Style and Technique

Hieronymus Bosch Style and Technique: Introduction

Hieronymus Bosch's style is easy to recognise and hard to explain. A Bosch painting may contain demons with pots for helmets, birds larger than people, bodies turned into instruments, translucent spheres, burning cities, saints under attack and crowds so small that they seem to multiply as the viewer looks. Yet Bosch was not an undisciplined fantasist. His strangeness depends on highly controlled craft: oil paint on carefully prepared panels, triptych structures that open and close, fine underdrawing, precise colour design, and a habit of filling large moral dramas with minute, legible incidents.

That combination is what makes Bosch so powerful. The surface seems inexhaustible, but the paintings are built from material decisions. Oak panels, hinges, grisaille exteriors, full-colour interiors, repeated figure types, altered underdrawings, hidden compositions and later restoration histories all shape what we see. Modern research has made this clearer. The Bosch Research and Conservation Project and Closer to Bosch have brought art history, conservation, high-resolution imaging and technical study together, using visible light, infrared, infrared reflectography and digitised X-radiography where available to study Bosch, his workshop and his followers ^{[1] [2]}.

This guide sits beside the main Hieronymus Bosch overview, the paintings hub, the drawings guide, Bosch symbolism, and the separate guide to Bosch workshop and attribution. Its focus is not only what Bosch painted, but how his pictures were made, revised, preserved and studied.

Contents

1. Oil on Panel
2. Triptychs and Hinged Seeing
3. Grisaille and Colour
4. Underdrawing and Revision
5. Scale, Detail and the Discipline of Invention
6. Conservation Evidence
7. Technical Study and Attribution
8. Bosch's Hybrid Imagination
9. How to Look at Bosch's Technique

Oil on Panel

Bosch worked in the late fifteenth and early sixteenth centuries, when Netherlandish painters had developed a refined tradition of oil painting on wooden supports. Many of his major works are painted on oak panel. The Prado records The Garden of Earthly Delights as grisaille and oil on oak panel, dated 1490-1500, and The Haywain Triptych as oil on panel, dated 1512-1515 ^{[3] [4]}. The National Gallery in London identifies Christ Mocked (The Crowning with Thorns) as oil on Baltic or Polish oak, about 1510 ^[5]. Museum Boijmans Van Beuningen records Saint Christopher as oil on panel ^[6].

Panel painting gave Bosch a hard, smooth surface on which tiny forms could be drawn and painted with great clarity. It also created vulnerabilities. Wood responds to humidity and structural stress. Panels can split, warp or be thinned, cradled, joined, cut down and restored. The apparent immediacy of Bosch's inventions therefore sits on objects with long physical histories. A painting may now look like one coherent surface while also carrying evidence of joined boards, old repairs, changed varnish, overpaint, losses and earlier conservation decisions.

The panel support matters for dating and attribution as well. Dendrochronology, the study of tree-ring patterns in wood, can sometimes establish the earliest possible date at which an oak panel could have been used. This does not prove the exact date of a painting, because panels could be stored before use, but it can make some proposed dates impossible or more plausible. In Bosch studies, that kind of evidence is most useful when combined with underdrawing, paint handling, provenance, copies and current museum research.

Triptychs and Hinged Seeing

Bosch's most famous technical and imaginative format is the triptych. A triptych is a three-part work, usually with hinged wings that could be closed over a central panel and then opened. In a religious setting, such winged altarpieces might remain closed for ordinary viewing and be opened for Sundays, feast days or special occasions. Even when the original setting is uncertain, the format creates a double experience: a restrained exterior and a revealed interior.

The Garden of Earthly Delights is the most famous example. Closed, the Prado identifies the exterior as the Third Day of Creation, painted in grisaille. Opened, the triptych shifts into brilliant colour: Eden on the left, a crowded central field of sensual and moral ambiguity, and Hell on the right ^[3]. The contrast is not decorative. The exterior suggests the world before humanity; the interior shows humanity inside a moral drama.

The Haywain Triptych uses a related structure with a different emphasis. The Prado describes its interior as devoted to sin, beginning with the fall of the rebel angels, Adam and Eve, and expulsion from Eden, then moving toward the hay wagon and the infernal consequence at the right ^[4]. Here the triptych acts almost like a moral procession. The eye travels from origin to worldly pursuit to punishment.

