James Ensor Biography: Introduction
James Ensor spent nearly nine decades in Ostend, but his life was never confined to one attic or reduced to one eccentric persona. The seaside city gave him a family home, a shop full of unusual objects, a changing coast and a dependable place to work. Brussels supplied formal training, friendships, arguments and exhibition politics. Collectors, writers and museums carried his art farther still. The resulting career belongs to a sociable, combative and unusually versatile artist who used painting, drawing, printmaking, writing and music to keep entering public debate.
This James Ensor biography follows that long exchange between place and network. It also provides a chronological route into the wider James Ensor guide, where his life can be followed into the separate stories of his paintings, prints and drawings and masks, carnival and satire.
At a Glance
- LifeJames Sidney Ensor (13 April 1860–19 November 1949) was born and died in Ostend, Belgium
- Familythe son of an English father and a Belgian mother; his family kept a souvenir and curiosity shop and rented rooms to visitors
- Trainingafter local drawing lessons in 1876, he spent three years at the Brussels academy beginning in 1877
- Important circlesthe Hannon and Rousseau families, fellow academy students, Les XX, Ostend cultural groups, critics, collectors and museum patrons
- Practicespainting, drawing, etching, writing, public speaking, music, costume and stage design
- Recognitioninstitutional print purchases from the 1890s, growing Belgian and German attention after 1900, major exhibitions and state honours, culminating in his elevation to baron in 1929 [1][2]
James Ensor in context
Realist contexts
c. 1840–1900Symbolism
c. 1880–1910Expressionism
c. 1905–1930Édouard Manet
1832–1883Claude Monet
1840–1926Georges Seurat
1859–1891James Ensor
1860–1949Edvard Munch
1863–1944Paul Klee
1879–1940The Oyster Eater
1882Self-Portrait with Flowered Hat
c. 1885–88The Intrigue
1890Contents
- Introduction
- Ostend Beginnings, 1860–1876
- Brussels Training and the Rousseau-Hannon Circle, 1877–1880
- Debut, Rejection and the Founding of Les XX, 1881–1884
- Experiment, Masks and Family Responsibility, 1885–1893
- Prints, Collectors and Recognition beyond Belgium, 1893–1914
- Writer, Musician and Advocate, 1896–1924
- The Vlaanderenstraat House and the Making of a Public Figure, 1915–1929
- Last Decades and Death in Ostend, 1929–1949
Ostend Beginnings, 1860–1876
James Sidney Ensor was born in Ostend on 13 April 1860. His father, James Frederic Ensor, was English by nationality; his mother, Maria Catharina Haegheman, was Belgian and from Ostend. Their daughter Maria Carolina Emma, usually called Mariette or Mitche, was born the following year. Because James inherited his father’s nationality, he remained British for most of his life even though Ostend was his birthplace, home and principal subject. He did not seek Belgian naturalisation until 1929. [2]
The family’s livelihood joined domestic life to the seasonal economy of a seaside resort. They let rooms to summer visitors and operated a shop selling souvenirs and curiosities. Shells, fans, textiles, chinoiseries and carnival masks belonged to this commercial environment before comparable objects entered Ensor’s art. That connection matters, but it should not be turned into a simple origin story in which every later mask has one fixed childhood meaning. The shop provided objects to look at and rearrange; Ostend’s carnival offered a living culture of disguise; the artist later made both serve many different formal, comic and critical purposes. [1][2]
Ensor attended the Collège Notre-Dame in Ostend. In 1876 he took lessons at the local drawing school and made small studies from nature during the warmer months. KMSKA’s current account also describes him painting outdoors by the age of sixteen. The beach, sea, roofs, dunes and variable coastal light became recurring material, not picturesque scenery left behind after youth. They would coexist with interiors, portraits, religious subjects, crowds, still lifes and grotesques throughout a career whose range is easier to see in the paintings overview. [1][2]
Ostend could be a base without being a retreat. It was a resort, port and meeting place whose population and appearance shifted with the seasons. The family business brought strangers to the house, while the streets and beach exposed Ensor to tourism, popular entertainment and civic change. Later archives document his contacts with figures in art, literature, science, politics and law. The evidence therefore challenges the durable image of a wholly unsociable artist sealed inside a shell shop. [3][5]
Brussels Training and the Rousseau-Hannon Circle, 1877–1880
In 1877 Ensor left for the Royal Academy of Fine Arts in Brussels, where he studied until 1880. Jean-François Portaels directed the academy, and fellow students included Fernand Khnopff, Willy Finch and Théo van Rysselberghe. Several would become visible in the progressive exhibition culture of the next decade. Academy work gave Ensor sustained experience of drawing from models, composing figures and handling established conventions even when he came to oppose its ideals. Some academic studies were later reworked into markedly different images, evidence that training remained physical material he could revisit rather than merely reject. [2][4]
Equally important was the social education that took place outside the classroom. The poet, painter and critic Théo Hannon introduced Ensor to the household of Ernest Rousseau, a professor at the Université Libre de Bruxelles, and Mariette Rousseau Hannon, a scientist. Their home brought together artistic, literary and scientific guests. Ensor probably encountered figures such as the printmaker Félicien Rops and the writer Eugène Demolder through this liberal, intellectually mixed circle. More securely, his long friendship and correspondence with members of the Rousseau family became part of the network that connected Ostend to Brussels. [2][3]
This setting complicates the familiar story of Ensor as an academy rebel who developed entirely alone. He did become sharply critical of academic prescriptions, and a late-1894 letter studied by Art Institute of Chicago scholars helps explain his resistance to the classical art theory taught in European academies. Yet disagreement did not erase what he had learned or whom he had met. His later experiments in line and the grotesque remained grounded in formidable drawing experience, while friends helped provide conversation, audiences and access to exhibitions. [9]
After leaving the academy in 1880, Ensor returned to his parents’ home and established a studio in its attic. Willy Finch sometimes worked there with him. Ensor would live in Ostend for the rest of his life, but he returned regularly to Brussels and participated in the capital’s artistic world. He travelled comparatively little, making only a limited number of trips to places including the Netherlands, London and Paris. Limited travel should not be mistaken for isolation: artworks, letters, journals, exhibitions and visitors moved continually between his coastal studio and wider European networks. [2][3]
Debut, Rejection and the Founding of Les XX, 1881–1884
Ensor exhibited with the progressive Brussels circle La Chrysalide in 1881 and joined L’Essor soon afterwards. His early public identity rested on seascapes, still lifes, portraits and scenes of modern bourgeois interiors rather than the masks for which he later became famous. The ambitious The Oyster Eater of 1882 belongs to this moment. Its luminous table setting and absorbed female sitter showed how everyday observation, colour and light could carry the scale of a major Salon painting. It also became part of the rejection history around which Ensor shaped his public combativeness. [1][2][13]
Juries and critics did refuse works, including The Oyster Eater, and Ensor remembered such episodes bitterly. But refusals were only one part of his early position. He was already exhibiting, arguing in print and moving among artists who wanted alternatives to established Salons. In 1883 he joined former academy colleagues and other artists in breaking from L’Essor to establish Les XX, or Les Vingt. With Octave Maus as secretary, the group became an important platform for new Belgian work and international avant-garde movements. Ensor was therefore not an outsider looking through a closed institutional window; he helped build a different institution. [1][2]
Les XX also brought friction. Ensor’s loyalty to the group did not mean harmony with its members, and the reception of his work could be hostile even inside progressive circles. Those tensions fed his rhetoric about critics, rivals and incomprehension, but they should not conceal the practical value of regular exhibitions and exchanges. Between 1881 and 1940, KMSKA research indicates that he participated in at least one exhibition in almost every year, often several. The record is one of persistent public participation, not withdrawal after a few notorious rejections. [11]
The early 1880s established habits that lasted: Ensor could seek recognition while mocking the systems that granted it; cooperate with artists while quarrelling with them; and transform resentment into self-presentation without ceasing to work through groups. Les XX gave that contradictory stance a stage. When the association dissolved in 1893, he opposed the decision, yet he subsequently showed with its successor, La Libre Esthétique. Conflict and connection remained intertwined. [2]
Experiment, Masks and Family Responsibility, 1885–1893
From about 1885 Ensor gave concentrated attention to drawing and etching. He tested how line, blank paper and sharp tonal contrast could do things different from oil paint, while his subjects expanded through religious imagery, literature, caricature, Japanese prints and the art of Rembrandt, Goya and Bruegel. The enormous joined-sheet drawing The Temptation of Saint Anthony of 1887–88 demonstrates the scale of that graphic ambition. Its fantastic episodes are not a secondary rehearsal for painting; they make drawing itself an arena for accumulation, revision and invention. [2][9]
