Death and the Miser
c. 1485/1490
Artist, Netherlandish, c. 1450 - 1516
Hieronymus Bosch
In this panel Bosch shows us the last moments in the life of a miser, just before his eternal fate is decided. A little monster peeping out from under the bed–curtains tempts the miser with a bag of gold, while an angel kneeling at the right encourages him to acknowledge the crucifix in the window. Death, holding an arrow, enters at the left.
Oppositions of good and evil occur throughout the painting. A lantern containing the fire of Hell, carried by the demon atop the bed canopy, balances the cross which emits a single ray of divine light. The figure in the middle ground, perhaps representing the miser earlier in his life, is shown as hypocritical; with one hand he puts coins into the strongbox where they are collected by a rat–faced demon, and with the other he fingers a rosary, attempting to serve God and Mammon at the same time. A demon emerging from underneath the chest holds up a paper sealed with red wax — perhaps a letter of indulgence or a document that refers to the miser's mercenary activities.
This type of deathbed scene derives from an early printed book, the Ars Moriendi or "Art of Dying," which enjoyed great popularity in the second half of the fifteenth century. The panel may have been the left wing of an altarpiece; the other panels — now missing — would have clarified the meaning of some aspects of the scene, such as the discarded and broken armor and weapons in the foreground.
More information on this painting can be found in the Gallery publication Early Netherlandish Painting, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/early-netherlandish-painting.pdf
West Building Main Floor, Gallery 41
Artwork overview
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Medium
oil on panel
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Credit Line
-
Dimensions
overall: 93 × 31 cm (36 5/8 × 12 3/16 in.)
framed: 107.95 × 46.04 × 9.53 cm (42 1/2 × 18 1/8 × 3 3/4 in.) -
Accession Number
1952.5.33
More About this Artwork
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Video: Hieronymus Bosch's "Death and the Miser" (ASL)
This video provides an ASL description of Hieronymus Bosch's painting, Death and the Miser.
Artwork history & notes
Provenance
Private collection, England, possibly in or near Arundel, Sussex, around 1826.[1] (unnamed dealer, Highgate Village, London), c. 1926.[2] (Raven, Massey, and Lester, London), by 1926. (Asscher and Welker, London), by 1931.[3] Baron Joseph van der Elst, Brussels, Biot, France, and numerous diplomatic posts, by 1932 or slightly later; sold 1951 though (Messrs. E.D. Lowy and Franz Mayer) to the Samuel H. Kress Foundation, New York;[4] gift 1952 by exchange to NGA.
[1] This may be deduced from a drawing after the painting. Mr. E. Kersley, in a letter of 17 June 1961 to John Walker in the NGA curatorial files, places the drawing in or near Arundel based on its original position in a sketchbook of primarily topographical scenes. Attributed to the English artist William Henry Brooke (1772-1860), this drawing is now in the National Gallery of Art (1983.48.1).
[2] J. Massey, London, letter of 21 July 1961 to Perry Cott, in NGA curatorial files.
[3] Letters, 30 September and 3 October 1931, Asscher and Welker to Jean Guiffrey, Director, Musée du Louvre, Paris, in NGA curatorial files (transferred from René Huyghe material in NGA Photographic Archives); the painting was then in Asscher and Welker's possession and they were offering it for sale to the Louvre. The second letter informed Guiffrey that the painting was "out of a small unknown collection, and as such has no pedigree." See also Gustav Glück, Brueghels Gemälde (Vienna, 1932), 57.
[4] A letter from William Suida to the Baron of 25 October 1951 in the Kress files requests the Baron's written confirmation that he once owned the painting, and that he sold it through an agent to the Kress Foundation: "The Foundation bought the painting through Messrs. [E.D.] Loewy and [Franz] Mayer. It is well-known that the painting was formerly in your collection but we have no record of the fact in our file concerning it." Although the file contains no reply to Suida's letter, it does contain the old painting label which reads, "...KRESS COLLECTION/ ACQUIRED MARCH 17, 1951/FROM THE VAN DER ELST COLLECTION". See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/648.
Associated Names
Exhibition History
1942
Flemish Primitives. An Exhibition Organized by the Belgian Government, M. Knoedler & Co., Inc., New York, 1942, no. 68, as Allegory of Avarice.
2001
Hieronymus Bosch, Museum Boijmans Van Beuningen, Rotterdam, 2001, unnumbered catalogue, ill. 21d, as Death and the Usurer.
