s-Hertogenbosch

Bosch and 's-Hertogenbosch: Introduction

Hieronymus Bosch is often introduced through Madrid, Lisbon, Vienna, London or Washington, because those are the places where many of his best-known paintings now hang. The historical painter, however, belongs first to 's-Hertogenbosch: the Brabant city that gave him his adopted name, his workshop setting, his civic identity and much of the devotional culture in which his art made sense. Bosch was born Jheronimus van Aken, but the name "Bosch" ties him to Den Bosch, the common short form of 's-Hertogenbosch. That change of name is not a decorative fact. It is one of the clearest signs that the artist's public identity was bound to a specific city ^{[4] [6]}.

This guide sits beside the main Hieronymus Bosch overview and the document-led Bosch biography. Its focus is narrower: why 's-Hertogenbosch matters for reading Bosch. The city does not explain every bird, fruit, demon or burning building. It gives the paintings a historical ground: family craft, market-square work, churches, confraternities, civic records, social ambition and late medieval religious life.

Contents

1. Jheronimus van Aken in Den Bosch
2. De Kleine Winst and the Family Workshop
3. City Records and Social Position
4. The Brotherhood of Our Lady
5. Urban Devotion and Bosch's Moral Imagination
6. Modern Bosch in His Birth City
7. Why the City Changes the Art

Jheronimus van Aken in Den Bosch

Bosch was born in or shortly before 1450, into a family of painters. Bosch500 describes the Van Aken line as a multigenerational painters' family: Bosch's great-grandfather, grandfather, father and several uncles practised the trade, and Jheronimus and his brothers probably learned from their father ^[4]. This is one of the safest starting points for Bosch's biography. He was not a self-invented outsider suddenly producing visions from nowhere. He emerged from a family business in a city where panel painting was a skilled urban craft.

The family name "Van Aken" pointed back to Aachen, but the artist's chosen identity pointed to 's-Hertogenbosch. Current museum and biographical sources commonly identify him as Jheronimus Bosch or Hieronymus Bosch, and the signed name "Bosch" turns the city into part of the artist's public signature ^[6]. In that sense, the city is not merely where Bosch happened to live. It is part of how he presented himself.

The surviving documents are practical rather than intimate. BoschDoc, the online database connected with Huygens ING/KNAW and the Bosch Research and Conservation Project, gathers written material about Bosch, his family, patrons, surroundings and works, chiefly from handwritten documents and early printed sources before 1800 ^[2]. Such records do not let us hear Bosch explain The Garden of Earthly Delights or The Haywain Triptych in his own words. They do something more modest and more reliable: they place him in a web of family, property, craft, membership and civic life.

De Kleine Winst and the Family Workshop

The strongest local anchor is De Kleine Winst, also known as the House of Bosch. Erfgoed 's-Hertogenbosch records that Bosch's father, Anthonis van Aken, bought the house on the market square in 1462. The local heritage account identifies it as a house where the Van Aken family worked for decades as painters, and as the place where Jheronimus likely spent his youth and received his training ^[5].

That matters because the workshop is a better historical frame than the myth of Bosch as a solitary dreamer. In a late medieval painters' household, art was made through materials, training, repetition, commissions, assistants, relatives and client relationships. Oak panels had to be prepared. Designs could be reused or adapted. Family members could learn by doing. A painter's house could be both a domestic space and a professional workplace.

De Kleine Winst also places Bosch at the market, where civic, commercial and social life met. This setting does not mean that every Bosch crowd is a portrait of Den Bosch society. It does help explain why his art is so alert to public behaviour: bargaining, display, folly, appetite, false piety, rank, performance and moral failure. The same local world that produced respectable devotional patrons also produced the social theatre that Bosch scrutinised.

For the wider problem of workshop practice, copies and disputed authorship, see Bosch Workshop and Attribution. The family workshop background is not a side note there. It helps readers understand why the Bosch corpus includes works by Bosch, works associated with his workshop, follower images, copies and later Boschian inventions ^{[7] [8]}.

City Records and Social Position

Bosch appears in the documents of 's-Hertogenbosch between 1474 and 1516. Rijksmuseum notes an early record from 5 April 1474 in which he acted with his father and brothers as witnesses for his sister Katherijn ^[6]. The fact is small, but its shape is important. Bosch first becomes visible in the archive as part of a family acting within civic procedure.

By 1481 he was married to Aleid van de Meervenne. Bosch500 and Rijksmuseum both connect this marriage with increased prosperity and social standing, though the precise wedding date remains uncertain ^{[4] [6]}. Aleid came from a well-to-do family, and the marriage placed Bosch within a more comfortable social world than the bare image of the wandering visionary suggests.

These details are useful because Bosch's art can feel emotionally extreme while the documents show a socially embedded citizen. The painter of demons, false healers, fools and last judgments was also a husband, townsman, property-connected adult and member of local institutions. That tension is one reason the biography is so compelling. The art is not made less strange by the record. It becomes stranger because it was made from within ordinary structures of work, status and devotion.