The Academy of Fine Arts Vienna describes The Last Judgement as a three-part winged altarpiece and places its creation broadly between about 1490 and 1505 ^[7]. Its left panel shows Paradise, Fall and expulsion; its central and right panels unfold judgement, punishment and hell. The Academy also notes that the outer wings are painted in shades of grey, a grisaille contrast to the colourful inner panels ^[7].

Bosch understood that a hinged painting changes meaning through time. A closed triptych can be quiet, devotional and sculptural in effect. An opened triptych can become dazzling, overcrowded and morally overwhelming. The style depends on that movement from withheld image to revelation.

Grisaille and Colour

Grisaille is painting in shades of grey, often used to imitate sculpture or to create a subdued exterior. Bosch used it with particular force. In the Garden, the closed exterior's grey Creation scene makes the opened interior feel shockingly alive. The Prado specifically contrasts the grisaille exterior with the colour of the inner triptych ^[3]. In the Last Judgement, the Vienna Academy makes the same point: the grey outer wings sharpen the contrast with the colourful, densely detailed inner panels ^[7].

This shift from grey to colour is central to Bosch's technique. Grisaille slows the viewer down. It asks for contemplation before spectacle. The exterior wings often carry saints, Creation imagery or devotional counterpoints. They are not empty covers; they prepare the viewer for what happens when the image opens.

Inside, Bosch's colour is not merely bright. It is organisational. Pale flesh, blue water, green landscape, white cloth, red clothing, black interiors, yellow fire and grey architecture help the eye move through dense scenes. In the Garden, colour separates air, water, bodies, shells, fruit, animals and infernal darkness. In the Haywain, it helps turn a crowded procession into a readable moral theatre. In Christ Mocked, the National Gallery describes a carefully structured design of shape and colour, with Christ's pale robe setting him apart from the coloured tormentors around him ^[5].

Bosch's colour often works with scale. A tiny white body may stand out against a dark opening; a red garment may pull attention across a crowded field; a pale face may anchor a whole group. The paintings reward close looking because their colour accents guide the eye without reducing the image to a single focal point.

Underdrawing and Revision

Technical study has made Bosch's working process more visible. Infrared reflectography can reveal underdrawing, the preparatory drawing beneath the paint layer. In many Netherlandish paintings, underdrawing is essential evidence because it shows how a composition was planned, changed or transferred.

Bosch's underdrawing is especially important because his accepted works often appear inventive rather than mechanical. Researchers look at whether forms were freely sketched, adjusted and rethought, or whether they follow a known pattern more rigidly. This is not a rule by itself. A workshop assistant might work from a master's design; a copyist might still change details; damage or paint layers may hide evidence. But underdrawing gives scholars a rare view of decision-making beneath the finished surface.

The National Gallery's account of Christ Mocked is one of the clearest public examples. The Gallery explains that Bosch toned down the violence of the scene as he painted. In the underdrawing, the tormentors treated Christ more brutally: gestures and hands were originally more aggressive, and some details were altered in the final paint layers ^[5]. The finished painting is therefore not simply the execution of a fixed design. It is the result of revision.

The Prado records underdrawing and compositional change in the Triptych of the Adoration of the Magi, including changes to contours and positions and curtains painted over completed figures ^[8]. In The Extraction of the Stone of Madness, the Prado notes technical data, underdrawing and a careful surface associated with its attribution and dating discussion ^[9]. Such evidence matters because Bosch's style is not just in the final oddity of a demon or satire. It is also in how forms were imagined, tested and revised.

Scale, Detail and the Discipline of Invention

Bosch is often described through his monsters, but his greatest technical gift may be the control of scale. In the major triptychs, large theological structures are carried by hundreds of small incidents. The viewer can read the whole and then keep discovering parts: a procession, a falling body, a weaponised instrument, a tiny animal, a strange building, a staged punishment, a saint under pressure.

