Workshop and Attribution

Hieronymus Bosch Workshop and Attribution: Introduction

Hieronymus Bosch is one of the most recognisable painters in European art, yet the body of work attached to his name is smaller and more complicated than many visitors expect. A museum label may say "Hieronymus Bosch" for one painting, "workshop of Bosch" for another, "follower of Bosch" for a third, and "formerly attributed to Bosch" for a fourth. These are not evasions. They are part of how responsible art history works when paintings, drawings, copies and later imitations survive from a world of family workshops, repeated inventions and incomplete records.

Bosch's art also makes the question unusually visible. His demons, hybrids, hollow trees, strange instruments, surgical jokes and moral stage sets were copied and adapted almost immediately. Later artists did not simply imitate his brushwork; they borrowed the idea of a Boschian world. A crowded fantasy scene may look "Bosch-like" without being by Bosch himself. That is why a careful Bosch cluster needs more than a list of famous paintings. It needs a way to understand authorship, workshop practice, copies, technical evidence and shifting museum labels together. ^[1]

This guide explains how scholars and museums approach Bosch attribution today. It supports the main Hieronymus Bosch overview, the biography, the paintings hub, the style and technique guide, individual works such as The Garden of Earthly Delights and The Haywain Triptych, and attribution-sensitive pictures such as The Seven Deadly Sins and the Four Last Things, Christ Carrying the Cross and The Cure of Folly.

Contents

1. Why Bosch Attribution Is Difficult
2. The Bosch Research and Conservation Project
3. What Technical Evidence Can and Cannot Prove
4. Bosch, Workshop, Follower, After Bosch: What the Labels Mean
5. Why Museum Labels Sometimes Differ
6. Copies, Versions and Lost Compositions
7. Drawings, Prints and the Boschian Imagination
8. Attribution Changes Do Not Make a Work Less Interesting
9. How to Read a Bosch Label

Why Bosch Attribution Is Difficult

Bosch was born Jheronimus van Aken in 's-Hertogenbosch, into a family of painters. Local evidence records the Van Aken family in the city, and heritage research connects the family workshop with De Kleine Winst, a house bought by Bosch's father Anthonis van Aken in 1462. Bosch probably grew up and trained in that family setting, before developing the artistic identity now associated with his adopted surname. ^[2]

That background matters. In the late fifteenth and early sixteenth centuries, paintings were rarely made under the modern idea of the solitary studio genius. Workshops could include relatives, assistants and specialists. A master might design a composition, paint the most important passages, leave subsidiary areas to assistants, or supervise work made for a client. Workshop members might also make copies, variants or related pieces after a successful design. In Bosch's case, the problem is sharpened by the fact that very few secure documents name specific surviving paintings, and his visual language became highly desirable soon after his death.

The result is a layered corpus. Some works are widely accepted as Bosch's own paintings. Others are connected to his workshop or immediate circle. Some survive as later copies after lost or famous compositions. Others are Boschian in subject and mood but belong to a follower, a later Netherlandish painter or a broader market for moral fantasy. A public museum label tries to compress all of that into a few words.

The safest starting point is to treat "Bosch" as an attribution, not just a brand. When a work is labelled "by Hieronymus Bosch", the institution is making a judgment from evidence. When it says "workshop", "follower", "after", "circle" or "formerly attributed", it is also making a judgment from evidence. The difference is not between certainty and ignorance; it is between different kinds and strengths of evidence.

The Bosch Research and Conservation Project

Modern Bosch attribution has been transformed by the Bosch Research and Conservation Project, usually shortened to BRCP. The project began in 2010 in preparation for the 2016 Bosch anniversary exhibitions, with the aim of increasing knowledge of Bosch's paintings, drawings, workshop and followers, and of improving preservation. Its research brought together art historians, conservators, scientists and imaging specialists, and it led to the major 2016 catalogue raisonne Hieronymus Bosch, Painter and Draughtsman. ^{[1] [3]}

The BRCP is important because it treats attribution as a material question as well as a stylistic one. Its work uses close visual study, infrared reflectography, infrared photography, visible light photography, X-radiography where available, dendrochronology and conservation records. The companion platform Closer to Bosch presents high-resolution images and technical explanations for many works associated with Bosch, arranged in categories such as Bosch, workshop, followers, and workshop or follower. ^[4]

This matters for readers because technical study can alter the conversation. It may reveal underdrawing beneath paint, show whether a composition was developed freely or copied from a model, identify changes made during painting, or test whether an oak panel could have been used during Bosch's lifetime. It can also complicate an attractive old story. A painting might look Boschian in subject but lack the exploratory underdrawing expected in his secure works. Another might have a plausible date but show a mechanical relationship to a known composition. A third might preserve a powerful invention while being too late or too dependent to be by Bosch himself.

