follows what happened to Bosch's image after it entered documents, collections, copies and later visual culture.

Contents

1. Early Witnesses and Written Reception
2. Spanish Collecting and the Prado Afterlife
3. Copies, Followers and the Boschian Name
4. Prints and the Antwerp Market
5. Bruegel and Boschian Visual Culture
6. Modern Museum and Research Reception

Early Witnesses and Written Reception

The earliest reception of Bosch is not a neat set of quotations by the artist. BoschDoc, the documentary database connected with the Bosch Research and Conservation Project, gathers written material about Bosch, his family, patrons, surroundings and works, especially documents and early printed texts before 1800 ^[1]. That kind of evidence is valuable precisely because it keeps Bosch grounded in historical records rather than later myth.

One of the most important early witnesses is Antonio de Beatis, who travelled in the Low Countries with Cardinal Luigi of Aragon. In 1517 he recorded seeing a remarkable painted work in the Nassau palace in Brussels. Prado scholarship connects this account with the early history of the Garden, making it one of the key pieces of evidence for the triptych's early reception in an elite courtly setting ^[3]. De Beatis does not explain Bosch's meaning for us. He shows that a spectacular Boschian work was already being noticed, described and valued soon after the artist's lifetime.

Karel van Mander gave Bosch a different afterlife in print. Writing in the Schilder-Boeck in 1604, Van Mander framed Bosch as a painter of strange ideas and gruesome pictures; the National Gallery's Bosch artist entry preserves this early reception route ^[4]. Van Mander's importance is not that he reveals Bosch's private intention. He shows how, less than a century after Bosch's death, Bosch was already understood as an artist whose imagination exceeded ordinary description.

Felipe de Guevara adds a Spanish voice to that early reception. His comments are especially important around the Table of the Seven Deadly Sins and the Four Last Things, a work the Prado attributes to Bosch while acknowledging modern scholarly disagreement ^{[5] [6]}. Guevara helps show that Bosch's name was already being discussed through questions of authenticity, copying and collecting, not only through admiration.

For more on this documentary and quoted evidence, see Bosch quotes and reception.

Spanish Collecting and the Prado Afterlife

Bosch's Spanish reception is central because so many major works associated with him entered Habsburg and royal Spanish contexts. The Prado's Bosch holdings are not a neutral accident of survival. They record a powerful history of collecting, preservation, royal taste and later museum interpretation.

The Prado connects the Garden with the Nassau palace at Coudenberg and with early aristocratic ownership before the painting's later Spanish history ^[3]. The Haywain Triptych has its own complex history: the Prado dates it to 1512-1515 and notes that the version once associated with Felipe de Guevara and Philip II is complicated by technical evidence identifying that version as a copy, while the Prado version is documented in the 1636 Alcazar inventory ^[7]. That distinction is a perfect example of Bosch reception: one must separate fame, ownership tradition, copy history and the physical object now in the museum.

Other Prado works deepen the same story. The Adoration of the Magi was sent by Philip II to El Escorial in 1574 and moved to the Prado in the nineteenth century ^[8]. The Seven Deadly Sins was also valued in Spanish royal and religious settings, yet its authorship remains debated, making it a key case for the workshop and attribution problem ^{[5] [6]}.

The Prado's 2016 Bosch centenary exhibition gave this Spanish afterlife a modern public form. It placed major works, technical study and attribution questions before a wide audience, while showing that Bosch's fame depends as much on research discipline as on visual astonishment ^[9]. The modern Prado Bosch is therefore both an old collecting story and a contemporary research story.

Copies, Followers and the Boschian Name

Bosch's influence cannot be measured only by works securely painted by Bosch. It also appears in the unstable territory of workshop practice, followers, copies and "after Bosch" images. Modern research has made that territory more precise. The Bosch Research and Conservation Project and Closer to Bosch distinguish works by Bosch from workshop material, followers and uncertain cases through object study, high-resolution imaging and technical research ^[2].

That caution is essential because Bosch's name attracted many later images. Some preserve a composition related to Bosch; some imitate his demons, fools and moral disorder; some are later works that acquired his name because they looked Boschian. A painting such as Concert in the Egg, for example, belongs much more securely to the follower or after-Bosch field than to Bosch's hand. It is useful for reception, but dangerous as evidence of Bosch's own authorship.

The same is true in a more productive way for copies after major subjects. The Saint Anthony tradition includes the Lisbon triptych, Prado-related panels, copies and prints, all of which show how Boschian temptation imagery circulated across media ^{[10] [11] [12]}. These works do not merely dilute Bosch. They reveal which parts of Bosch's visual world later artists and patrons found repeatable: hermits under assault, moral disorder, comic horror, monstrous bodies and landscapes crowded with tests of perception.