2016
Bosch: The 5th Centenary Exhibition, Museo Nacional del Prado, Madrid, 2016, no. 39, repro.
Jheronimus Bosch: Visioenen van een genie, Het Noordbrabants Museum, 's-Hertogenbosch, 2016, no. 12, repro.
Bibliography
1924
Friedländer, Max J. Die altniederländische Malerei 14 vols. 1924-1937. Berlin, 1937: 14:101. (English ed. Leiden, 1969. Translated by Heinz Norden. 14 vols. 1967-1976. Leiden, 1969: 5:91, 113, Suppl. 135, pl. 117.)
1932
Glück, Gustav. Bruegels Gemälde. Vienna, 1932: 57, under no. 10. (Vienna, 1937: 50, under no. 10).
1935
Baldass, Ludwig. "Ein Kreuzigungsaltar von Hieronymus Bosch." Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses (Jahrbuch der kunsthistorischen Sammlungen in Wien) N.F. 9 (1935): 89.
1937
De Tolnay, Charles. Hieronymus Bosch. Basel, 1937: 27, 90, no. 7, 127, pl. 20. (English ed. Translated by Michael Bullock and Henry Mins. New York, 1966: 25, 91, 347, no. 7, repro.)
1942
Brian, Doris. "The Masters of Gothic Flanders." Art News 41, no. 5 (April 15-30, 1942): 14, 18-19, 33, repros.
M. Knoedler & Co. Flemish Primitives: An Exhibition. Exh. cat. New York 1942. New York, 1942: 68.
1943
Baldass, Ludwig. Hieronymus Bosch. Vienna, 1943: 22-23, 30, 36, 68, 76-77, 236, figs. 29-30. (2nd ed. Vienna, 1959: 27, 64, 82, 229, fig. 22-23. 3rd ed. Berlin, 1968: 61-62, fig. 33, 34. Engl. ed. New York, 1960: 26-27, 75, 222, pl. 21-22, color pl. 21.)
1944
Elst, Joseph van der. The Last Flowering of the Middle Ages. Garden City, New York, 1944: 103-104, pls. 90-91. (French ed. L'age d'or flamand. Paris, 1951: 199-200, color plate.)
1945
Tervarent, Guy de. "The Origin of One of Jérôme Bosch’s Pictures." Translated by John Wrightsman and Dora Round. Message: Belgian Review 39 (January 1945): 44, fig. 1.
1946
Combe, Jacques. Jérôme Bosch. Paris, 1946: 20-21, pl. 42. (Engl. ed. Jheronimus Bosch. Translated by Ethel Duncan. Paris, 1946: 20-21, pl. 42.)
1949
Bax, Dirck. Ontcijfering van Jeroen Bosch. The Hague, 1949: 133, 239, 244, 248, 257-258, 261-263, 277, 283, fig. 58. (Engl. ed. Translated by Marie Antoinette Bax-Botha. Rotterdam, 1979: 313, 320-321, 328, 329, 340, 341, 343, 346, 364, 370, fig. 141.)
1952
Frankfurter, Alfred. "Interpreting Masterpieces: Twenty-Four Paintings from the Kress Collection." Art News Annual No. 21, 1952 50, no. 7 (November 1951): 113-114, pl. 108.
1953
Dorfles, Gillo. Bosch. Biblioteca Moderna Mondadori 360. Milan, 1953: 36, 75, 173, fig. 21.
1955
Popham, A. E. "An Unknown Drawing by Hieronymus Bosch." Actes du XVIIme Congrès International d'Histoire de l'Art, Amsterdam, 23-31 Juillet 1952. The Hague, 1955: 248.
Philip, Lotte Brand. _Hieronymus Bosch (about 1450-1516) _. New York, 1955: 18 no. 14, 19, color repro.
Shapley, Fern Rusk. "The National Gallery of Art at Washington: Acquisitions 1945-1955." The Studio 150, no. 748 (July 1955): 3, 6, repro.
1956
Walker, John. National Gallery of Art, Washington. New York, 1956: 38, color repro.
1957
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957: 53.
1958
Middeleeuwse Kunst der Noordelijke Nederlanden. Exh. cat. Rijksmuseum, 1958. Amsterdam, 1958: 138-139, under no. 180.