The BRCP did not end debate. In several cases, it sharpened debate. That is healthy. It gave museums, scholars and readers better evidence to argue from, especially when long-standing labels rested on tradition, collection history or visual resemblance alone.

What Technical Evidence Can and Cannot Prove

Technical evidence is powerful, but it does not operate like a fingerprint in a detective story. It usually narrows possibilities rather than delivering a single dramatic answer.

Dendrochronology, the study of tree rings, can help establish the earliest plausible date for an oak panel. If the wood could not have been ready before a certain year, a proposed early date becomes impossible. But a panel might sit in storage before use, so the wood date does not by itself give the painting date. A technical study of The Cure of Folly, for example, has to be read alongside subject, patronage, inscription, underdrawing and institutional interpretation, not as a single number that resolves everything. ^[5]

Infrared reflectography can reveal underdrawing: the preparatory drawing beneath the paint surface. In Bosch studies, underdrawing is especially valuable because secure works often show changes of mind, searching outlines and inventive development. A copy may instead reproduce a known design more rigidly. Yet this distinction is not absolute. Assistants could work from master drawings; later painters could be inventive; conservation history can obscure evidence. Technical images help scholars ask better questions, but they still need interpretation.

X-radiography, paint sampling, ultraviolet photography and surface examination can reveal changes, damage, restorations and hidden earlier work. The National Gallery in London notes, for instance, that Christ Mocked (The Crowning with Thorns) contains underdrawing that was more brutal than the finished painting, and that an unfinished Saint Christopher lies beneath the surface. That kind of evidence helps place the painting inside Bosch's working practice rather than simply inside an iconographic tradition. ^[6]

The best attribution arguments combine these threads: support, ground, paint handling, underdrawing, composition, provenance, documentary evidence, copies, early descriptions and comparison with secure works. A label changes when the balance changes.

Bosch, Workshop, Follower, After Bosch: What the Labels Mean

"By Hieronymus Bosch" normally means the museum or scholar accepts the work as substantially autograph: made by Bosch himself, though not necessarily without any workshop help. For late medieval and Renaissance works, even a confident attribution can allow for assistants in less central passages. The important claim is that Bosch's own hand or controlling authorship is present.

"Workshop of Bosch" means the work is associated with Bosch's studio environment, likely made by someone working under or close to him, or from patterns and practices directly connected with his shop. It may preserve his invention or supervision, but the institution is not presenting it as a fully autograph painting.

"Follower of Bosch" usually means a later artist working in Bosch's manner. The follower may have admired Bosch, served a market for Boschian scenes or learned from compositions circulating after him. This does not make the work unimportant. It may be valuable evidence for Bosch's reception, for the spread of his inventions, and for the appetite for moral fantasy in the sixteenth century.

"After Bosch" generally means a work based on a Bosch composition, often a print or copy made from a known painting, lost painting or circulating design. The after-Bosch category is especially important for Bosch prints, because Bosch himself is not known primarily as a printmaker. Prints after Bosch and Boschian prints helped spread his imagery, including temptations, devils, fools and moral allegories, into a wider visual culture. ^[7]

"Attributed to Bosch" signals a more cautious claim than "by Bosch". "Formerly attributed to Bosch" tells readers that a work once carried his name but is no longer accepted as such by the current source. "Circle of Bosch" is broader than workshop and usually less direct. These terms are not always used identically by every institution, but they all try to place a work on a scale from direct authorship to later response.