Masks, skeletons and crowds became increasingly prominent during the same period. Masks Confronting Death of 1888 places painted faces and mortality in an encounter that remains deliberately unstable. The monumental Christ’s Entry into Brussels in 1889, painted in 1888, turns a procession into a collision of religion, politics, advertising, carnival and urban spectacle. In the smaller Self-Portrait with Flowered Hat, begun in the later 1880s and subsequently altered, identity is something performed and revised. These works help explain why MoMA describes masking, travesty, role-playing and social engagement as connected aspects of Ensor’s modernity. [4][7][12][14][15][21]
An important change in private circumstances occurred at the same time. Ensor’s father died in 1887. James then assumed substantial responsibility for a household that included his mother, his aunt Mimi, his sister Mitche and his niece Alexandrine, as well as for aspects of the family shop that remained a central source of income. Around 1888 he met Augusta Boogaerts. Their relationship continued for the rest of his life, although they did not share a home. Boogaerts belonged to the human network around the artist, as did relatives, friends and later patrons; she should not be reduced to a decorative “muse” or used to force a biographical key onto individual works. [1][2][5]
Nor should family strain be used to diagnose the masks and skeletons. Ensor’s imagery drew on Ostend carnival, shop objects, old-master art, contemporary caricature, exhibition conflict, political crowds and the material opportunities of different media. Its meanings shift from one work to another. The Intrigue of 1890, The Astonishment of the Mask Wouse of 1889 and Skeletons Fighting over a Pickled Herring of 1891 may share a grotesque vocabulary, but each organizes spectatorship, humour and hostility differently. The masks, carnival and satire guide follows those differences rather than treating disguise as a diagnosis. [1][4][7][16][17][18]
The dissolution of Les XX in 1893 closed one exhibition structure, not Ensor’s public career. He resisted the decision and continued to be invited by La Libre Esthétique. That year the Print Room of the Royal Library in Brussels acquired a substantial group of his etchings. Dresden’s Kupferstichkabinett followed in 1894, and Vienna’s Albertina in 1899. Such purchases materially contradict the legend that the 1890s were a blank interval of universal neglect. [2]
Prints, Collectors and Recognition beyond Belgium, 1893–1914
Printmaking changed the geography of Ensor’s reputation. Etchings were portable, could exist in multiple impressions and could be reprinted or hand-coloured. Museums and collectors could assemble bodies of graphic work even when large paintings were difficult to see. The institutional acquisitions in Brussels, Dresden and Vienna created durable public records of Ensor’s art, while his first solo displays and participation in La Libre Esthétique kept him before audiences. The separate prints and drawings guide explains how plates, states, paper and later colouring complicate the idea of a single definitive impression. [2][5]
Around 1900, artists and critics in the German-speaking world began to recognise the challenge Ensor posed to classical Western European values. The archived Flemish Art Collection biography names Alfred Kubin, Paul Klee, Emil Nolde, Ernst Ludwig Kirchner, George Grosz, Herbert von Garvens-Garvensburg and Wilhelm Fraenger among those who responded to his innovations. KMSKA’s current overview more cautiously emphasises a German breakthrough and Ensor’s influence on Klee. The safest conclusion is not that every later Expressionist simply descended from him, but that his masks, nervous line, raw colour and satirical distortion acquired a new relevance for early twentieth-century viewers. [1][2]
Recognition also depended on advocates. The writer and painter Emma Lambotte met Ensor in the early 1900s, wrote about him and, with her husband, collected his work. Through her he met the Antwerp collector François Franck, another important supporter. In 1905 the Antwerp association Kunst van Heden staged a major Ensor exhibition. Members purchased paintings that later entered KMSKA, helping to form what is now the world’s largest and most diverse museum collection of his art. This was not fame arriving by accident: writers, collectors, associations and artists built the channels through which works moved into exhibitions and institutions. [1][2]
Public honours began to accompany that support. Mu.ZEE’s archive research records Ensor’s appointment by royal decree as a Chevalier in the Order of Leopold in 1903, with later promotions in the order. In 1908 Émile Verhaeren published an extensive monograph, and in 1913 Herbert von Garvens-Garvensburg issued an early catalogue of the prints. The sequence matters. Formal recognition grew through several kinds of evidence—purchases, publications, exhibitions and honours—rather than through one sudden reversal from failure to triumph. [2][10][19][20]
Writer, Musician and Advocate, 1896–1924
Ensor increasingly used words as another public medium. From the 1890s he published art criticism and satire, prepared speeches and became a sought-after banquet speaker. His prose could pile up puns, invented words, mock-heroic claims and attacks, making it difficult to separate argument from performance. KMSKA’s study of the manuscripts stresses that writing served several purposes: practical communication, preparation for speeches, literary ambition, assertion of his position and support for causes. It was not merely a substitute activity taken up after “real” artistic invention had ended. [3][8]
He used newspaper pieces and public addresses to discuss art, but also local and ethical issues. He opposed damage to the coastal dunes, commented on modern architecture and urban change, and spoke against vivisection. Mu.ZEE’s archive identifies environmental questions—including dune preservation, Ostend harbour plans and transformations in other Belgian cities—as a substantial part of his socially engaged record. These interventions make the civic Ensor visible beside the studio artist. His attachment to Ostend included criticism of what happened to its landscape, not only affectionate seascapes. [2][5]
Music enlarged that public persona. Ensor created La Gamme d’amour, a ballet-pantomime for which he wrote the libretto and music and devised décor and costumes. The project was completed in 1911 and performed at the Antwerp opera in 1924. His ambitions crossed categories: words could be visual and theatrical, paintings could stage processions, and music could belong to a designed spectacle. KMSKA’s overview accordingly presents the older Ensor as an author, composer, costume designer and speaker as well as a painter. [1][2]
The KMSKA archive now makes the scale of his communication especially clear. Its 617 records include manuscripts, letters, postcards, photographs and related ephemera, with correspondents ranging from family members to critics, artists and dealers. Mu.ZEE’s archive adds notebooks, speeches, exhibition material and exchanges among people in his circle. Together they replace a monologue of grievance with a network of conversations—even if Ensor often tried to command those conversations in unmistakably Ensorian style. [3][5]
The Vlaanderenstraat House and the Making of a Public Figure, 1915–1929
Ensor’s mother died in 1915 and Aunt Mimi in 1916. In 1917 he moved into a house inherited from an uncle on Vlaanderenstraat, or Rue de Flandre. Because addresses and numbering have changed across the relevant buildings and periods, it is safest to identify it as the house now presented by the official James Ensor House at Vlaanderenstraat 29. The museum states that Ensor worked and lived there from 1917 until his death; its surviving rooms, furniture and documentary displays connect private space to his increasingly public life. [2][6][19]
The move did not inaugurate a secluded final phase. Visitors, correspondence, exhibitions, performances and civic activity continued. Editions of his writings appeared during the 1920s. La Gamme d’amour reached the Antwerp stage in 1924. His work was collected and reassessed, while the artist cultivated the role of a decorated elder who could still tease the institutions celebrating him. The house became both workplace and destination: its present museum interpretation devotes distinct attention to interiors, criticism, public life, masks and strange figures. [6][8]
Recognition reached a conspicuous peak in 1929. A large Brussels retrospective brought major works before the public, including The Temptation of Saint Anthony after a long interval out of view. Ensor, who had retained his father’s nationality, sought Belgian naturalisation that year in connection with receiving the title of baron. King Albert I conferred the barony, turning an artist who had built his identity partly through opposition into an official national figure. [2][9][12]
That transformation was real but not complete. The baron did not erase the satirist, and public honour did not retroactively make every earlier work understood or accepted. Ensor could welcome ceremonies while puncturing their dignity. KMSKA notes that he later unveiled his own statue in Ostend, one more episode in which recognition became performance. The self-conscious older artist was adept at participating in his monument while keeping enough distance to mock it. [1][12]
Last Decades and Death in Ostend, 1929–1949
Ensor’s last twenty years brought retrospectives, distinguished visitors and a settled place in accounts of modern art. A surviving 1936 radio interview records him speaking in the Ostend dialect, evidence that local identity remained active even after international recognition. During these decades he continued writing, speaking, revisiting subjects and working across genres. His output did not repeat the concentrated experimental transformation of the later 1880s, but it should not be collapsed into a single story of decline. Still lifes, landscapes, portraits, masks, religious images, drawings, prints, music and prose had different chronologies and different audiences. [1][2]
The breadth matters when looking back from famous works. MoMA places Ensor within the Belgian avant-garde and treats him as an important precursor to Expressionism, but its account also emphasises allegorical light, satire, carnival, performance, self-fashioning and engagement with contemporary questions. No one label contains that combination. Even “painter of masks,” the nickname associated with his German reception, describes only one entrance into the work. [1][7]