Tervarent, Guy de. Attributs et symboles dans l'art profane 1450-1600. 3 vols. Geneva, 1958-1964: 1(1958): 34.
1959
Linfert, Carl. Hieronymus Bosch: The Paintings, Complete Edition. Translated by Joan Spencer. Garden City, New York, 1959: 10, 113, pl. 26.
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1960
Broadley Hugh T. Flemish Painting in the National Gallery of Art (Booklet no. 5 in Ten Schools of Painting in the National Gallery of Art, Washington, DC). Washington, 1960: 8, 30-31, color repro.
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 6.
1961
Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 78-79, 208, color fig. 70-71.
Eisler, Colin. New England Museums. Primitifs Flamands. Corpus. Brussels, 1961: 48.
1962
Adhémar, Hélène. Le Musée National du Louvre, Paris: Primitifs Flamands, Corpus. 2 vols. Brussels, 1962: 1:25, 29.
Winkler, Friedrich. Review of Primitifs Flamands, Corpus: New England Museums by Colin Eisler. Kunstchronik 15 (1962): 321.
Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 60, color repro.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 126-127, repro.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 17.
1966
Lemmens, Gerard, and Ed Taverne. "Hieronymus Bosch: Naar aanleiding van de expositie in' s-Hertogenbosch." Simiolus 2, no. 2 (1966-1967): 88.
Cinotti, Mia. L'opera completa di Bosch. 1st ed. Classici dell'arte. Milan, 1966: 92, no. 15, 93, fig. 15. (French ed. Tout l'oeuvre peint de Jérôme Bosch. Translated by Simone Darses. Les Classiques De L'Art. Paris, 1967: 92, no. 15, 93, fig. 15.).
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:98-99, color repro.
1967
Jheronimus Bosch. Exh. cat. Noordbrabants Museum,'s-Hertogenbosch, Eindhoven, 1967: 167-168, under no. 51.
1968
Boon, Karel. "Review of Hieronymus Bosch by Charles de Tolnay." The Burlington Magazine 110, no. 780 (March 1968): 157.
Cuttler, Charles D. Northern Painting, from Pucelle to Bruegel: Fourteenth, Fifteenth, and Sixteenth Centuries. New York, 1968: 201-202, fig. 252.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 9, repro.
Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 112, color repro.
1969
Cuttler, Charles. "Bosch and the Narrenschiff: A Problem in Relationships." Art Bulletin 51, no. 3 (September 1969): 275-276, fig 8.
1970
Reuterswärd, Patrik. Hieronymus Bosch. Uppsala Studies in the History of Art, Figura nova series 7. Stockholm, 1970: 173-174, 216-217, 266-267 no. 19, fig. 35, 36.
1972
Filedt Kok, Jan Piet. "Underdrawing and Drawing in the Work of Hieronymus Bosch: A Provisional Survey in Connection with the Painting by Him in Rotterdam." Similous 6, no. 3/4 (1972-1973): 151-153, fig. 16.
Snyder, James E. Review of Musée du Louvre--Inventaire général des dessins des écoles du Nord: maîtres des anciens Pays-Bas nés avant 1550 by Frits Lugt. Art Bulletin 54, no. 1 (March 1972): 89.
1973
Sybesma, Jetske A. "Hieronymus Bosch: An Investigation of His Underdrawings." Ph.D. diss., Bryn Mawr College (1973): vii, 71, 73-78, 81, 83, 84, 87, 89, 90, 183, 184, 192, 196, 275-276, 305; Sec. 3:2 nt. 9; pls. 1-5.
Gibson, Walter S. Hieronymus Bosch. New York, 1973: 43, 46-47, fig. 31, color fig. 32.
Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 86.
1974
Rhode Island School of Design. Europe in Torment, 1450-1550. Exh. cat. Providence 1974. Providence, 1974: 76.
1975
Rowlands, John. Bosch. London, 1975: 8, 15, color pl. 16.
Fraenger, Wilhelm. Hieronymus Bosch. Dresden, 1975: 250, 296-297, 515, fig. 93-95, as Sterbestube.
European Paintings: An Illustrated Summary Catalogue (National Gallery of Art). Washington, 1975: 36-37, repro.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 66-69, figs. 60-61, text figs. 11A-C, color repro detail.
Silver, Larry. "Power and Pelf: A New-Found Old Man by Massys." Simiolus 9 (1977): 87-88, fig. 24.
