Heilwich van der Rullen and Her Daughters with Saint Mary Magdalen (outer face); Hendrixke van Langhel and Her Deceased Child with Saint Catherine (inner face)

Bosch employs oil paint on oak, a common medium in the Northern Renaissance, allowing for fine detail and luminous colour. The figures are set against a gently rolling, grassy landscape, rendered with delicate brushwork that balances realism in the terrain with the symbolic presence of objects such as a spinning wheel and a coat of arms.

The panel was likely commissioned by the two women named in the scenes, a practice typical of early sixteenth‑century Netherlandish patronage. After changing hands over the centuries, it entered the collection of the Museum of Fine Arts, Boston, where it is displayed as part of the museum’s holdings of Northern Renaissance art.

Bosch’s oeuvre is noted for imaginative religious compositions that blend everyday life with allegorical elements. This work reflects that approach, integrating personal devotion with broader theological motifs, and exemplifies the period’s interest in private prayer aids rendered in portable, double‑sided formats.