Prints and the Antwerp Market

Prints after Bosch were one of the main engines of his visual afterlife. Bosch is not known as an autograph printmaker, so the important phrase is usually "after Bosch" or "Bosch as inventor", not "print by Bosch". That distinction shapes the dedicated prints page, and it also shapes the influence story here.

The Met and the National Gallery of Art both preserve records for The Temptation of St. Anthony prints associated with Jan and Lucas van Doetecum and the Antwerp publisher Hieronymus Cock. These sheets present Bosch as the source of invention while making clear that the physical print belongs to a later sixteenth-century print world ^{[12] [13]}. Such records show Bosch's imagery entering a commercial network: repeatable, portable and available to viewers who would never see the original paintings.

The British Museum records several after-Bosch prints that make the transmission even more complex. Shrove Tuesday or the Fool's Kitchen, published by Cock in 1567, is recorded as after Bosch and probably based on a now lost Bosch composition ^[14]. St Martin and his Horse in a Ship is likewise tied to after-Bosch printmaking, lost or related paintings and later collecting traditions ^[15]. Sorghelos Leven shows how Bosch's name could be added, debated or reframed across states and attributions ^[16].

These prints are not secondary footnotes to the paintings. They are evidence of how Bosch became recognisable as a style.

Bruegel and Boschian Visual Culture

Pieter Bruegel the Elder is the most important sixteenth-century artist to discuss in relation to Boschian visual culture. The connection should be handled carefully: Bruegel was not simply repeating Bosch. He learned from Bosch's visual language and used it within his own print and painting worlds.

The Met's record for Bruegel's Sloth (Desidia), from the Seven Deadly Sins series, identifies the print as engraved by Pieter van der Heyden after Bruegel and published by Hieronymus Cock in 1558. The record notes that Bruegel deliberately adopted a Bosch-like manner in this sins series, especially through fantastic creatures and hybrid structures ^[17]. That is a strong, sourceable influence claim because it is tied to a specific work, series, publisher and visual mode.

Bruegel shows how Bosch's afterlife became a vocabulary. The crowded moral landscape, the comic-grotesque figure, the hybrid creature and the theatre of vice could be used by later artists without becoming simple copying. This is why Bosch belongs beside symbolism, but also why Bosch symbolism must stay source-led. Later viewers learned to recognise Boschian signs; that does not mean every bird, fruit, instrument or monster has one fixed meaning.

Modern Museum and Research Reception

Modern Bosch reception has moved from wonder toward evidence. Wonder is still part of the experience, but the strongest museums and research projects now ask what can be known about materials, underdrawing, revisions, provenance, copies and authorship.

The BRCP and Closer to Bosch have been decisive in this shift. Their work places Bosch's paintings, drawings, workshop and followers inside a technical and art-historical corpus, using imaging and object study to challenge inherited assumptions ^[2]. Prado research has similarly made the Garden, Haywain, Adoration of the Magi, Seven Deadly Sins and attribution controversies central to modern Bosch interpretation ^{[3] [5] [6] [7] [8] [9]}.

This is also the best way to handle modern influence. Claims that Bosch directly anticipates later fantasy or Surrealism need careful sourcing, because broad analogy can easily become lazy. The safer claim is that modern viewers, artists and museums have repeatedly returned to Bosch as an image-maker of extraordinary imaginative power, while responsible scholarship keeps the line between influence, analogy and reception visible.

Bosch's influence, then, is not a single inheritance. It is a layered afterlife: early testimony, Spanish collecting, workshop and copy traditions, Antwerp prints, Bruegel's Boschian mode, museum exhibitions and modern technical research. The images still astonish, but their afterlife is best understood through the records that show how each generation made Bosch legible again.

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. Closer to Bosch, Bosch Research and Conservation Project: View source
3. Museo Nacional del Prado, The Garden of Earthly Delights Triptych: View source
4. The National Gallery, London, Hieronymus 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. Museo Nacional del Prado, Triptych of the Adoration of the Magi: View source
9. Museo Nacional del Prado, Bosch. The 5th Centenary Exhibition: View source
10. Museu Nacional de Arte Antiga, Temptations of Saint Anthony: View source
11. Museo Nacional del Prado, The Temptations of Saint Anthony: View source
12. Metropolitan Museum of Art, The Temptation of St. Anthony, after Hieronymus Bosch, Jan and Lucas van Doetecum: View source
13. National Gallery of Art, Washington, The Temptation of Saint Anthony: View source
14. British Museum, Shrove Tuesday or the Fool's Kitchen: View source
15. British Museum, St Martin and his Horse in a Ship: View source
16. British Museum, Sorghelos Leven: View source
17. Metropolitan Museum of Art, Sloth (Desidia), from The Seven Deadly Sins: View source