The Brotherhood of Our Lady

Bosch's membership in the Brotherhood of Our Lady is one of the most important local facts in his life. Rijksmuseum gives the sequence: he became an ordinary member in 1486-87 and was elected a sworn brother in 1487-88 ^[6]. Bosch500 adds that his grandfather and father had also belonged to the Brotherhood, placing Jheronimus within a family pattern as well as a personal affiliation ^[4].

The Brotherhood was a devotional confraternity connected with St John's Church and the religious life of the city. Bosch500 describes the sworn brethren as an elite group that included clergy, educated men and important civic figures, and notes that members met regularly in religious and social settings ^[4]. Bosch was not merely living near late medieval devotion. He was participating in one of the city's significant devotional networks.

This fact should be used carefully. The Brotherhood is not a master key to Bosch symbolism. It does not prove what every monster, fruit or instrument means. It does show that Bosch's repeated concern with sin, temptation, judgment, prayer, holy endurance and moral choice belongs to a culture where such themes were publicly practised, preached, sung, pictured and debated.

It also gives the paintings a communal setting. Bosch's triptychs and moral panels are often about decisions made by groups as much as individuals: crowds pursuing hay, fools packed into a boat, societies turning toward appetite, figures ignoring warning signs. In a city shaped by confraternities, churches, sermons, rituals and social rank, those themes were not abstract theology. They were ways of thinking about daily conduct.

Urban Devotion and Bosch's Moral Imagination

's-Hertogenbosch helps modern readers avoid two bad simplifications. The first is to make Bosch a private hallucination machine. The second is to make him a flat moral illustrator. The city supports a richer view. Bosch worked in a culture where religious images, civic identity, household devotion, satire, public ceremony and moral instruction overlapped. His paintings could be serious and comic at the same time because late medieval moral culture often used ridicule, inversion and grotesque imagery to expose sin.

This is especially important for the paintings that stage life as a road or test. The Pedlar or Wayfarer, Death and the Miser, The Haywain and the Last Judgement all turn moral life into movement: a road, a last chamber, a crowd following a wagon, a passage toward salvation or punishment. Those images do not need to be reduced to local biography. But 's-Hertogenbosch gives them a world in which pilgrimage, confession, social display, death and judgment were shared concerns.

The city also matters for Bosch style and technique. Bosch's precision is not just imaginative. It belongs to trained craft: panel supports, underdrawing, oil paint, grisaille exteriors, workshop repetition and the close finish expected in Netherlandish painting. The Bosch Research and Conservation Project has made the material side of this art clearer by studying Bosch's paintings, drawings, workshop and followers through art-historical and technical research ^{[7] [8]}.

Modern Bosch in His Birth City

Bosch's most famous paintings are now dispersed across Europe and the United States, but 's-Hertogenbosch remains central to modern Bosch research and public memory. BoschDoc itself grew from collaboration among institutions including Huygens ING, Radboud University Nijmegen and the City Archives of 's-Hertogenbosch ^[2]. Erfgoed 's-Hertogenbosch keeps the local house and archive record visible through its material on De Kleine Winst and the historic city ^[5].

The 2016 anniversary of Bosch's death brought that local importance into unusually sharp focus. The Bosch Research and Conservation Project was developed in preparation for the 2016 commemorations, and Het Noordbrabants Museum in 's-Hertogenbosch hosted the major exhibition Jheronimus Bosch: Visions of Genius ^{[7] [10]}. The museum's current collection information also treats Bosch as an important local figure, while noting that works by his followers may be seen in the old art galleries when displayed ^[10].

This modern attention should not turn the city into a tourist frame around the artist. Its value is evidential. 's-Hertogenbosch preserves the local record that keeps Jheronimus van Aken historically grounded even when the paintings travel far beyond Brabant. It reminds us that Bosch's demons, saints, fools and wayfarers were made by a trained painter in a real city, for viewers who knew the moral and devotional pressures his images transformed.

Why the City Changes the Art

To read Bosch through 's-Hertogenbosch is not to solve him. It is to put pressure on the right questions. What kind of painter emerges from a family workshop rather than an isolated studio myth? What changes when the adopted name "Bosch" is understood as a city identity? How do the Brotherhood of Our Lady, St John's Church, De Kleine Winst and local records alter the way we approach Bosch's moral imagery?

They make the paintings less rootless. The strangeness remains, but it no longer floats free. The grotesque bodies, hybrid creatures, saintly trials, infernal punishments and wandering figures belong to a world of craft, worship, trade, property, social ambition and shared moral anxiety. Bosch's city does not explain away the visions. It gives them weight.

That is why 's-Hertogenbosch belongs near the beginning of any serious encounter with Bosch. The paintings may now be scattered across museums, and their meanings remain famously difficult, but the historical artist starts in Den Bosch: Jheronimus van Aken, painter's son, workshop-trained craftsman, sworn brother, citizen, and the artist who made his city part of his name.

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. Huygens ING / KNAW, BoschDoc resource page: View source
3. Bosch500, "Family life": View source
4. Bosch500, "Illustre Brotherhood of Our Blessed Lady": View source
5. Erfgoed 's-Hertogenbosch, "Het Huis van Bosch (De Kleine Winst)" (in Dutch): 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. Het Noordbrabants Museum, collection FAQ on Jheronimus Bosch (in Dutch): View source
10. Het Noordbrabants Museum, contact and directions: View source