Ensor died at the Heilig Hart, or Sacred Heart, hospital in Ostend on 19 November 1949. He was eighty-nine. By then the artist once embattled over Salon refusals had become a baron, a monument in his city and a reference point for later modernists. Yet the archives leave a more useful legacy than celebrity alone: thousands of connections among works, letters, people, exhibitions and places. They show a man rooted in Ostend but repeatedly present in Brussels, travelling little but communicating widely, accepting honour while continuing to provoke, and making public life itself part of his art. [1][3][5]
Follow James Ensor's career through four stages
Ostend, Brussels and the academy
Ensor grew up in Ostend, trained locally and studied at the Brussels academy from 1877 to 1880. The return to his family home did not end his contact with the capital's artists and exhibition culture.
Interiors, still lifes and Les Vingt
Domestic interiors, portraits, still lifes, dunes and marine subjects established Ensor's command of atmosphere and light. In 1883 he helped found Les Vingt, joining a Brussels network for new international art.
Print, fantasy, masks and crowds
Etching, ambitious drawing, caricature, religious crowds, masks and skeletons transformed Ensor's practice. Different media became connected laboratories rather than a simple sequence of styles.
Revision, repetition and recognition
Ensor continued to paint, draw, print, write and revisit earlier subjects as museums and international artists increasingly recognised his work. Later fame did not erase the variety or contradictions of his long career.
Researched works directory
This searchable evidence census was assembled from public museum records and a reproducible Wikidata snapshot. It is not a catalogue raisonné, a claim to complete oeuvre coverage, or a substitute for Xavier Tricot's printed catalogue, which was not consulted for this directory.
| Name | Date | Medium |
|---|---|---|
| 1. Decor (uit: La Gamme d'Amour) | 1929 | |
| 10. Hélio (uit: La Gamme d'Amour) | 1911–1929 | |
| 11. Murmuramis (uit: La Gamme d'Amour) | 1912–1929 | |
| 12. Grimacet, Craco-Cigaret... (uit: La Gamme d'Amour) | 1929 | |
| 13.-14. Popofigue & Germina (uit: La Gamme d'Amour) | 1912–1929 | |
| 15. Puerilla & Pollen (uit: La Gamme d'Amour) | 1912–1929 | |
| 16. Muzikanten II (uit: La Gamme d'Amour) | 1929 | |
| 17. Vuurwerkboeket (uit: La Gamme d'Amour) | 1929 | |
| 18. De schelpen (uit: La Gamme d'Amour) | 1929 | |
| 19. Het Luminisme - het Kubisme - de Gravure (uit: La Gamme d'Amour) | 1912–1929 | |
| 2. Brutonne (uit: La Gamme d'Amour) | 1911–1929 | |
| 20. Spar - Huisje uit Neurenberg - Racket (uit: La Gamme d'Amour) | 1911–1929 | |
| 21. Duivel - Houten soldaat - Pop (uit: La Gamme d'Amour) | 1912–1929 | |
| 22. Cimbaalspelers (uit: La Gamme d'Amour) | 1917–1929 | |
| 3. Grognelet (uit: La Gamme d'Amour) | 1929 | |
| 3 studies van een dame met parasol | 1880 | Drawing |
| 4. Miamia (uit: La Gamme d'Amour) | 1929 | |
| 5. De bedelares (uit: La Gamme d'Amour) | 1929 | |
| 6. Fifrelin (uit: La Gamme d'Amour) | 1929 | |
| 7. Muzikanten (uit: La Gamme d'Amour) | 1911–1929 | |
| 8. Pituiton met de lange neus (uit: La Gamme d'Amour) | 1929 | |
| 9. Corylopsis (uit: La Gamme d'Amour) | 1911–1929 | |
| A Colourist | 1880 | Painting |
| A field with a working man and woman | Date unknown | Drawing |
| A Gust of Wind at the Edge of the Forest (Coup de vent a la lisiere) | 1888 | |
| A l'aube | 1880 | Drawing |
| A Man and a Woman | Date unknown | Drawing |
| A Path in a Wood | 1879 | Painting |
| Aanbidding door de koningen | 1921 | |
| Aanstormend leger | Date unknown | Drawing |
| Aantekeningen van James Ensor | Date unknown | Drawing |
| Acacia | 1888 | |
| Academic study of a nude | Date unknown | Drawing |
| Accacia | Date unknown | Drawing |
| Adam and Eve expelled from Paradise | 1887 | Painting |
| Adoration des Bergers | 1888 | |
| Affiche van "Salon des Cent", Parijs | 1888–1898 | |
| Affiche van "Salon des Cent", Parijs | 1898 | |
| Affiche voor het carnaval van Oostende | 1931 | |
| After the storm | 1880 | Painting |
| Afternoon in Ostend | 1881 | Painting |
| Album Containing Drawings and Illustrated Letters | 1883 | Drawing |
| Algérienne à la cruche | Date unknown | Drawing |
| Alimentation doctrinaire | 1889 | |
| Anatomische studie en twee figuren | Date unknown | Drawing |
| Anger | 1904 | |
| Anger (La colere) | 1904 | |
| Antiek pistool | Date unknown | Drawing |
| Antieke kop | 1870 | Drawing |
| Arabische ruiter door leeuw aangevallen | 1880 | Drawing |
| Arabische ruiter en paard | Date unknown | Drawing |
| Arabische ruiter in galop | Date unknown | Drawing |
| Arms and Hands | Date unknown | Drawing |
| Astonishment of the Mask Wouse | 1889 | Painting |
| Au conservatoire | 1902 | Painting |
| Auto-da-fe | 1893 | |
| Autoportrait auprès d'une lampe | 1886 | |
| Autumn Flowers | 1938 | Painting |
| Avarice | 1904 | |
| Avarice (L'avarice) | 1904 | |
| Azaleas | 1925 | Painting |
| Baby | Date unknown | Drawing |
| Baby en arm | 1870 | Drawing |
| Bacchanal | 1877 | Painting |
| Back of a Chair | 1880 | Painting |
| Badkoets, bruggetje en kleine marine | Date unknown | Drawing |
| Bal masqué à la Monnaie | Date unknown | Drawing |
| Ballet | 1921 | |
| Balletscène | 1900 | Drawing |
| Baptism of the Masks | 1891 | Painting |
| Baron James Ensor, his bad angel, his coat of arms | 1934 | Painting |
| Barques échouées | 1888 | |
| Bataille des éperons d'or | 1895 | |
| Bataille entre llion et tigre | 1880 | Drawing |
| Bateaux à vapeur, PK.MP.04898 | 1889 | |
| Bateaux à vapeur, PK.MP.04899 | 1889 | |
| Bathers (Curved and Wavy Lines) | 1916 | Painting |
| Bathing-hut | 1876 | Painting |
| Battle of the beggars Désir and Rissolé | 1888 | |
| Battle of the Beggars Desir and Rissole (Combat des pouilleux Desir et Rissole) | 1888 | |
| Battle of the Golden Spurs | 1890 | |
| Battle of the Golden Spurs | 1895 | |
| Battle of the Golden Spurs | 1897 | |
| Baviaan | Date unknown | Drawing |
| Beach at La Panne | 1904 | |
| Beached Boats | 1888 | |
| Bed met troonhemel | Date unknown | Drawing |
| Bedkast | Date unknown | Drawing |
| Beeldje op console | Date unknown | Drawing |
| Beggars Receiving Alms at the Door of a House | 1880 | Drawing |
| Bejaarde man | Date unknown | Drawing |
| Belgium in the Nineteenth Century | Date unknown | Drawing |
| Belgium in the XIXth Century | 1889 | |
| Berceuse de mon ballet: La gamme d'amour | Date unknown | Drawing |
| Bergpad | Date unknown | Drawing |
| Bibelots | 1935 | Painting |
| Biblical Scene | 1877 | Painting |
| Bijbelse scènes, uitgeveegd | 1870 | Drawing |
| Biljartspelende geraamten | 1903 | Drawing |
| Bloem | Date unknown | Drawing |
| Bloemen en vlinders | 1889 | Painting |
| Blue Flask and Chicken | 1925 | Painting |
| Boats Aground | 1888 | |
| Boer met paardenspan en Marie Colombier | Date unknown | Drawing |
| Bolhoed en schoen | 1880 | Drawing |
| Bomen | Date unknown | Drawing |
| Bootje en figuur | 1880 | Drawing |
| Bosgezicht in Groenendaal | 1888 | |
| Bosgezicht te Groenendaal | 1888 | |
| Bosje | 1888 | |
| Bosrand | 1878 | Drawing |
| Boulevard d'Iseghem, Ostende | 1889 | |
| Boulevard Van Iseghem, Ostend | 1889 | |
| Bouquet d'arbres, MPM.V.V.261.003 | 1888 | |
| Bouquet d'arbres (PK.MP.04890) | 1888 | |
| Bouquet d'arbres, PK.MP.04891 | 1888 | |
| Breakwater | 1887 | |
| Breiende vrouw en hondje | Date unknown | Drawing |
| Bronze pot with Apparitions | 1880 | Drawing |
| Bruggetje (?) | 1889 | Drawing |
| Bust | 1887 | |
| Buste | 1887 | |
| Buste (PK.MP.01223) | 1887 | |
| Cabbages | 1890 | Painting |
| Caesar's Denarius | 1888 | |
| Café-concert à Munich | 1880 | Drawing |
| Calvarie | 1921 | |
| Canal with Barges | 1881 | Painting |
| Candelabra and Vase | 1888 | |
| Candélabre et vase | 1888 | |
| Capture of a Strange Town | 1888 | |
| Carnet met tekeningen | 1880 | Drawing |
| Carnet met tekeningen | Date unknown | Drawing |
| Carnival | 1930 | Painting |
| Carnival in Flanders | 1929 | Painting |
| Carnival in Flanders (Zürich) | 1927 | Painting |
| Carnival on the beach | 1887 | Painting |
| Chaloupes | 1888 | |
| Chaumiéres à Slykens | 1888 | |
| Chère morte | Date unknown | Drawing |
| Child with Doll | 1884 | Painting |
| Children at their Morning Toilet | 1886 | Painting |
| Chimaera | 1888 | |
| Chimère | 1888 | |
| Chinese vaas en figuren | 1880 | Drawing |
| Chinoiserie | 1885 | Drawing |
| Chinoiserie, drie vogels | Date unknown | Drawing |
| Chinoiserie, een demon | 1885–1886 | Drawing |
| Chinoiserie, een krijger | 1885 | Drawing |
| Chinoiserie, een man | 1885 | Painting |
| Chinoiserie, een ooievaar | Date unknown | Drawing |
| Chinoiserie, een oude vrouw | Date unknown | Drawing |
| Chinoiserie, een roofvogel | Date unknown | Drawing |
| Chinoiserie, een vogel | Date unknown | Drawing |
| Chinoiserie, een vrouw | 1885 | Drawing |
| Chinoiserie, een zittende man | 1885 | Drawing |
| Chinoiserie, een zittende man in driekwart rugzicht | 1885 | Drawing |
| Chinoiserie, tafereel | 1884 | Drawing |
| Chinoiserie, twee figuren | 1885 | Drawing |
| Chinoiseries | 1907 | Painting |
| Chinoiseries | 1920 | Painting |
| Chinoiseries with fans | 1880 | Painting |
| Christ agonisant tourmenté par les démons | 1895 | |
| Christ among the Beggards | 1895 | |
| Christ and the Beggars | 1895 | |
| Christ and the Beggars (Le Christ aux mendiants) | 1895 | |
| Christ Calming the Storm | 1886 | |
| Christ Calming The Tempest | 1886 | |
| Christ calming the water | 1891 | Painting |
| Christ calming the water | 1906 | Painting |
| Christ Descending into Hell | 1895 | |
| Christ Descending into Hell | Date unknown | |
| Christ Descending to Hell | 1895 | Drawing |
| Christ in Agony Tormented by Demons | 1895 | |
| Christ in Hell (Le Christ aux enfers) | 1895 | |
| Christ in the Boat | 1898 | |
| Christ insulted | 1886 | |
| Christ mocked | 1880 | Drawing |
| Christ Mocked | 1886 | |
| Christ Orchard | 1886 | |
| Christ's Entry into Brussels in 1889 | 1888 | Painting |
| Christ's Entry into Jerusalem | 1885 | Drawing |
| Christ shown to the People | 1885 | Drawing |
| Christ shown to the People and Christ's Entry into Jerusalem | 1887 | Drawing |
| Christ Tormented by Demons | 1895 | |
| Christ Walking on Water | 1883 | Painting |
| Christ with the Lame | 1880 | Painting |
| Christus bedaart de storm | 1921 | |
| Christus bij de bedelaars | 1895 | |
| Christus daalt neer in de hel | 1895 | |
| Christus door duivels gekweld | 1895 | |