This miniature density is not random. Bosch uses repeated rhythms of looking. A viewer moves from the main axis to the margins, from bright bodies to dark openings, from comic absurdity to moral threat. The same object may be funny and frightening. A musical instrument may be a pleasure object in one context and an engine of torment in another. A hollow tree, bird head, funnel, knife or vessel may carry symbolic pressure without always allowing a single fixed translation.

That is why Bosch's symbolism should be read with caution. The paintings are not simple codebooks. His style works through clusters of association: sin, temptation, appetite, folly, false healing, pilgrimage, inversion, judgement and the fragility of the body. Technical precision makes that ambiguity convincing. The monsters are fantastic, but they are painted with the crispness of observed things.

Bosch's scale also changes the viewer's physical experience. Large triptychs such as Garden, Haywain and Last Judgement ask the eye to travel. Smaller paintings such as Christ Mocked concentrate pressure. In the National Gallery work, Bosch compresses the Passion into a half-length confrontation. The scale is intimate, the faces are close, and the reduced space makes the moral encounter immediate ^[5]. Bosch could expand a world across panels or tighten it into a single suffocating frame.

Conservation Evidence

Conservation does not simply clean pictures. It can reveal how they are made, how they have aged and how previous interventions changed their appearance. It can also remind viewers that the painting seen today is a survivor.

Museum Boijmans Van Beuningen's restoration material for Saint Christopher is unusually helpful for understanding Bosch as a panel painter. The museum describes preliminary examination with paint samples, ultraviolet photographs and raking light; the use of XRF images, infrared images and X-rays; problems including rotten wood, a fixed parquet or cradle at the back, yellowed varnish and loose paint; and the careful loosening of the cradle so the panel could move without harming the paint layers ^[10]. The restoration also included varnish removal, removal of old retouching, consolidation of loose paint, filling and retouching of losses, and a new varnish layer ^[10].

This kind of evidence is practical rather than glamorous, but it is crucial. It explains why a painting may look dark, cracked, flattened or uneven. It shows why old cradles, varnishes and retouchings can affect both appearance and interpretation. It also shows why conservation choices must be reversible where possible and carefully documented.

The Stadel Museum's Ecce Homo offers a related lesson. The museum notes that damaged donor sections were overpainted at an early date and that remnants of the donor family were uncovered only much later. It also records that an X-ray examination in 1983 revealed that a donor family had once been portrayed in the foreground and then painted over ^[11]. The rediscovery changes how the painting is understood: what looked like a Passion scene without those figures becomes a work tied to patronage, prayer and social status.

The Louvre's restoration material for Ship of Fools, cited in the Bosch planning research, is another reminder that old varnish and repainting can obscure iconography. Cleaning and technical examination do not make interpretation certain, but they can restore details that earlier viewers could not read clearly.

Technical Study and Attribution

Bosch's style became famous quickly, and that fame created an attribution problem. Later painters and printmakers could imitate his devils, fools and monstrous hybrids. A picture might look Boschian because it belongs to the visual culture that Bosch helped create, not because Bosch painted it. Technical study is therefore central to attribution.

The BRCP's purpose was not only to catalogue images but to improve knowledge of Bosch's paintings, drawings, workshop and followers, and to preserve them for the future ^[1]. Closer to Bosch presents that research through high-resolution and technical study, separating works associated with Bosch from workshop and follower material ^[2]. These categories matter because Bosch's style is partly material: underdrawing habits, panel construction, paint handling, changes during execution and relationships to known works all help scholars judge authorship.

The evidence is strongest when several forms of inquiry converge. Dendrochronology may show that a panel could belong to Bosch's lifetime. Infrared reflectography may show exploratory underdrawing. X-radiography may reveal changes, hidden compositions or structural features. Provenance may connect a work to early collectors. Copies and versions may show whether a composition circulated during or after Bosch's life. None of these elements alone is a magic key. Together, they build a case.

This is why disputed works require careful language. The Prado continues to present works such as The Seven Deadly Sins and The Extraction of the Stone of Madness in Bosch's context, while its own material also discusses controversies around attribution ^{[9] [12]}. Current Ghent and Flemish collection material for Christ Carrying the Cross preserves the painting's significance while noting debate around authorship ^{[13] [14]}. A technical account should help readers understand the debate, not flatten it into a yes-or-no drama.