Pope-Hennessy, John. "Completing the Account." Review of Colin Eisler, Paintings from the Samuel H. Kress Collection, London 1977. Times Literary Supplement no. 3,927 (17 June 1977).
1978
Chailley, Jacques. "Jérôme Bosch et ses symboles. Essai de décryptage." Académie royal de Belgique. Classe des Beaux-Arts. 2nd series. Mémoires 15 Fasc. 1 (1978). Brussels, 1978: 106-108.
Takashina, Shuji. L'oeuvre complet de Hieronymus Bosch. In Japanese. Tokyo, 1978: 246-247, no. 7, pls. 18-19.
1979
Martin, Gregory. Hieronymus Bosch. New York, 1979: no. 7, color repro.
Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 54, pl. 37.
1980
Unverfehrt, Gerd. Hieronymus Bosch: Die Rezeption seiner Kunst im frühen 16. Jahrhundert. Berlin, 1980: 26, 36, 44-45, 54, 78-79, 223.
1981
Meijer, Bert W. "Titian Sketches on Canvas and Panel." Master Drawings 19, no. 3 (Autumn 1981): 284.
1982
Graziani, René. "Bosch's Wanderer and a Poverty Commonplace from Juvenal." Journal of the Warburg and Courtauld Institutes 45 (1982): 212.
Morganstern, Anne M. "The Pawns in Bosch's Death and the Miser." Studies in the History of Art 12 (1982): 33-41, figs. 1, 2, 4, 5.
1983
Gibson, Walter S. Hieronymus Bosch: An Annotated Bibliography. Reference Publications in Art History. Boston, 1983: 47, 53, 54, 80, 184, 188, 189, 200
1984
Morganstern, Anne. "The Rest of Bosch's Ship of Fools." Art Bulletin 66, no. 2 (June 1984): 295-302, figs. 4, 12.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 166, no. 184, color repro.
Raupp, Hans Joachim. Untersuchungen zu Künstlerbildnis und Künstlerdarstellung in den Niederlanden im 17. Jahrhundert. Hildesheim and New York, 1984:
Editors of Time-Life Books. Ghosts. The Enchanted World. Alexandria, Va., Time-Life Books. 1984.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 55, repro.
Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350-1575. New York, 1985: 205, 201 color pl. 36.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 17-22, repro. 16.
Mittler, Gene A. Art in Focus. Peoria, 1986: 236-237, fig. 13.11. (4th ed. New York, 2000: 411 fig. 18.13.)
1987
Vandenbroeck, Paul. Jeronimus Bosch: Tussen volksleven en stadscultuur. Berchem, 1987: 96-97.
Marijnissen, Rorger H. et al. Hiëronymus Bosch, het volledig oeuvre. Haarlem, 1987: 320-327, color repros. (Dutch ed. Antwerp, 1987; Dutch ed. Amsterdam, 1989; French ed. 1987; English ed. Antwerp, 1987; English ed. "Expanded with a Supplement." Translated by Ted Alkins and E.J.L. Bacon. Brussels, 2007: 320-327, viii, xiv-xv, xxxiii, color repros.)
1991
Covey, Herbert C. Images of Older People in Western Art and Society. New York, 1991: 155-157, fig. 41.
1992
National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 40, repro.
Fiero, Gloria K. On the Threshold of Modernity: The Renaissance and the Reformation. The Humanistic Tradition 3. 1st ed. [7th ed. 2015] Dubuque, Iowa, 1992: 76, fig. 18.9.
Semenzato, Camillo. Genio e botteghe: L'arte nell'Europa tra medio evo ed etá Moderna. Milan, 1992: 172, color repro.
"The Visions of Hieronymus Bosch." Scholastic Art 23, no. 2 (November 1992): 3, repro.
1993
Silver, Larry. Art in History. New York, 1993: 140-141, color fig. 4.16.
Light and Darkness in the Baroque (17th Century I). Toyko, 1993: 46, 146, fig. 2-15.
1995
Proctor, Robert N. "No Time for Heroes." The Sciences 35, no. 2 (March/April 1995): 23, color repro.
Kunioki, Katsu. Hoppō Runesansu. Sekai bijutsu daizenshū. Seiyō hen = New History of World Art 14. Tokyo, 1995: 137, 478, fig. 84.
Fiero, Gloria K. On the Threshold of Modernity: The Renaissance and the Reformation. The Humanistic Tradition 3. 2nd ed. [7th ed. 2015] Madison, 1995: 81, fig. 18.9.