| Christus drijft de duivel uit het het lichaam aan een bezetene | 1921 | |
| Christus en de Engelen | 1921 | |
| Christus en de schriftgeleerden | 1921 | |
| Christus en Romeinse soldaten | 1886 | Drawing |
| Christus in de schuit | 1898 | |
| Christus op de knieën van zijn moeder | 1921 | |
| Christus tussen de moordenaars | 1921 | |
| Christus voor zijn rechters | 1921 | |
| Christus wandelt op de golven | 1921 | |
| Circassische ruiters | Date unknown | Drawing |
| Clams and crustaceans | 1889 | Painting |
| Clownish figures on a beach | Date unknown | Drawing |
| Clump of Trees | 1888 | |
| Colère | 1904 | |
| Combat des pouilleux Désir et Rissolé | 1888 | |
| Combat of the Rascals Désir and Rissolé | 1888 | |
| Combat of The Rascals Désir et Rissolé | 1888 | |
| Comical Repast (Banquet of the Starved) | 1917 | Painting |
| Contes d'Horace van Offel - Le diable au moulin | 1934 | |
| Copy after Honoré Daumier | Date unknown | Drawing |
| Cortège infernal | Date unknown | |
| Cottages | 1888 | |
| Couple in open landau | 1883 | Drawing |
| Cranes et masques | 1888 | |
| Croquis | Date unknown | Drawing |
| Crypte | 1888 | |
| Cymbalists | 1911 | |
| Daffodils, Lilacs and Violets | 1893 | Painting |
| Dahlias | 1932 | Painting |
| Daken | Date unknown | Drawing |
| Dame | Date unknown | Drawing |
| Dame aan cafétafel | 1880 | Drawing |
| Dame en meisje | Date unknown | Drawing |
| Dame en twee heren | Date unknown | Drawing |
| Dance in the Clearing (from the series Les Opalines) | 1913 | |
| Daniel in the Lion's Den | 1880 | Drawing |
| Dansend paar | Date unknown | Drawing |
| Dansers en muzikanten | 1919 | Drawing |
| De aanbidding der herders | 1888 | |
| De afgunst | 1903–1904 | |
| De Amsterdamse lakenhandelaar Nicolaas van Bambeek | 1880 | Drawing |
| De baden van Oostende | 1891 | Drawing |
| De baden van Oostende | 1899 | |
| De bekoring van Christus | 1888 | |
| De bergrede [verso: Studie van drie staande en een zittende figuur] | Date unknown | Drawing |
| De besnijdenis | 1921 | |
| De bespotting van Christus | 1921 | |
| De boeteprocessie van Veurne | 1930 | Drawing |
| De boomgaard | 1886 | |
| De boomgaard | 1900 | |
| De briefschrijfster (Ensors zuster) | 1883 | Drawing |
| De brug van het bos te Oostende | 1889 | |
| De brug van Six | Date unknown | Drawing |
| De bruiloft van Kana | 1913 | Drawing |
| De cataclysmen | 1888 | |
| De componist Hector Berlioz | Date unknown | Drawing |
| De crypte | 1888 | |
| De daken van Oostende | 1900 | |
| De dood achtervolgt de mensenkudde | 1896 | |
| De duivels Dzitts en Hihanox leiden Christus naar de hel | 1895 | |
| De eerste stapjes | 1880 | Drawing |
| De engel des verderfs | 1889 | |
| De engelen vereeren Maria | 1921 | |
| De Franse politicus François Barbé Marbois | Date unknown | Drawing |
| De gefopte boeren | 1893 | Drawing |
| De gendarmes | 1888 | |
| De geseling | 1921 | |
| De gevilde | 1888 | |
| De gierigheid | 1903–1904 | |
| De gierigheid | 1904 | |
| De goede rechters | 1894 | |
| De gramschap | 1903 | |
| De gramschap | 1903–1904 | |
| De grap van de olifant | 1888 | Drawing |
| De gulzigheid | 1903–1904 | |
| De Heilige Geest verlicht de apostelen | 1921 | |
| De herstellende zieke | Date unknown | Drawing |
| De honden | 1894 | Drawing |
| De hoofdzonden gedomineerd door de Dood | 1903–1904 | |
| De hoogmoed | 1903–1904 | |
| De intocht van Christus te Brussel | 1898 | |
| De kathedraal | 1896 | |
| De kleine bron en andere figuren | 1880 | Drawing |
| De kleine schuiten | 1894 | |
| De knaap | 1880 | Drawing |
| De kokette dood (maskers) | 1922 | |
| De kruisafneming | 1921 | |
| De Kruisafneming | Date unknown | Painting |
| De kruisiging | 1921 | |
| De kus van Judas | 1921 | |
| De luiheid | 1902 | |
| De luiheid [De moeder van de kunstenaar] | 1888 | Drawing |
| De minnetuin | 1888 | |
| De molen van Mariakerke | 1889 | |
| De molenduivel | 1934 | |
| De Moord | 1888 | |
| De moord op de onnozele kinderen | 1921 | |
| De ontucht | 1888 | |
| De Oostendse Visser | 1900 | Drawing |
| De oude schelmen | 1895 | |
| De oudjes of de tijd | Date unknown | Drawing |
| De pakjesdragers | 1880 | Drawing |
| De pijproker, profiel en handen | 1880 | Drawing |
| De poel met populieren | 1889 | |
| De processie van Gistel | 1934 | |
| De putruimer | 1896 | |
| De regenten van het Oudemannenhuis in Haarlem. Een figuur | Date unknown | Drawing |
| De regenten van het Oudemannenhuis in Haarlem. Twee figuren | 1880 | Drawing |
| De Rembrandtplaats te Amsterdam | 1890 | Drawing |
| De Romeinse zegetocht | 1890 | |
| De roof der Sabijnse maagden | Date unknown | Drawing |
| De schaduw op het huis | 1933 | |
| De schilder Alfred William Finch - en studie met flessen | 1880 | Drawing |
| De slaapster | 1887 | |
| De Slag der Gulden Sporen | 1895 | |
| De slechte geneesheren | 1895 | |
| De soldenier | Date unknown | Drawing |
| De spelers | 1895 | |
| De terugkeer van de kalvarieberg | 1921 | |
| De tuin van liefde | Date unknown | Painting |
| De Turkse school is uit | Date unknown | Drawing |
| De Van Iseghemlaan in Oostende | 1889 | |
| De Van Iseghemlaan in Oostende, schrijvende man (recto) | 1880 | Drawing |
| De vechtersbazen | 1896 | |
| De vermenigvuldiging van de vissen | 1891 | |
| De verschrikkelijke boogschutter | 1888 | |
| De verzoeking van de Heilige Antonius | 1930 | Drawing |
| De visser | 1880 | Drawing |
| De vissers (De ellendelingen) | 1932 | |
| De waterdrinker | Date unknown | Drawing |
| De wonderbare visvangst | 1921 | |
| De wraak van Hop-Frog | 1898 | |
| De zieke vrouw | Date unknown | Drawing |
| De zielenmissen voor B. de Haze | Date unknown | Drawing |
| De zilverling van Caesar | 1888 | |
| De zilverling van Caesar | 1921 | |
| De zoom van het bosje te Oostende | 1888 | |
| De zuster van Ensor aan het klavier | Date unknown | Drawing |
| Death and the Masks | 1897 | Painting |
| Death Chasing the Flock of Mortals | 1896 | |
| Death Dominating the Deadly Sins (Les Peches capitaux domines par la mort): front. | 1904 | |
| Delicacies | 1938 | Painting |
| Demons Teasing Me | 1895 | |
| Demons Teasing Me: Poster for the James Ensor Exhibition at the Salon des Cent in Paris | 1898 | |
| Demons Torment Me (Les Démons me turlupinant) | 1898 | |
| Der Tod und der Arzt beim Grabstein | 1880 | Drawing |
| Des filles de Sparte luttant | Date unknown | Drawing |
| Detail van afsluiting | 1900 | Drawing |
| Detail van een kapstok | Date unknown | Drawing |
| Deux régentes | 1880 | Drawing |
| Devils Thrashing Angels and Archangels | 1888 | |
| Devils Trashing Angels and Archangels | 1888 | |
| Diable rossant anges et archanges | 1888 | Drawing |
| Diables rossant anges et archanges | 1888 | |
| Diables rossant anges et archanges | 1889 | |
| Die Löwenjagd | 1880 | Drawing |
| Dienstbode (recto) | 1880 | Drawing |
| Dining single man | 1880 | Drawing |
| Diploma voor het X° Landjuweel | 1933 | |
| Dish, bottles and candlestick | Date unknown | Drawing |
| Doctrinaire voeding | 1889 | |
| Doctrinal Nourishment | 1889 | |
| Dode monnik | Date unknown | Drawing |
| Don Quichotte | 1870 | Drawing |
| Don Quichotte | 1884 | Drawing |
| Don Quichotte | Date unknown | Drawing |
| Don Quichotte en 4 gezichten | 1870 | Drawing |
| Don Quichotte en hoofd | Date unknown | Drawing |
| Don Quichotte en paardekop | Date unknown | Drawing |
| Doodshoofden en Willy Finch in de duinen (recto) | 1888 | Drawing |
| Doordruk van 2709/33 | Date unknown | |
| Dorpskerk omringd door bomen | Date unknown | Drawing |
| Double Self Portrait | 1900 | Drawing |
| Draaitrap en figuren | Date unknown | Drawing |
| Dramatische scène | 1883 | Drawing |
| Drie figuren | Date unknown | Drawing |
| Drie heren in gesprek | Date unknown | Drawing |
| Drie hollandse boerinnetjes | Date unknown | Drawing |
| Drie honden | 1880 | Drawing |
| Drie insekten | Date unknown | Drawing |
| Drie klimmende heren en koppen | Date unknown | Drawing |
| Drie koppen van wilde dieren | Date unknown | Drawing |
| Drie varkenskoppen | Date unknown | Drawing |
| Drie zeilboten en een windmolen | 1920 | Drawing |
| Duingras | Date unknown | Drawing |
| Duivels die mij sarren | 1895 | |
| Duivels die mij sarren | 1898 | |
| Duivels rossen engelen en aartsengelen af | 1888 | |
| Dunes | 1877 | Painting |
| Dunes | 1883 | Painting |
| Edelman | Date unknown | Drawing |
| Edge of the Forest in Ostend (La lisiere du petit bois, Ostende) | 1887 | |
| Edge of the Little Wood | 1888 | |
| Edge of the Little Wood Ostend | 1888 | |
| Een ongeval | Date unknown | Drawing |
| Een Zeeuws paardengespan | Date unknown | Drawing |
| Effect of Light | 1935 | Painting |
| Elias Magnus Fries, the Swedish Mycologist | 1886 | |
| Elisabeth Bas | 1880 | Drawing |
| Embleem | Date unknown | Drawing |
| Ensor and Leman discussing painting | 1890 | Painting |
| Ensor at his Easel | 1890 | Painting |
| Ensor at the Harmonium | 1933 | Painting |
| Ensor en Generaal Leman | 1890 | Drawing |
| Ensor en zijn muze | 1937 | Drawing |
| Ensors slapende moeder en figuren | 1880 | Drawing |
| Ensors slapende zuster en figuren | 1880 | Drawing |
| Envie | 1904 | |
| Envy | 1904 | |
| Envy (L'envie) | 1904 | |
| Ernest Rousseau | 1887 | |
| Estacade, PK.MP.04903 | 1887 | |
| Estacade, PK.MP.04904 | 1887 | |
| Execution by Garrote | Date unknown | Drawing |
| Extraordinary Musicians | 1888 | |
| Fall of the Rebel Angels | 1889 | Painting |
| Fans and Fabrics | 1881 | Painting |
| Fantasia | Date unknown | Drawing |
| Fantastische muzikanten | 1888 | |
| Fantastische vogel | Date unknown | Drawing |
| Farm at Leffinghe | 1889 | |
| Feeding of the Five Thousand (La multiplication des poissons) | 1891 | |
| Femme assise vue de dos | Date unknown | Drawing |
| Femme et scène de taverne | Date unknown | Drawing |
| Ferme à Leffinge | 1889 | |
| Figuren | 1870 | Drawing |
| Figuren | 1880 | Drawing |
| Figuren | Date unknown | Drawing |
| Figuren en hoofden | 1870 | Drawing |
| Figuren en ringkan (recto) | 1880 | Drawing |
| Figuren en slijpsteen | Date unknown | Drawing |
| Figuren en tekst | Date unknown | Drawing |
| Figuren uit de liefdestuin | Date unknown | Drawing |
| Figuren (verso) | 1880 | Drawing |
| Figures in Front of a Poster of La Gamme d’amour (after The Entry of Christ into Brussels in 1889) | 1925 | Painting |
| Figuur | Date unknown | Drawing |
| Figuur en fornuis met kookpotten | 1880 | Drawing |
| Figuur op de rug gezien | Date unknown | Drawing |
| Fish and Shells | 1895 | Painting |
| Fisher couple | 1874 | Painting |
| Fisherman falling in the water | 1880 | Drawing |