Why Museum Labels Sometimes Differ

Museum labels differ because institutions weigh evidence differently and update records at different speeds. A national museum may have a long collection history, a conservation department, a recent exhibition catalogue and a curatorial tradition tied to a work. A research project may compare the same object across the full Bosch corpus and decide that the evidence points elsewhere. Neither position should be dismissed casually.

The Prado is the clearest example because it holds several of Bosch's most famous paintings and has also been central to public debate. The Prado continues to present The Garden of Earthly Delights, The Haywain Triptych, The Adoration of the Magi, The Seven Deadly Sins and the Four Last Things and The Cure of Folly in its Bosch context, while also publishing material that acknowledges controversies around attribution. ^{[5] [8] [9] [10]}

The disagreement around The Seven Deadly Sins and the Four Last Things is especially useful for understanding the issue. The Prado attributes the work to Bosch and discusses arguments for its authenticity, including historical reception and the passage by Felipe de Guevara often brought into the debate. BRCP-linked scholarship has challenged the attribution, placing pressure on how readers understand the object. A responsible article should not pretend the debate does not exist, but it also should not reduce the painting to a dispute. Its circular structure, moral scheme and history in Spanish royal collecting remain important even while authorship is discussed. ^{[8] [10]}

The same principle applies to The Cure of Folly. The Prado's record offers rich material: inscription, satirical surgery, dendrochronology, underdrawing, patronage and a proposed date. At the same time, Prado's own controversy material identifies the work among the difficult cases raised by BRCP discussions. For readers, the point is not to choose a side quickly. The point is to see how attribution, technical study and interpretation interact. ^{[5] [10]}

Other museums present different kinds of caution. The Museum of Fine Arts in Ghent and related Flemish collection material identify Christ Carrying the Cross in connection with Bosch while noting debate around authorship. That does not make the painting unworthy of attention. It means its late Passion imagery, compressed faces and devotional intensity need to be discussed with authorship in view. ^[11]

Copies, Versions and Lost Compositions

Bosch attribution is not only about deciding whether one painting is "real" or "fake". Some of the most interesting cases involve copies and versions that preserve evidence of lost or altered compositions.

The group around The Pedlar, also known as The Wayfarer, shows how complex this can become. Museum Boijmans Van Beuningen identifies The Pedlar as Bosch and explains that the panel was assembled from the outside wings of a triptych. The surviving inside elements are connected with Ship of Fools in the Louvre, Allegory of Gluttony and Lust in Yale, and Death and the Miser in the National Gallery of Art, Washington. The central panel is unknown. ^{[12] [13] [14]}

That network changes how a reader sees each object. Ship of Fools is not only a satirical scene of folly. Death and the Miser is not only a moral drama at a deathbed. The Pedlar is not only an isolated figure on the road. Together, they suggest a dismantled moral structure whose original form is partly recoverable and partly lost. Careful scholarship can reconstruct relationships, but it must also leave space where evidence ends.

Copies also affect famous triptychs. The Prado's account of The Haywain Triptych distinguishes its own painting from another version connected with earlier royal collecting, noting that technical analysis showed that other version to be a copy. ^[9] That does not weaken the Prado painting. It clarifies why old provenance claims must be sorted carefully. In Bosch studies, a version may preserve a historical memory while not being the prime object.

The market for Boschian imagery continued through the sixteenth century. Works such as Concert in the Egg, often linked to followers or after-Bosch traditions, demonstrate the strength of Bosch's visual afterlife. Such works are not useful because they are secretly Bosch. They are useful because they show how quickly Bosch became a style, a reputation and a set of pictorial possibilities.

Drawings, Prints and the Boschian Imagination

Drawings and prints require special caution. A drawing with monsters, beggars or grotesque heads may feel close to Bosch's imagination, but drawings often survive without the same provenance or technical context as major panel paintings. The BRCP and Closer to Bosch material are therefore essential for distinguishing autograph drawings, workshop material and later sheets connected with Bosch's pictorial world. ^{[1] [4]}

Prints raise a different issue. Prints after Bosch are central to his reception, but they should not be treated as prints made by Bosch unless a source supports that claim. The Metropolitan Museum of Art, the National Gallery of Art, the British Museum and the Rijksmuseum preserve important after-Bosch and Boschian print material. These works show how Bosch's demons, temptations and moral satires circulated through print culture and reached audiences far beyond the original panel paintings. ^{[7] [15] [16]}

This is also where Pieter Bruegel the Elder enters the story. Bruegel's printed and painted inventions sometimes work consciously in a Boschian manner, especially in moral and monstrous imagery. That relationship is better understood as reception and transformation, not as simple imitation. Bosch gave later artists a language for folly, sin and absurdity; they used it for their own audiences.