1996
Ars Lignea: Zuresko elizak Euskal Herrian (Las iglesias de madera en el País Vasco). Exh. cat. Bilbao, Donostia, and Gasteiz 1997. Madrid, 1996: 81, color repro.
Gibson, Walter S. "Bosch (van Aken, Hieronymus (Jheronimus)." Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Munich and Leipzig, 1996: 13:161.
Vinken, PIerre and Lucy Schlüter. "Pieter Bruegels Nestrover en de mens die de dood tegenmoet treedt." Nederlands kunsthistorisch jaarboek 47 (1996): 60, 61, fig. 7.
1997
Richler, Martha. National Gallery of Art, Washington: A World of Art. London, 1997: 41, color fig. 22.
Schwartz, Gary. Hieronymus Bosch. First Impressions. New York, 1997: 24-25, 90, color repro.
1998
McNamee, Maurice B. Vested Angels: Eucharistic Allusions in Early Netherlandish Paintings. Liturgia condenda 6. Leuven, 1998: 183-184, 187, 258, fig. 95.
Baumann, Priscilla. "Avarice." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. 2 vols. Edited by Helene E. Roberts. Chicago, 1998: 1:93.
Nygren, Edward J. “Money." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:620.
1999
Raupp, Hans Joachim. "Visual Comments of the Mutability of Social Positions and Values in Netherlandish and German Art of the Fifteenth and Sixteenth Centuries." In Showing Status: Representation of Social Positions in the Late Middle Ages. Edited by Wim Blockmans and Antheun Janse. Medieval Texts and Cultures of Northern Europe, 2. Turnhout, 1999: 287, 288 fig. 5.
2000
Vinken Pierre and Lucy Schlüter. "The Foreground of Bosch's Death and the Miser." Oud Holland 114, no. 2/4 (2000): 69-78, fig. 1.
Bosch. Translated by Alison Canosa. Madrid, 2000: 27, 30, 32, color repro.
Aurigemma, Maria Giulia. “Nosce te ipsum: La raffigurazione della morte nei paesi dell’area Germanica e Nederleandese.” In Humana fragilitas: I temi della morte in Europa tra Duecento e Settecneto. Edited by Alberto Tenenti. Clusone, 2000: 149-150, color fig. 99.
2001
Riding, Alan. "A Mystery Man Who Created Monsters." New York Times (September 23, 2001): 30.
Van Gelder, Lawrence. "This Week: Mysterious Master." New York Times (August 27, 2001).
Koldeweij, Jos, Bernard Vermet, with Barbera van Kooij, ed. Hieronymus Bosch: New Insights Into His Life and Work. Exh. cat. Rotterdam 2001. Ghent, 2001: 84, 120, 121-122, 125, 131, 207. as "Death and the Userer."
2002
Belting, Hans. Hieronymus Bosch, Garden of Earthly Delights. Translated by Ishbel Flett. Munich, 2002: 64-65, 67, color repro.
2003
Colenbrander, Herman T. “Avare vixisti: Death and the Miser by Hieronymous Bosch--Drawings, Underdrawings, Painting, and Meaning.” In Jérôme Bosch et son entorage, et autres études, edited by Hélène Verougstraete et Roger van Schoute. Le dessin sous-jacent et la technologie dans la peinture, Colloque 14, Bruges and Rotterdam, 13-15 september 2001. Leuven, 2003: 22-32.
Metzger, Catherine A. "Death and the Miser: Alterations and Implications." In Jérôme Bosch et son entorage, et autres études, edited by Hélène Verougstraete and Roger van Schoute. Le dessin sous-jacent et la technologie dans la peinture, Colloque 14, Bruges and Rotterdam, 13-15 september 2001. Leuven, 2003: 39-43, color figs. 1-6.
Vandenbroeck, Paul. Jeronimus Bosch: de verlossing van de wereld. Ghent and Amsterdam, 2003: 104-107, 331, repro.
Lammertse, Friso and Annetje Roorda Boersma. "Jheronimus Bosch, The Pedlar: Reconstruction, Restoration and Painting Technique." In Le dessin sous-jacent et la technologie dans la peinture, Colloque XIV (13-15 septembre 2001, Bruges-Rotterdam). Leuven, 2003: 102, 108-113 color fig. 9.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 118-119, no. 90, color repro.