| Fisherman of Ostend | 1900 | |
| Fisherwoman | 1882 | Painting |
| Fishing-Boats | 1888 | |
| Flaying a Convict | 1888 | |
| Flemish Farm | 1888 | |
| Fles (recto) | 1888 | Drawing |
| Floral Still Life with Skulls | 1908 | Painting |
| Floretten | 1880 | Drawing |
| Flowers | 1892 | Painting |
| Flowers and blue vase | 1909 | Painting |
| Flowers and Chinese Vases | 1896 | Painting |
| Flowers and fruit | 1938 | Painting |
| Flowers and Masks | 1929 | Painting |
| Flowers and Vegetables | 1896 | Painting |
| Flowers in a Vase | Date unknown | Drawing |
| Footpath at Groenendael | 1888 | |
| Forest at Groenendael | 1888 | |
| Fort Napoleon | 1876 | Painting |
| Fort Wellington | 1876 | Painting |
| Fragment van een boom, stilleven op een barokke tafel, kruik en figuren (verso) | 1880 | Drawing |
| Fragment van raam met opgetrokken overgordijn | Date unknown | Drawing |
| Fragment van vaas | Date unknown | Drawing |
| Fridolin and Gragapança of Yperdamme | 1895 | |
| Fridolin and Grapapança of Yperdamme | 1895 | |
| Fridolin en Gragapança van Yperdamme | 1895 | |
| Fridolin et Gragapanca d'Yperdamme | 1895 | |
| Fries met monstertjes | Date unknown | Drawing |
| Frise, The Swedish Botanist | 1886 | |
| Frolics of Tenuous Puppets Transformed into Flowers (from the series Les Opalines) | 1913 | |
| Frontispice | 1921 | |
| Frontispice | Date unknown | |
| Frontispice (uit: Taferelen uit het leven van Christus) | 1921 | |
| Gathering in a Park | 1936 | Painting |
| Gathering in a Park (Assemblee dans un parc) | 1891 | |
| Gebonden album "La Gamme d'Amour | 1912–1929 | |
| Gebonden album "Taferelen uit het leven van Christus | 1921 | |
| Geërgerde maskers | 1895 | |
| Gefolterde (?) | Date unknown | Drawing |
| Gehurkte man met petroleumbus | Date unknown | Drawing |
| Geïntrigeerde maskers | 1904 | |
| Genretafereel | Date unknown | Drawing |
| Genretafereel en ornament | Date unknown | Drawing |
| Geraamte dat zich wil verwarmen | Date unknown | Drawing |
| Geraamten die zich willen warmen | 1895 | |
| Gestrande schuiten | 1888 | |
| Gevallen Arabische ruiter met steigerend paard | Date unknown | Drawing |
| Gevel | Date unknown | Drawing |
| Gezicht op de haven van Oostende | 1888 | |
| Gezicht op Mariakerke | 1900 | Drawing |
| Gezicht op Oostende in het oosten | 1888 | |
| Girl | 1880 | Drawing |
| Girl with Masks (Communion) | 1921 | Painting |
| Girl with upturned Nose | 1879 | Painting |
| Gluttony | 1904 | |
| Gluttony (La gourmandise) | 1904 | |
| Gordijnroede | Date unknown | Drawing |
| Gourmandise | 1904 | |
| Grand View of Mariakerke | 1887 | |
| Grande vue de Mariakerke | 1887 | |
| Grey Seascape | 1880 | Painting |
| Groep gemaskerde muzikanten | Date unknown | Drawing |
| Groep hoge bomen | 1890 | Drawing |
| Groep ruiters | Date unknown | Drawing |
| Groep soldaten en burgers | Date unknown | Drawing |
| Groteske figuren | 1912 | Drawing |
| Groteske figuur | Date unknown | Drawing |
| Group of Trees | 1888 | |
| Hamlet | Date unknown | Drawing |
| Hand en degen | Date unknown | Drawing |
| Hand met geweerloop | Date unknown | Drawing |
| Handen | Date unknown | Drawing |
| Handen en ornament | Date unknown | Drawing |
| Handen en silhouetten | Date unknown | Drawing |
| Hangklok en hoeden | 1880 | Drawing |
| Havengezicht | Date unknown | Drawing |
| Heer en dame aan tafel | 1912 | Drawing |
| Heer en kelner | Date unknown | Drawing |
| Heer en twee gehurkte figuurtjes | Date unknown | Drawing |
| Heer met hoge hoed | Date unknown | Drawing |
| Heilige Familie | 1921 | |
| Hemelvaart | 1921 | |
| Hengst | Date unknown | Drawing |
| Herbergscène met dansend boerenpaar (verso) | 1880 | Drawing |
| Het afscheid van Napoleon | 1896 | |
| Het balkon | Date unknown | Drawing |
| Het betoverd meubel | 1888 | |
| Het doopsel van Christus | 1921 | |
| Het fantastische bal | 1889 | |
| Het gesprek | Date unknown | Drawing |
| Het gevecht | 1896 | |
| Het grote dok in Oostende | 1888 | |
| Het laatste avondmaal | 1921 | |
| Het model | Date unknown | Drawing |
| Het onweer | 1889 | |
| Het spook | 1889 | |
| Het strand van De Panne | 1904 | |
| Hippogriff, Evil Spirits, Interior Elements | 1880 | Drawing |
| Hoed en silhouet | 1918 | Drawing |
| Hoek in het atelier met kachelvoet, kist en figuren | 1880 | Drawing |
| Hoeve | 1920 | Drawing |
| Hoeve te Leffinge | 1889 | |
| Hoevedaken | Date unknown | Drawing |
| Hollandse kast | Date unknown | Drawing |
| Hond | 1880 | Drawing |
| Hoofd van een fluitspelende vrouw | Date unknown | Drawing |
| Hoofddekseltjes en boerinnetjes | Date unknown | Drawing |
| Hoofden | 1870 | Drawing |
| Hoofden | 1882 | Drawing |
| Hoofden | 1900 | Drawing |
| Hoofden | Date unknown | Drawing |
| Hoofden en stilleven | Date unknown | Drawing |
| Hooiopper met windmolen, boot en kleine hoeve | 1888 | Drawing |
| Hooiopper, roeiers in kano, windmolen | Date unknown | Drawing |
| Hop-Frog | 1898 | |
| Hop-Frog's Revenge | 1885 | |
| Hop-Frog's Revenge | 1895 | |
| Hop-Frog's Revenge | 1898 | |
| Hop-Frog's Revenge | 1922 | |
| Horses and silhouettes | 1880 | Drawing |
| House on the Boulevard Anspach | 1888 | |
| Houses, a street lamp and a carriage | 1885 | Drawing |
| Houses on the Boulevard Anspach in Brussels(Maisons du boulevard Anspach a Bruxelles) | 1888 | |
| Huis met bomen | Date unknown | Drawing |
| Huis met torenerker | 1890 | Drawing |
| Huis, narren, portret | Date unknown | Drawing |
| Huis op de Anspachlaan | 1888 | |
| Huisjes in Mariakerke | 1888 | |
| Huizen en peervormig torentje | Date unknown | Drawing |
| Hutten | 1888 | |
| I. L'Annonciation | Date unknown | |
| I. Maria-boodschap (uit: Taferelen uit het leven van Christus) | 1921 | |
| Icône - Portrait of Eugène Demolder | 1893 | Painting |
| II. De aanbidding der wijzen (uit: Taferelen uit het leven van Christus) | 1921 | |
| II. L'Adoration des Mages | Date unknown | |
| III. De moord op de onnozele kinderen (uit: Taferelen uit het leven van Christus) | 1921 | |
| III. Le Massacre des Innocents | Date unknown | |
| In de loge | Date unknown | Drawing |
| In the Dunes | 1883 | Painting |
| Inneming van een vreemde stad | 1888 | |
| Insectes singuliers | 1888 | |
| Insectes singuliers | Date unknown | |
| insects | Date unknown | Drawing |
| Interieur met open haard | Date unknown | Drawing |
| Intrede in Jeruzalem | 1921 | |
| Iston, Pouffamatus, Cracozie and Transmouffe, famous Persian physicians, examining the Stool of Darius | 1886 | |
| Iston, Pouffamatus, Cracozie and Transmouffe, famous Persian physicians, examining the Stool of Darius after the battle of Arbela | 1886 | |
| Iston, Pouffamatus, Cracozie and Transmouffe, Famous Persian Physicians, Examining the Stools of King Darius after the Battle of Arbela | 1886 | |
| Iston Pouffamatus Cracozie Transmouff célèbres medecins persans examinant les selles du Roi Darius après la bataille d'Arbelles | 1886 | |
| Iston, Pouffamatus... examining the Stool fo Darius | 1886 | |
| IV. De vlucht naar Egypte (uit: Taferelen uit het leven van Christus) | 1921 | |
| IV. La Fuite en Egypte | Date unknown | |
| IX. De zilverling van Caesar (uit: Taferelen uit het leven van Christus) | 1921 | |
| IX. Le denier de César | Date unknown | |
| Jardin d'amour | 1888 | |
| Jardin d'amour | 1925 | Painting |
| Jardin d'amour (PK.MP.01200) | 1888 | |
| Joan of Arc | 1880 | Drawing |
| Jonge Picardiërs bij een oefening met lansen | Date unknown | Drawing |
| Jonge vrouw | Date unknown | Drawing |
| Jongen met zwaard | Date unknown | Drawing |
| Judit en Holofernes | 1879 | Painting |
| Kaasklok en lissen | Date unknown | Drawing |
| Kachel en figuren (recto) | 1880 | Drawing |
| Karnavalfiguurtjes | Date unknown | Drawing |
| Kerkje van Tholen | Date unknown | Drawing |
| Kind op rug gezien | 1880 | Drawing |
| King Pest | 1880 | Drawing |
| King Pest | 1895 | |
| Klassiek academiemodel | 1878 | Drawing |
| Klein gezicht op Mariakerke | 1887 | |
| Klein gezicht op Mariakerke | 1900 | |
| Klein meisje en ornament | Date unknown | Drawing |
| Kleine vreemdsoortige figuren | 1888 | |
| Koets | 1890 | Drawing |
| Koets en twee heren | 1880 | Drawing |
| Koffertje en zwaard | Date unknown | Drawing |
| Koffiekan | Date unknown | Drawing |
| Koning Pest | 1895 | |
| Koningin Parysatis | 1890 | |
| Kop en drie honden | Date unknown | Drawing |
| Kop in vooraanzicht en in profiel | Date unknown | Drawing |
| Kop, schoteltje en figuren (recto) | 1880 | Drawing |
| Köpfe | 1880 | Drawing |
| Kopie | Date unknown | Drawing |
| Kopie naar Goya | Date unknown | Drawing |
| Kopie naar Grévin | Date unknown | Drawing |
| Kopie naar Salvator Rosa | Date unknown | Drawing |
| Kopje en afdruk | Date unknown | Drawing |
| Krabbel | Date unknown | Drawing |
| Krabbel: militairen | Date unknown | Drawing |
| Krabbel van marine | Date unknown | Drawing |
| Krabbel van ornament? | Date unknown | Drawing |
| Krabbels met houtskool | Date unknown | Drawing |
| Kroegtafereel | Date unknown | Drawing |
| Kroonkandelaar en vaas | 1888 | |
| Kruiwagen en figuren (recto) | 1880 | Drawing |
| Kruiwagen, figuren en schets | 1880 | Drawing |
| L'Acacia | 1888 | |
| L'Amour Moissonneur | Date unknown | Drawing |
| L'ange exterminateur | 1889 | |
| L'archer terrible | 1888 | |
| L'assassinat | 1888 | |
| L'écorché | 1888 | |
| L'entrée du Christ à Bruxelles en 1889 | 1889 | |
| L'Entrée du Christ à Bruxelles en 1889 | 1898 | |
| L'Hôtel de ville de Bruxelles | 1885 | Painting |
| L'orage | 1889 | |
| La Blague de l'éléphant | 1888 | |
| La Cathédrale | 1860 | |
| La Cathédrale | 1886 | |
| La dormeuse (rare) | 1887 | |
| La gamme d'amour | 1926 | Painting |
| La Lisiere du bois d'Ostende | 1888 | |
| La Madeleine | 1887 | |
| La mort poursuivant le troupeau des humains | 1896 | |
| La multiplication des poissons | 1891 | |
| La musique Rue de Flandre à Ostende | 1890 | |
| La prise d'une ville étrange | 1888 | |
| La reine Parysatis écorchant un eunuque | 1900 | |
| La Syrene | Date unknown | Drawing |
| La Tentation du Christ | 1888 | |
| La vengeance de Hop-Frog | 1898 | |
| Laat de kleinen tot mij komen | 1921 | |
| Lady Godiva | 1933 | |
| Lady Singing | 1880 | Drawing |
| Landelijke brug | 1889 | |
| Landscape with waterfalls | 1875 | Painting |
| Landschap met kerktoren en windmolen | Date unknown | Drawing |
| Landschap met kruis | Date unknown | Drawing |
| Landschap met molen en laag wolkendek | 1890 | Drawing |
| Landschapsfragment met waterrad en twee figuren (verso) | 1880 | Drawing |
| Lantaarn en kruiwagen | 1870 | Drawing |