For more on labels such as Bosch, workshop, follower and after Bosch, see Bosch Workshop and Attribution. The short version is simple: technical evidence can make attribution more responsible, but it still needs art-historical judgement.

Bosch's Hybrid Imagination

Bosch's inventions are often called fantastical, but their power comes from hybrid logic. He combines the familiar with the impossible. A bird becomes a devouring judge. A human body becomes furniture or instrument. A fruit becomes architecture. A tavern scene becomes a moral trap. A saint's landscape becomes a testing ground full of strange creatures. His style depends on making impossible things feel materially specific.

That specificity is technical. Bosch gives bizarre figures clear silhouettes, weight, texture and function. A creature may have a beak, a pot, a ladder, a knife, a shell, a human backside and a musical instrument, but the parts are arranged so the viewer can inspect them. The invention is outrageous, yet the painting often behaves like close observation.

The same discipline appears in his landscapes. Wide distances, blue-green recession, rivers, burning cities, fragile towers and tiny travellers make moral space feel expansive. In Saint Christopher, Boijmans notes the extensive landscape filled with strange creatures and situations ^[10]. In the Garden, landscape becomes a whole world-system. In Last Judgement, the interior panels turn landscape into a theatre of judgement and torment ^[7].

Bosch's hybrid style also depends on moral inversion. Tools are misused. Pleasure becomes punishment. Music becomes torture. Food becomes danger. Bodies become containers or exposed mechanisms. The technique serves the thought: the more precisely the impossible thing is painted, the harder it is to dismiss as mere fantasy.

How to Look at Bosch's Technique

Start with the object. Is it a panel, a triptych, a fragment, a drawing, a copy, a follower's work or a disputed attribution? The answer changes what kind of evidence matters. A triptych asks to be read closed and open. A fragment may belong to a larger lost structure. A drawing may show invention without the same security as a major panel. A copy may preserve a lost design while not being Bosch's own hand.

Then look at the surface. Bosch often guides the eye through contrasts: grey exterior and colourful interior, pale flesh and dark openings, tiny figures and large moral structures, comic incidents and serious judgement. The small details are not ornamental extras. They are how the argument unfolds.

Next, ask what technical study adds. Infrared reflectography may reveal underdrawing and changes. X-radiography may show hidden work or structural features. Dendrochronology may test whether the wood support fits a proposed date. Conservation records may explain varnish, retouching, damage, old cradles or rediscovered details. Each method adds evidence; none removes the need for careful interpretation.

Finally, keep style and meaning together. Bosch's technique is not separate from his imagination. His oil surfaces, panel supports, grisaille wings, full-colour interiors, precise underdrawing and layered revisions all help create the moral pressure of the pictures. The same hand that painted grotesque hybrids also controlled architectural space, devotional focus, colour balance and tiny narrative cues.

Bosch's art endures because it is both materially disciplined and imaginatively unstable. The paintings look as if they might never finish revealing themselves, but they are not shapeless dreams. They are made things: oak, oil, hinges, drawing, colour, revision, damage, restoration and judgement. The technique is the reason the visions still hold.

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. Bosch Research and Conservation Project, project information and publications: View source
2. Closer to Bosch, Bosch Research and Conservation Project platform: View source
3. Museo Nacional del Prado, The Garden of Earthly Delights Triptych: View source
4. Museo Nacional del Prado, The Haywain Triptych: View source
5. The National Gallery, London, Christ Mocked (The Crowning with Thorns): View source
6. Museum Boijmans Van Beuningen, Saint Christopher Carrying the Christ Child: View source
7. Academy of Fine Arts Vienna, The Last Judgement Triptych: View source
8. Museo Nacional del Prado, Triptych of the Adoration of the Magi: View source
9. Museo Nacional del Prado, The Extraction of the Stone of Madness: View source
10. Museum Boijmans Van Beuningen, "Jheronimus Bosch in the Restauration Studio": View source
11. Stadel Museum, Ecce Homo: View source
12. Museo Nacional del Prado, "Controversies Regarding Hieronymus Bosch": View source
13. Museum of Fine Arts Ghent, Christ Carrying the Cross: View source
14. Flemish Art Collection, Christ Carrying the Cross: View source