2005
Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Revised by Larry Silver and Henry Luttikhuizen. Upper Saddle River, 2005: 397-398, col. fig. 16.3.
2009
König, Eberhard. “Deathbed Scene.” In The Hours of Catherine of Cleves: Devotion, Demons and Daily Life in the Fifteenth Century. Edited by Rob Dückers and Ruud Priem. Exh. cat. Nijmegen and New York, 2009. Antwerp, 2009: 274, under no. 66.
2010
Heesen, Dick. De geheime boodschap van Jeroen Bosch. 's-Hertogenbosch, 2010: 217, color fig. 193.
Caspers, Charlotte. “A Historical Reconstruction of The Pedlar by Jersonimus Bosch.” In Jheronimus Bosch: His Sources. Jheronimus Bosch Conference, 2nd: May 22-25, 2007, Jheronimus Bosch Art Center. ‘s-Hertogenbosch, 2010: 54-55, 69 nt. 23 and nt. 26, 153, color repros.
Yona Pinson. “A Moralized Semi-Secular Triptych by Jeronimus Bosch.” In Jheronimus Bosch: His Sources. Jheronimus Bosch Conference, 2nd: May 22-25, 2007, Jheronimus Bosch Art Center. ‘s-Hertogenbosch, 2010: 270-273, 274 nt. 2, 276 nt. 23, 277 nt. 27, color repros.
Vermet, Bernard. "Baldass was Right: The Chronology of the Paintings of Jheronimus Bosch.” In Jheronimus Bosch: His Sources. Jheronimus Bosch Conference, 2nd: May 22-25, 2007, Jheronimus Bosch Art Center. ‘s-Hertogenbosch, 2010: 308.
Landau, Blandine. “Sins of the Flesh and Human Folly: A Study of The Ship of Fools by Jheronimus Bosch. In Jheronimus Bosch: His Sources. Jheronimus Bosch Conference: 2nd, May 22-25, 2007, Jheronimus Bosch Art Center. ‘s-Hertogenbosch, 2010: 221.
2011
Freeman, Charles. Holy Bones, Holy Dust: How Relics Shaped the History of Medieval Europe. New Haven, 2011: x, fig. 17.
2012
Büttner, Nils. Hieronymus Bosch. C.H. Beck Wissen. Munich, 2012: 72, 79, 110, fig. 27.
Will, Chris. Between Heaven & Hell. Translated by Ruth Koenig. Reprint. Amsterdam, 2012: 80-81, color repro.
Rembert, Virginia Pitts. Hieronymus Bosch and the Lisbon Temptation: A View from the Third Millennium. New York, 2012: 6, color repro.
Jheronimus Bosch Art Center. _Ruimte voor Jheroniumus Bosch _. Edited by Willeke Cornelissen-van de Steeg, et al. 's-Hertogenbosch, 2012: 211, color repro.
Jacobs, Lynn F. Opening Doors: The Netherlandish Triptych Reinterpreted. University Park, Pa., 2012: 190, fig. 82.
2014
Vinken, Pierre and Lucy Schlüter. "The Foreground of Bosch's Death and the Miser" and "Pieter Brugel's Birdnester and Man's Encounter with Death." Icons and Enigmas: Investigations in Art. Edited by Christopher Paparella and Heleen Vinken. Amsterdam, 2014: 77-93, 114-115, fig. 1, 7.
Hitchins, Stephen Graham. Art as History, History as Art: Jheronimus Bosch and Pieter Bruegel the Elder,--Assembling Knowledge, Not Setting Puzzles. Nijmegen Art Historical Studies 22. Turnhout, 2014: 29, 51, 62, 68 nt. 53, 315, color fig. 45.
Colenbrander, Herman. "Jeronimus Bosch and Diego de Guevara: The "Third" Haywain." In Jeronimus Bosch: His Patrons and his Public. Jheronimus Bosch Conference, 3rd. September 6-18, 2012, Jheronimus Bosch Art Center. 's-Hertogenbosch, 2014: 83, 88, 89, 95, 96, color repros.
Spronk, Ron. "Jeronimus Bosch and the Van Aken Family Workshop: Towards a Reassessment of Technique." In Jheronimus Bosch: His Patrons and his Public. Jheronimus Bosch Conference 3rd: September 6-18, 2012, Jheronimus Bosch Art Center. ‘s-Hertogenbosch, 2014: 392, 397 nt. 28.