| Large Basin of Ostend Harbor (Le Grand Bassin, Ostende) | 1888 | |
| Large seascape - Sunset | 1885 | Painting |
| Large View of Mariakerke | 1887 | |
| Large View of Mariakerke (Grande vue de Mariakerke) | 1887 | |
| Laute spielender Engel | Date unknown | Drawing |
| Le Bal fantastique | 1889 | |
| Le Ballet Féerique (Le Jardin D'Amour) | 1925 | Painting |
| Le bassin d' Ostende | 1888 | |
| Le Botaniste Scandinave Frise | 1886 | |
| Le Boulevard van Iseghem, Ostende | 1889 | |
| Le Cathédrale | 1886 | |
| Le Christ apaisant la tempète | 1886 | |
| Le Christ aux Mendiants | 1895 | |
| Le Christ dans la barque | 1898 | |
| Le Christ descendant aux enfers | 1895 | |
| Le Christ montré au peuple | 1886 | |
| Le Christ tourmenté (Christ Tormented) | 1888 | Painting |
| Le cortège infernal | Date unknown | Drawing |
| Le coup de vent à la lisière | 1888 | |
| Le Denier de César | 1888 | |
| Le Fantôme | 1889 | |
| Le feu d'artifice (Fireworks) | 1887 | Painting |
| Le grand bassin d' Ostende | 1888 | |
| Le Meuble hanté | 1888 | |
| Le moulin de Slykens (PK.MP.01186) | 1891 | |
| Le moulin de Slykens (PK.MP.01187) | 1891 | |
| Le Pisseur | 1887 | |
| Le Pont du Bois à Ostende | 1889 | |
| Le Réverbère | 1888 | |
| Le Roi Albert et son temps | 1932 | |
| Le Roi peste | 1895 | |
| Le verger | 1886 | |
| Leeuw en schildpad | 1880 | Drawing |
| Leeuw met haas | 1880 | Drawing |
| Leeuwin die prooi verscheurt | Date unknown | Drawing |
| Les adieux de Napoleon | 1897 | |
| Les Bains à Ostende | 1899 | |
| Les barques | Date unknown | Drawing |
| Les bons juges | 1894 | |
| Les cataclysmes, Vision devançant le futurisme | 1888 | |
| Les Cuisiniers dangereux | 1896 | Drawing |
| Les Demons me turlupinant | 1895 | |
| Les Diables Dzitts et Hihahox menant le Christ aux enfers | 1895 | |
| Les étoiles au cimetière | 1888 | |
| Les gendarmes | 1888 | |
| Les Insèctes Singuliers | 1888 | |
| Les masques | 1922 | |
| Les Masques et la Mort | 1898 | Painting |
| Les Mauvais médécins | 1895 | |
| Les patineurs | 1889 | |
| Les petites barques | 1894 | |
| Les peupliers | 1889 | |
| Les toits à Ostende | 1903 | |
| Les Vieux Polissons | 1895 | |
| Lezende man | 1880 | Drawing |
| Lezende man en hoofden | Date unknown | Drawing |
| Liggende leeuw | 1880 | Drawing |
| Liggende vrouw | 1908 | Drawing |
| Light stripped of leaves | 1936 | Painting |
| Lion | Date unknown | Drawing |
| Little Houses at Mariakerke | 1888 | |
| Little View of Mariakerke | 1887 | |
| Little View of Mariakerke | 1900 | |
| Lust | 1888 | |
| Lust (La luxure) | 1888 | |
| Luxure | 1888 | |
| Ma tante chérie | Date unknown | Painting |
| Madam Gratiot | 1880 | Drawing |
| Man, drinkglas en figuurtjes | 1881 | Drawing |
| Man en boot, stoel | Date unknown | Drawing |
| Man en plant | Date unknown | Drawing |
| Man en twee gehurkte figuurtjes | Date unknown | Drawing |
| Man in profiel | 1917 | Drawing |
| Man met baard | Date unknown | Drawing |
| Man met hoed | 1880 | Drawing |
| Man met pet | Date unknown | Drawing |
| Man met verfpot | 1880 | Drawing |
| Man of Sorrows | 1891 | Painting |
| Man steunend op een stok | Date unknown | Drawing |
| Mand met vruchten | 1935 | Drawing |
| Mannelijke naakten | Date unknown | Drawing |
| Manshoofd in profiel | Date unknown | Drawing |
| Marche des Rotariens Ostendais | 1923 | |
| Maria Boodschap | 1921 | |
| Marine met duin en zeilboten | 1917 | Drawing |
| marine / zeegezicht | 1910 | Painting |
| Marionet en schouwstijl | Date unknown | Drawing |
| Mars van de Oostendse Rotariërs | 1922–1923 | |
| Mars van de Oostendse Rotariërs | 1923 | |
| Mask and Crustaceans | 1891 | Painting |
| Masked woman | Date unknown | Drawing |
| Masks | 1925 | Painting |
| Masks | Date unknown | Drawing |
| Masks Confronting Death | 1888 | Painting |
| Masques Scandalisés | 1895 | |
| Materiaalstudie | Date unknown | Drawing |
| Mazurka Caprice de James Ensor | Date unknown | Artwork |
| Meadow Flowers | 1883 | Painting |
| Meeting in a Park | 1891 | |
| Meisje | 1885 | Drawing |
| Meisje met wipneus (?) en Arondskelken | 1880 | Drawing |
| Meisje met witte voorschoot | 1880 | Drawing |
| Mejuffrouw Zucchi van de 'Eden' | Date unknown | Drawing |
| Mensenmenigte | Date unknown | Drawing |
| Menu Charles Vos | 1896 | |
| Menu for Charles Vos | 1896 | |
| Menu for Ernest Rousseau | 1896 | |
| Menu pour Charles Vos | 1896 | |
| Menu pour Ernest Rousseau, PK.MP.04906 | 1896 | |
| Menu pour Ernest Rousseau, PK.MP.04907 | 1896 | |
| Mery Laurent met mopshond | Date unknown | Drawing |
| Mijn dode moeder | 1915 | Drawing |
| Mijn dode moeder II | 1915 | Drawing |
| Mijn dode moeder III | 1915 | Drawing |
| Mijn dode moeder IV | 1915 | Drawing |
| Mijn dode tante | 1916 | Drawing |
| Mijn dode vader | 1888 | |
| Mijn handen | 1928 | Drawing |
| Mijn moeder bij naaiwerk (verso) | Date unknown | Drawing |
| Mijn portret | 1905 | Drawing |
| Mijn portret in 1960 | 1888 | |
| Mijn portret met doodshoofd | 1889 | |
| Mijn tante | Date unknown | Drawing |
| Mijn zuster en schets van een schilderij | 1880 | Drawing |
| Militair te paard, en stoel | Date unknown | Drawing |
| Militairen | 1880 | Drawing |
| Militairen | Date unknown | Drawing |
| Militairen en silhouetten | Date unknown | Drawing |
| Minnetuin | 1888 | |
| Mitche | 1880 | Drawing |
| Mitche | Date unknown | Drawing |
| Mitche Ensor | 1885 | Drawing |
| Model of a ship | 1885 | Drawing |
| Moeder van Ensor | 1870 | Drawing |
| Moeder van Ensor | 1880 | Drawing |
| Moeder van Ensor | Date unknown | Drawing |
| Moeder van Ensor en silhouetten | 1880 | Drawing |
| Moeder van Ensor - voet en handen | 1880 | Drawing |
| Molen te Slykens | 1891 | |
| Mon père mort | 1888 | |
| Mon père mort, PK.MP.04915 | 1888 | |
| Mon père mort, PK.MP.04916 | 1888 | |
| Mon Portrait en 1960 | 1888 | |
| Monkey | Date unknown | Drawing |
| Monniken bij het balspel | Date unknown | Drawing |
| Monotype | Date unknown | Drawing |
| Monsters and Caricatures | 1888 | Drawing |
| Mordecai's Triumph | 1880 | Drawing |
| Moses and the Birds | 1924 | Painting |
| Mother of Rembrandt and other Figures | 1880 | Drawing |
| moulin: Slykens | 1891 | |
| Mountain Landscape | 1890 | Drawing |
| Mountain Landscape | Date unknown | Drawing |
| Music in the Vlaanderenstraat | 1891 | Painting |
| Music-making group | 1877 | Drawing |
| Music on the Rue de Flandres | 1890 | |
| Musiciens fantasques | 1888 | |
| Muziek in de Vlaanderenstraat in Oostende | 1890 | |
| My Dead Father | 1888 | |
| My Favorite Room | 1892 | Painting |
| My Portrait as a Skeleton | 1889 | |
| My Portrait in 1960 | 1888 | |
| My Skeletized Portrait | 1889 | |
| My Sleeping Aunt Dreaming of Monsters | 1888 | Drawing |
| Mythologische scène | 1877 | Drawing |
| Naaiende handen | Date unknown | Drawing |
| Naaiwerk (De handen) | Date unknown | Drawing |
| Naakten en harlekijnen | Date unknown | Drawing |
| Naked boy | 1878 | Painting |
| Napoleon's Farewell | 1897 | |
| Narren | Date unknown | Drawing |
| Nature morte au canard | 1910 | Painting |
| Neptunus | Date unknown | Drawing |
| Neushoorn | Date unknown | Drawing |
| Nimfen | 1923 | Drawing |
| Odalisk | Date unknown | Drawing |
| Old Lady with Masks | 1889 | Painting |
| Old man | 1878 | Painting |
| Old Man with Flowing Beard | 1880 | Drawing |
| Oostende, gezicht vanuit het station | Date unknown | Drawing |
| Oostendse verhalen door Theo Hannon | Date unknown | Drawing |
| Oostendse visser | 1900 | |
| Oosters paar | Date unknown | Drawing |
| Op de koerstribune | 1880 | Drawing |
| Open haard | Date unknown | Drawing |
| Openstaand raam met loodglas | Date unknown | Drawing |
| Operascène | Date unknown | Drawing |
| Opgebonden overgordijn | Date unknown | Drawing |
| Ophelia | Date unknown | Drawing |
| Orchard (Le Verger) | 1886 | |
| Orgueil | 1904 | |
| Ornament - Head of a monster | Date unknown | Drawing |
| Ornament - kop | Date unknown | Drawing |
| Ornament - Leeuwenkop | Date unknown | Drawing |
| Ornament - Lion's head | Date unknown | Drawing |
| Ostend Harbour | 1900 | Painting |
| Oude vrouw en kind | Date unknown | Drawing |
| Paar | Date unknown | Drawing |
| Paar in interieur | Date unknown | Drawing |
| Paar voor rustbed | 1880 | Drawing |
| Paard en silhouetten | Date unknown | Drawing |
| Paarden en hoek van zitbank | Date unknown | Drawing |
| Paarden en tekst | Date unknown | Drawing |
| Paarden en vrouw | Date unknown | Drawing |
| Paarden en zittende man | Date unknown | Drawing |
| Paarden, kar en werkman | 1880 | Drawing |
| Paresse | 1902 | |
| Pear, grapes and nuts | 1889 | Painting |
| Péchés capitaux dominés par la mort | 1904 | |
| Pécheur d'Ostende, PK.MP.04918 | 1900 | |
| Pécheur d'Ostende, PK.MP.04919 | 1900 | |
| Pécheur d'Ostende, PK.MP.04920 | 1900 | |
| Peculiar Insects | 1888 | |
| Pen and inkpot on a glass dish | 1885 | Drawing |
| Peonies and Poppies | 1883 | Painting |
| Perplexed Masks | 1904 | |
| Peste dessous, peste dessus, peste partout! | 1904 | |
| Petite vue de Mariakerke | 1887 | |
| Petite vue de Mariakerke | 1900 | |
| Petite vue de Mariakerke (PK.MP.04893) | 1887 | |
| Pierrot and Skeleton in a Yellow Robe | 1893 | Painting |
| Pierrot and skeletons | 1906 | Painting |
| Pierrot's despair | 1910 | Painting |
| Pigs | 1875 | Painting |
| Pink Dancer (from the series Les Opalines) | 1913 | |
| Plage de La Panne | 1904 | |
| Plage de La Panne (PK.MP.04897) | 1904 | |
| Plague here, Plague there, Plague everywhere | 1888 | Drawing |
| Poezen en raam | 1870 | Drawing |
| Pollution Under, Pollution over, Pollution All Around | 1904 | |
| Popje | 1886 | Drawing |
| Porcelaines et Masques | 1929 | Painting |
| Portrait d'Ernest Rousseau | 1887 | |
| Portrait D'Hector Denis | 1890 | |
| Portrait de Augusta Bogaerts (La Sirene) | Date unknown | Painting |
| Portrait du professeur Ernest Rousseau | 1887 | |
| Portrait of a Boy | 1906 | Painting |
| Portrait of a Man | 1880 | Drawing |
| Portrait of a Man | Date unknown | Drawing |
| Portrait of Emile Verhaeren | 1890 | Painting |
| Portrait of Hector Denis | 1890 | |
| Portrait of René Coens | 1937 | Drawing |
| Portrait of the Artist Henry de Groux | 1883 | Drawing |
| Portrait of the Artist's Father | 1881 | Painting |
| Portrait of the Artist's Mother | 1882 | Painting |
| Portrait of the Artist Willy Finch | 1883 | Drawing |
| Portrait of the Artist’s Mother | 1885 | Painting |
| Portrait of Willy Finch | 1882 | Painting |
| Portret van Alexandra Daveluy | 1927 | Painting |
| Portret van Dario de Regoyos schrijvende | 1880 | Drawing |