Attribution Changes Do Not Make a Work Less Interesting

Readers sometimes experience a changed label as a loss. A painting once loved as "a Bosch" may now appear as "workshop of Bosch" or "follower of Bosch", and the new label can feel like demotion. But art history gains something when a work is placed more accurately.

A workshop painting can tell us how Bosch's designs were produced and transmitted. A follower's painting can show what later collectors wanted from the Bosch name. A copy can preserve a lost composition or document the fame of a specific invention. A disputed object can reveal how scholars balance visual resemblance, technical data, provenance and documentary history. These categories are not failures of knowledge. They are ways of being precise.

That precision is particularly important for Bosch because his name is so magnetic. Without it, every devilish scene, every hybrid creature and every satirical crowd risks being pulled toward him. Good attribution protects Bosch's achievement by separating his own works from the visual world he inspired.

It also protects the works around him. A follower's painting does not need to pretend to be Bosch in order to matter. A later Boschian picture can be a strong witness to taste, collecting, religious satire, print culture or the commercial demand for strange moral imagery. Once the label is clear, interpretation becomes fairer.

How to Read a Bosch Label

When you see a Bosch label, start with the exact wording. "Hieronymus Bosch" is not the same as "attributed to Hieronymus Bosch", and "after Bosch" is not the same as "workshop of Bosch". The small words carry the historical claim.

Then look for the date. A work made after Bosch's death in 1516 cannot be an autograph painting, though it may copy a lost Bosch composition or continue his style. A date range that begins during his lifetime but extends beyond it may signal uncertainty, later workshop production or a cautious institutional range.

Next, check the evidence behind the label. Does the record mention underdrawing, dendrochronology, provenance, early inventories, copies, restorations or catalogue debate? Does it cite a major conservation study or catalogue raisonne? A short object label may be simpler than the full scholarly record behind it.

Finally, separate authorship from meaning. A disputed attribution does not make every interpretation doubtful. The moral imagery of The Seven Deadly Sins, the satire of The Cure of Folly, the devotional pressure of Christ Carrying the Cross and the fantasy of a Boschian follower picture can still be discussed. What changes is the claim about whose hand, workshop or later imagination made the object.

That is the most useful way to approach Bosch: with curiosity rather than suspicion. His world is full of uncertainty, but not the vague kind. It is an evidential uncertainty, built from panels, paint layers, documents, copies, collectors, restorations and the long afterlife of a painter whose inventions were too vivid to stay in one studio.

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 (in Dutch): View source
2. Erfgoed 's-Hertogenbosch, "De Kleine Winst, atelier Van Aken" (in Dutch): View source
3. Yale University Press, Hieronymus Bosch, Painter and Draughtsman: Catalogue Raisonne: View source
4. Closer to Bosch: View source
5. Museo Nacional del Prado, The Extraction of the Stone of Madness: View source
6. The National Gallery, London, Christ Mocked (The Crowning with Thorns): View source
7. The Metropolitan Museum of Art, The Temptation of St. Anthony, after Hieronymus Bosch: View source
8. Museo Nacional del Prado, Table of the Seven Deadly Sins: View source
9. Museo Nacional del Prado, The Haywain Triptych: View source
10. Museo Nacional del Prado, "Controversies Regarding Hieronymus Bosch": View source
11. Museum of Fine Arts Ghent, Christ Carrying the Cross: View source
12. Museum Boijmans Van Beuningen, The Pedlar: View source
13. Louvre Collections, La Nef des fous: View source
14. National Gallery of Art, Washington, Death and the Miser: View source
15. The British Museum, Shrove Tuesday or the Fool's Kitchen: View source
16. The Metropolitan Museum of Art, Pieter Bruegel the Elder and Pieter van der Heyden, Sloth: View source