2016
Siegal, Nina. "Upon Closer Review, Credit Goes to Bosch." New York Times 165, no. 57,130 (February 2, 2016): C1.
Tamis, Dorien. “Oude Kunst: Jheroniumus (Jeroen) Bosch: Wenken voor een deugdzaam leven / Jheronimus Bosch: Buitenissige fantasieën over hemel en hel.” Museumtijdschrift no. 1 (Jan/Feb 2016): 22, 24, color repro.
Ilsink, Matthijs and Jos Kolderweij. Jheronimus Bosch: Visioenen van een genie. Exh. cat. 's-Hertogenbosch 2016. Brussels, 2016: 24-27 no. 12, color repros.
Schwartz, Gary. Jheronimus: De wegen naar hemel en hel. Translated by Loekie Schwartz. Hilversum, 2016: 101, 102, 172, 173, 182, 185, 186, 187, 248, color repros.
Fensom, Sarah E. "Dark Past." Review of the exhibition Visions of a Genius ('s-Hertogenbosch, 2016). Art & Antiques 39, no. 4 (April 2016): 86.
Borchert, Till-Holger. Bosch in detail. Antwerp, 2016: 32-33, color repro.
Faton, Jeanne and Giulia Franceschini. "Bosch génial et visionnaire." L'Object d'art no. 522 (avril 2016): 42, 43, color repro.
Bosch Research and Conservation Project. Hieronymus Bosch, Painter and Draughtsman: Technical Studies. Brussels, 2016: 264, 267, 273, 276, 284, 285, 290- 295 no. 19c, 455, color figs. 19.4-5, RR53, 19.30, 1931, 19.32-33, 19.34.
Segnit, Nat. "Abandon All Hope: Hieronymus Bosch Comes Home." Review of the exhibition Visions of a Genius ('s-Hertogenbosch, 2016). Harper's 333, no. 1,995 (August 2016): 75-76, color repro.
Uberquoi, Marie-Claire. “El genio en su cicuad natal.” Descubrier el arte 17, no. 207 (Mayo 2016): 42, color repro.
Geest, Joost de. “Jheronimus Bosch 500: Visioenen van een genie.” Openbaar Kunstbezit Vlaanderen 54, no. 1 (Februari/Maart 2016): 21, 22, color repro.
Koerner, Joseph Leo. Bosch and Bruegel: From Enemy Painting to Everyday Life. A. W. Mellon Lectures in the Fine Arts, 2008. Bollingen Series 35, vol. 57. Princeton, 2016: 74-75, color fig. 63, 103, 375 nt. 88.
Ilsink, Mathijs, et al. Hieronymys Bosch, Painter and Draughtsman: Catalogue raisonné. Translated by Ted Adkins. Brussels, 2016: 316-335 (cat. no. 19c), color fig. 19.10, 566 (under cat. no. 56), 568 (under cat. no. 57).
Johnson, Anna Marie. Introduction and notes to "A Sermon on Preparing to Die." In The Annotated Luther, vol. 4: Pastoral Writings. Minneapolis, 2016: 285.
2017
Filedt Kok, Jan Piet. "Hieronymus Bosch After 500 Years: Exhibitions and Publications in 2016." Simiolus 39, no. 1/2 (2017): 112-113, 117.
Frigerio, Luca. Bosch: uomini angeli demoni. Milan, 2017: 31, color fig.
Nuttall, Paula. "Review of Exhibition: Jheronimus Bosch--Visions of Genius." Renaissance Studies 31, no. 5 (November 2017): 800
Zegeling, Mark and Marc Pos. Het geheim van de meester. Amsterdam, 2017: 120, color fig. 4; 314 nt. 4.
2020
Alcoy, Rosa. El Bosco en dos trípticos del Museo del Prado. Granada, 2020: 410-413, color fig. 359, 362
2021
Capwell, Tobias. Armour of the English Knight, 1450-1500. London, 2021: 96-98 repro. 97.
2023
Barron James. "The Good and Evil of Money: The Morgan Examines the Role Currency Through the Ages." [Exhibition review] New York Times 173, no. 59,949 (October 22, 2023): A&E 20.
2025
Oldham, Martin. "Odd Man Out." [Exhibition review] RA--Royal Academy of Arts Magazine 129 (Winter 2015): 29.
Wikidata ID
Q2203011