| Portret van een vrouw | Date unknown | Drawing |
| Portret van Ernest Rousseau | 1887 | Drawing |
| Portret van Hector Denis | 1890 | |
| Portret van mijn moeder en figuren | 1880 | Drawing |
| Portret van Willy Finch | 1888 | Drawing |
| Portret van Willy Finch op de rug | 1880 | Drawing |
| Poster of La Plume | 1922 | |
| Poster of the Carnival at Ostend | 1931 | |
| Pouilleux indisposé se chauffant | 1895 | |
| Pride | 1904 | |
| Pride (L'orgueil) | 1904 | |
| Programma van de opvoering van het ballet "La Gamme d'Amour" - Schouwburg Oostende 17 december 1932 | 1932 | |
| Pronkkast en figuren | 1880 | Drawing |
| Publicitaire sluitzegel voor het carnaval van Oostende | 1931 | |
| Puzzled Masks | 1904 | |
| Queen Parysatis | 1899 | |
| Regentessen van het Oudemannenhuis in Haarlem. Een figuur | 1880 | Drawing |
| Regentessen van het Oudemannenhuis in Haarlem. Handen | 1880 | Drawing |
| Regentessen van het Oudemannenhuis in Haarlem. Mouw van een regentes | 1880 | Drawing |
| Regentessen van het Oudemannenhuis in Haarlem. Twee paar handen | 1880 | Drawing |
| Rembrandt's Self Portrait | 1880 | Drawing |
| Rendez notre ancienne face fors les chers faux nez burlesques | 1923 | Drawing |
| René Lyr | Date unknown | Drawing |
| Reptiel en dierenkopje | Date unknown | Drawing |
| Return from Calvary | 1877 | Painting |
| Return of the prodigal son | 1877 | Painting |
| Reverences of Puppets before Cydalise (from the series Les Opalines) | 1913 | |
| Rocaillemotief (verso) | 1888 | Drawing |
| Roi Peste | 1895 | |
| Roman Triumph | 1889 | |
| Roman Victory | 1889 | |
| Roofs at Ostend | 1903 | |
| Rooftops of Ostend | 1885 | Painting |
| Rue du Bon Secours, Brussels | 1887 | |
| Rue du Bon Secrous, Brussels | 1887 | |
| Ruiter | 1870 | Drawing |
| Ruiter van de lichte artillerie | Date unknown | Drawing |
| Russian Music | 1881 | Painting |
| Rustend paar | Date unknown | Drawing |
| Rustend vrouwelijk naakt | Date unknown | Drawing |
| Rustende vrouw | Date unknown | Drawing |
| Rustic Bridge | 1889 | |
| Salisbury Cathedral from the Meadows | 1880 | Drawing |
| Satan and the Fantastic Legions Tormenting the Crucified (The Sad and Broken) (recto) | 1886 | Drawing |
| Sater | Date unknown | Drawing |
| Satire of Laurent Tailhade | Date unknown | Drawing |
| Scandalized Masks | 1895 | |
| Schedels en maskers | 1888 | |
| Schets naar oude meester en figuren (recto) | 1880 | Drawing |
| Schetsblad met Christusbeeld | Date unknown | Drawing |
| Schetsblad met ruiters | Date unknown | Drawing |
| Schetsblad met staande man | Date unknown | Drawing |
| Schetsbladen op een blad | Date unknown | Drawing |
| Schetsboek | Date unknown | Drawing |
| Schetsen | 1880 | Drawing |
| Schetsen van figuren en paarden (recto) | 1880 | Drawing |
| Schetsen van handen | Date unknown | Drawing |
| Schildpad | Date unknown | Drawing |
| Schouw en handen | 1887 | Drawing |
| Schrijvende man | 1880 | Drawing |
| Schrijvende of lezende man | Date unknown | Drawing |
| Schrijvende vrouw op rug gezien | 1882 | Drawing |
| Seascape | 1880 | Painting |
| Seashells | 1896 | Painting |
| Seashells | 1936 | Painting |
| Seashells and Chinoiseries | 1882 | Painting |
| Seaside | 1923 | Painting |
| Seated Boy | 1880 | Drawing |
| Seated Man | Date unknown | Drawing |
| Seated Woman | Date unknown | Drawing |
| Selbstporträt umringt von Köpfen | 1900 | Drawing |
| Self Portrait | 1870 | Drawing |
| Self Portrait | 1880 | Drawing |
| Self-Portrait | 1885 | Drawing |
| Self-Portrait | 1886 | |
| Self Portrait | Date unknown | Drawing |
| Self-portrait with flowered hat | c. 1885–1888 (inscribed 1883) | Painting |
| Self-Portrait (with lamp) | 1886 | |
| Self-Portrait with Lamp (In the Dark) | 1886 | Drawing |
| Self-portrait with masks | 1899 | Painting |
| Self-Portrait with Masks | 1937 | Painting |
| Series of Masks | Date unknown | Drawing |
| Sick Wretch Warming Himself | 1895 | |
| Sierpot en paard | 1880 | Drawing |
| Silhouette of a Woman, Mitche and a Lock | 1885 | Drawing |
| Silhouetten | 1880 | Drawing |
| Silhouetten | 1917 | Drawing |
| Silhouetten | 1918 | Drawing |
| Silhouetten | Date unknown | Drawing |
| Silhouetten en 2 figuren op de rug gezien | Date unknown | Drawing |
| Silhouetten en hoofden | 1880 | Drawing |
| Silhouetten en kar | Date unknown | Drawing |
| Silhouettes | 1880 | Drawing |
| Silhouettes and grotesque figures | 1880 | Drawing |
| Silhouettes Studies of walking figures | Date unknown | Drawing |
| Skelet bekijkt chinoiserieën | 1910 | Painting |
| Skeleton Looking at Chinoiseries | 1885 | Painting |
| Skeleton Painter in his Studio | 1896 | Painting |
| Skeletons fighting over a Hanged Man | 1891 | Painting |
| Skeletons Fighting over a Pickled Herring | 1891 | Painting |
| Skeletons in Fancy Dress | 1898 | Painting |
| Skeletons in the Studio | 1900 | Painting |
| Skeletons seeking warmth | Date unknown | |
| Skeletons Trying to Warm Themselves (Taevernier: Warmth Seeking Skeletons) | 1895 | |
| Skeletons Warming Themselves | 1889 | Painting |
| Skulls and Masks | 1888 | |
| Slapend meisje | Date unknown | Drawing |
| Slapende en wakende vrouw | 1880 | Drawing |
| Slapende honden | 1880 | Drawing |
| Slapende moeder van Ensor | 1915 | Drawing |
| Slapende oude vrouw | 1880 | Drawing |
| Slapende oude vrouw | 1895 | Drawing |
| Slapende oude vrouw | 1897 | Drawing |
| Slapende oude vrouw | Date unknown | Drawing |
| Slapende vrouw | Date unknown | Drawing |
| Sloepen | 1888 | |
| Sloops | 1890 | Painting |
| Sloth | 1902 | |
| Sloth | 1904 | |
| Sloth (La paresse) | 1902 | |
| Small Bizarre Figures | 1888 | |
| Small House at Mariakerke | 1888 | |
| Small View of Mariakerke | 1900 | |
| Smid en kandelaar | Date unknown | Drawing |
| Smidse met twee figuren (recto) | 1880 | Drawing |
| Smile of Carnations, Caress of Daisies | 1936 | Painting |
| Snuisterijen en figuren | 1883 | Drawing |
| Soldaat en monnik | Date unknown | Drawing |
| Soldatentrupp | Date unknown | Drawing |
| Soldier and horse | Date unknown | Drawing |
| Sorciers dans la bourrasque | 1888 | |
| Sous-bois à Groenendael | 1888 | |
| Spijskaart voor Charles Vos | 1896 | |
| Spitting man | Date unknown | Drawing |
| Spookgestalte | Date unknown | Drawing |
| Squall at the Edge of the Wood | 1888 | |
| Square Rembrandt, Amsterdam graphic | Date unknown | |
| Squelettes voulant se chauffer | 1895 | |
| Squelettes voulant se chauffer | Date unknown | Drawing |
| Staande en zittende zigeunersvrouw | Date unknown | Drawing |
| Staande figuur op de rug gezien | Date unknown | Drawing |
| Stadhuis van Oudenaarde | 1888 | |
| Stand of Trees (Bouquet d'arbres) | 1888 | |
| Stapel boeken | 1880 | Drawing |
| Steam-Boats | 1888–1889 | |
| Steamboats | 1889 | |
| Steamships | 1889 | |
| Steekspel | Date unknown | Drawing |
| Sterrenhemel boven het kerkhof | 1888 | |
| Still-life (Fabrics) | 1880 | Painting |
| Still Life in the Studio | 1889 | Painting |
| Still life with a cabbage | 1921 | Painting |
| Still Life with Blue Jar | 1890 | Painting |
| Still Life with Blue Pitcher | 1891 | Painting |
| Still Life with chinoiseries | 1880 | Painting |
| Still Life with Chinoiseries | 1906 | Painting |
| Still-life with duck | 1880 | Painting |
| Still Life with Fish and Shells | 1898 | Painting |
| Still Life with Geranium | 1882 | Painting |
| Still-life with Masks | 1896 | Painting |
| Still Life with Oysters | 1882 | Painting |
| Still Life with Sea Shells | 1923 | Painting |
| Still Life with Tulips and Roses | 1882 | Painting |
| Stilleven met blauwe chinoiserieën | Date unknown | Painting |
| Stilleven met flessen | Date unknown | Drawing |
| Stilleven met groenten | 1882 | Painting |
| Stilleven met kaars | Date unknown | Drawing |
| Stilleven met sater | Date unknown | Drawing |
| Stilleven met visserslamp | Date unknown | Drawing |
| Stilleven, spiegel, zittende figuur | Date unknown | Drawing |
| Stillleben mit blauer Flasche und gerupftem Huhn - 4420 - Österreichische Galerie Belvedere | 1910 | Painting |
| Storm at the Edge of the Wood | 1888 | |
| Straat in Oostende (?) | 1895 | Drawing |
| Straat naast het kanaal | Date unknown | Drawing |
| Straatlantaarn | 1888 | |
| Strand- en zeegenoegens | 1890 | Drawing |
| Strand von Ostende - 2122 - Kunsthaus Zürich | 1915 | Painting |
| Strandtent en silhouetten | Date unknown | Drawing |
| Streaming water | 1913 | Drawing |
| Studie | Date unknown | Drawing |
| Studie met flessen en koppen | Date unknown | Drawing |
| Studie van badende vrouwen | Date unknown | Drawing |
| Studie van dame met parasol | Date unknown | Drawing |
| Studie van drie staande en een zittende figuur [recto: De bergrede] | Date unknown | Drawing |
| Studie van een badende vrouw | Date unknown | Drawing |
| Studie van een wild dier | Date unknown | Drawing |
| Studie van handen en hoofden | 1880 | Drawing |
| Studie van houdingen | Date unknown | Drawing |
| Studie van kerstgroepen | Date unknown | Drawing |
| Studie van kopprofielen en van handen | 1880 | Drawing |
| Studieblad van de leeuwenjacht | Date unknown | Drawing |
| Studies for a Portrait of a Woman | 1885 | Drawing |
| Studies van voorovergebogen hoofd | 1880 | Drawing |
| Sunrise | 1880 | Drawing |
| Tafel, kruiken, roemer, figuren (verso) | 1888 | Drawing |
| Tafel met leeuwenkoppen | Date unknown | Drawing |
| Taferelen uit het leven van Christus | 1921 | |
| Taskin als wonderdokter in Hoffmann's vertellingen | Date unknown | Drawing |
| Tekeningen uit de collectie van het KMSKA | Date unknown | Drawing |
| Tekst | Date unknown | Drawing |
| Tekst en hoofd van een vrouw met bril en figuren (verso) | 1880 | Drawing |
| Tenhemelopneming van Maria | 1921 | |
| Terugkeer van de berenjacht in het steentijdperk | Date unknown | Drawing |
| The absinthe drinker | 1880 | Drawing |
| The Acacia (L'acacia) | 1888 | |
| The Adoration of the Shepherds | 1887 | Painting |
| The Adoration of the Shepherds | 1888 | |
| The Adoration of the Shepherds (The Joyful) | 1886 | Drawing |
| The Afternoon Nap (recto) | 1880 | Drawing |
| The artist's aunt | 1880 | Drawing |
| The artist's father in death | Date unknown | Drawing |
| The artist's mother | 1880 | Drawing |
| The Artist's Mother in Death | 1915 | Painting |
| The artist's sister Mitche and figure | Date unknown | Drawing |
| The Artist's Studio | 1930 | Painting |
| The Assassination | 1888 | |
| The Assassination | 1890 | Painting |
| The Bad Doctors | 1892 | Painting |
| The Bad Doctors | 1895 | |
| The Bad Doctors graphic | 1895 | |
| The Baths at Ostend | 1890 | Painting |
| The Baths at Ostend | 1899 | |
| The Baths at Ostende | 1899 | |
| The Battle of the Golden Spurs | 1891 | Drawing |
| The bird-garden | 1936 | Painting |
| The Bourgeois Salon | 1881 | Painting |
| The Bourgeois Salon II | 1911 | Painting |
| The Breakwater | 1878 | Painting |
| The Bridge in the Wood at Ostend | 1889 | |
| The Bridge in the Woods, Ostend (Le pont du bois a Ostende) | 1889 | |
| The cabbage | 1880 | Painting |
| The Canal | 1921 | Painting |
| The Cataclysms | 1888 | |
| The Cathedral | 1886 | |
| The Cathedral | 1886–1896 | |
| The Cathedral (La cathedrale) | 1886 | |
| The Cathedral (The Troopers Kès and Pruta Entering the City of Bise) | 1892 | Drawing |
| The Cemetery | 1888 | |
| The City Hall in Audenarde (L'hotel de ville d'Audenarde) | 1888 | |
| The Coach | Date unknown | Drawing |
| The Combat | 1896 | |
| The Convalescent | 1880 | Painting |
| The Conversation | Date unknown | Drawing |
| The Crypt | 1888 | |
| The cuirassiers of Waterloo | 1891 | Drawing |
| The Dangerous Cooks | 1896 | Painting |
| The Dead Cockerel | 1894 | Painting |
| The Dead Soldier | Date unknown | Drawing |
| The Deadly Sins Dominated by Death | 1904 | |
| The Death of the Holy Virgin | 1880 | Drawing |
| The Destroying Angel | 1889 | |
| The Devil and the Windmill | 1934 | |
| The Devils Dzitts and Hihahox, Commanded by Crazon Riding a Furious Cat, Leading Christ to Hell | 1886 | Drawing |
| The Devils Dzitts and Hihahox, Commanded by Crazon Riding a Furious Cat, Leading Christ to Hell | 1895 | |
| The Devils Dzitts and Hihanox Leading Christ into Hell | 1895 | |
| The Devils Dzitts and Hihanox Leading Christ to Hell | 1895 | |
| The dissolute mercenaries | 1892 | Drawing |
| The edge of the wood in Ostend | 1886 | Painting |
| The Elephant's Joke | 1888 | |
| The Entry of Christ into Brussels | 1895 | |
| The Entry of Christ into Brussels | 1898 | |
| The Entry of Christ into Brussels (L'entree du Christ a Bruxelles) | 1898 | |
| The Exterminating Angel | 1889 | |
| The Exterminating Angel (L'ange exterminateur) | 1889 | |
| The Fantastic Ball | 1889 | |
| The Fantastic Musicians | 1888 | |
| The Fight | 1896 | |
| The Fight | 1925 | Painting |
| The Flagellation | 1886 | |
| The Flaying | 1888 | |
| The fool | Date unknown | Drawing |
| The Gamblers | 1895 | |
| The Gamblers | 1896 | |
| The garden at café Tivoli in Ostend | 1876 | Painting |
| The Garden of Love | 1888 | |
| The Garden of Love | 1921 | Painting |
| The Garden of Love (1891) | 1891 | Painting |
| The Garden of Love (Toyota) | 1888 | Painting |
| The Garden of the Rousseau Family | 1885 | Painting |
| The Gendarmes | 1888 | |
| The gendarmes | 1892 | Painting |
| The Ghost | 1889 | |
| The Goldsmith Jan Lutma | Date unknown | Drawing |
| The Good Judges | 1894 | |
| The Grotesque Musicians | 1888 | |
| The Guitarist | Date unknown | Drawing |
| The Hands of Elisabeth Bas | 1880 | Drawing |
| The haunted cabinet | 1888 | |
| The Haunted Furniture | 1888 | |
| The Hunter | 1888 | |
| The Ice Skaters (Les Patineurs) | 1889 | |
| The infernal cortege | 1880 | |
| The Infernal Cortege | 1887 | |
| The Intrigue | 1890 | Painting |
| The Jolly Hunters | Date unknown | Drawing |
| The Journalist Paul de Cassagnac | Date unknown | Drawing |
| The lady in blue | 1881 | Painting |
| The Lady in Distress | 1882 | Painting |
| The Lady with Fan | 1880 | Painting |
| The Lady with Red Parasol | 1880 | Painting |
| The lampions | Date unknown | Drawing |
| The Lamplighter | 1880 | Painting |
| The Lamplighter | 1886 | Drawing |
| The language of flowers | 1938 | Painting |
| The Lighthouse at Ostend | 1885 | Painting |
| The Magdalene | 1887 | |
| The Main Dock of Ostend | 1888 | |
| The Main Dock, Ostend | 1888 | |
| The Marquise | 1911 | Painting |
| The Marsh | 1880 | Painting |
| The Mask's Wedding | 1926 | Painting |
| The Master Painter | Date unknown | Drawing |
| The Melancholy Fishwives | 1892 | Painting |
| The Multiplication of the Fishes | 1891 | |
| The Murder | 1888 | |
| The Music in the rue de Flandre, Ostend | 1890 | |
| The Mystical Death of a Divine | 1880 | Drawing |
| The Old Rascals | 1895 | |
| The Old ... Raskals | 1895 | |
| The Orchard | 1886 | |
| The Oyster Eater | 1882 | Painting |
| The Painter Alfred William Finch | 1880 | Painting |
| The Painter Edouard Manet | 1880 | Drawing |
| The Painter Edouard Manet | Date unknown | Drawing |
| The Painter Eugène Delacroix | Date unknown | Drawing |
| The Painter Gustave Courbet | Date unknown | Drawing |
| The Painter Jan Asselijn or "Crabbetje | 1880 | Drawing |
| The Painter Jean François Millet | Date unknown | Drawing |
| The Pancake Woman | 1880 | Drawing |
| The Parasol | 1880 | Painting |
| The piano | 1880 | Drawing |
| The Pisser | 1886 | |
| The Pisser | 1887 | |
| The Playwright Emile Augier | Date unknown | Drawing |
| The Poet Jean Richepin | Date unknown | Drawing |
| The Pool of the Poplars | 1889 | |
| The Pool of the Poplars graphic | 1889 | |
| The Port of Ostend (Vue du port d'Ostende) | 1888 | |
| The Procession at Gistel | 1934 | |
| The Procession of the Penitents at Furnes | 1935 | Painting |
| The Ray | 1892 | Painting |
| The Rebel Angels Struck by Lightning | 1907 | |
| The red mullet | 1880 | Painting |
| The Riding Crop | Date unknown | Drawing |
| The Roman Triumph | Date unknown | Drawing |
| The Rooftops of Ostend | 1884 | Painting |
| The rooftops of Ostend | 1901 | Painting |
| The Rower | 1883 | Painting |
| The Savoy Cabbage | 1884 | Painting |
| The scaffolding | 1880 | Drawing |
| The Scandalized Masks | 1883 | Painting |
| The Scavenger | 1896 | |
| The Scoundrels | 1896 | |
| The Seashells (Columbus) | 1895 | Painting |
| The Shadow on the House | 1933 | |
| The Skate | 1880 | Painting |
| The Skaters | 1888–1889 | |
| The Skaters | 1889 | |
| The Sleeper | 1887 | |
| The Small Boats | 1894 | |
| The Sombre Lady | 1881 | Painting |
| The Stars in the Cemetery | 1888 | |
| The strange masks | 1892 | Painting |
| The Street-Lamp | 1888 | |
| The strike | 1888 | Drawing |
| The Supper at Emmaus | 1880 | Drawing |
| The Temptation of Christ | 1888 | |
| The Temptation of Christ | 1913 | Painting |
| The Temptation of Saint Anthony | 1887–1888 | Drawing |
| The Temptation of Saint Anthony the Great | 1927 | Painting |
| The Terrible Archer | 1888 | |
| The Thunderstorm | 1889 | |
| The Tournament | 1894 | Drawing |
| The Tribulations of St. Anthony | 1909 | Painting |
| The Triumph of the Death | 1887 | Drawing |
| The Van Iseghemlaan in the snow | 1881 | Painting |
| The Vengeance of Hop-Frog | 1896 | Painting |
| The Virgin of Consolation | 1892 | Painting |
| The Wait | 1880 | Painting |
| The War of the Snails | 1911 | |
| The White Cloud | 1884 | Painting |
| The Windmill at Mariakerke | 1889 | |
| The wise judges | 1891 | Painting |
| The Wise Judges | 1894 | |
| The Youth of Orpheus | Date unknown | Drawing |
| Theatre of Masks | 1889 | Painting |
| Theatre of Masks (1908) | 1908 | Painting |
| Theo Hannon | 1880 | Drawing |
| Theo Hannon | 1881 | Painting |
| Theo Hannon met pijp | 1880 | Drawing |
| Three Silhouettes (recto) | 1880 | Painting |
| Tijgerjacht | Date unknown | Drawing |
| Toilettafel met wasstel en spiegel | Date unknown | Drawing |
| Tolstoï | Date unknown | Drawing |
| Toneelfiguren | Date unknown | Drawing |
| Toneelfiguur | Date unknown | Drawing |
| Toneelscène | 1910 | Drawing |
| Tovenaars in de stormwind | 1888 | |
| Town Hall of Audenaerde | 1888 | |
| Trap, man, gebladerte (detail) | Date unknown | Drawing |
| Treurende vrouw en leeuwenkop | 1870 | Drawing |
| Tribulations of Saint Anthony | 1887 | Painting |
| Triomftocht van een Romeinse Veldheer | Date unknown | |
| Triomphe romain | 1889 | |
| Trommelaar | Date unknown | Drawing |
| Twee danseressen | Date unknown | Drawing |
| Twee figuren | Date unknown | Drawing |
| Twee figuren en ornament | Date unknown | Drawing |
| Twee heren | Date unknown | Drawing |
| Twee heren en pauw | Date unknown | Drawing |
| Twee honden | 1894 | Drawing |
| Twee hoofddeksels en boerinnetjes | Date unknown | Drawing |
| Twee hoofden | Date unknown | Drawing |
| Twee hoofden, paar, hand | Date unknown | Drawing |
| Twee knapen in het gras | 1880 | Drawing |
| Twee koperen potten (verso) | 1880 | Drawing |
| Twee kopjes en afdruk | Date unknown | Drawing |
| Twee koppen en een hand | 1880 | Drawing |
| Twee militairen | Date unknown | Drawing |
| Twee naakten op de rug gezien | Date unknown | Drawing |
| Twee ridderfiguren | Date unknown | Drawing |
| Twee trappen en mand | Date unknown | Drawing |
| Twee vrouwen | Date unknown | Drawing |
| Twee vrouwen en een theoloog | Date unknown | Drawing |
| Twee windmolens, zeilboot en kleine marine | Date unknown | Drawing |
| Twee zeilboten | Date unknown | Drawing |
| Twee zeilboten en een windmolen | 1950 | Drawing |
| Tweearmige pianokandelaar en muziekblad | Date unknown | Drawing |
| Two Arabs | Date unknown | Drawing |
| Two Dogs | Date unknown | Drawing |
| Two draught horses | Date unknown | Drawing |
| Two Gentlemen Smoking | Date unknown | Drawing |
| Two heads and a spinning-wheel | Date unknown | Drawing |
| Two masks | 1880 | Drawing |
| Two masks | Date unknown | Drawing |
| Two Nude Figures | Date unknown | Drawing |
| Two spoons and a curtain | 1885 | Drawing |
| Two Women | Date unknown | Drawing |
| Two women on a beach | Date unknown | Drawing |
| Un bon coin chez moi | 1938 | Painting |
| Under the Shadow of Masks | 1925–1937 | Painting |
| Untitled | Date unknown | |
| V. De Heilige Familie (uit: Taferelen uit het leven van Christus) | 1921 | |
| V. La Sainte Famille | Date unknown | |
| Vaas en vliegende eend | Date unknown | Drawing |
| Vaas en voeten (recto) | 1880 | Drawing |
| Vaas met bloemen | Date unknown | Drawing |
| Vaas met bloemen en schelp | 1932 | Drawing |
| Vaas met bloemornamenten | Date unknown | Drawing |
| Vaas met vismotief en vrouw met bloemenvaas | 1880 | Drawing |
| Vaas, paard en figuren (verso) | 1880 | Drawing |
| Vaas, spinnewiel, soldaten, vrouwen | Date unknown | Drawing |
| Vader (?) en moeder van Ensor | 1870 | Drawing |
| Van Iseghemlaan, Oostende | 1889 | |
| Van Izegemlaan in Ostend | 1880 | Drawing |
| Varken en silhouetten | Date unknown | Drawing |
| Verhaal zonder woorden (of) De jagers in de winter | 1881 | Drawing |
| Verovering van een vreemde stad | 1888 | |
| Verpesting beneden, verpesting boven, verpesting overal | 1904 | |
| verzameling van 184 etsen | Date unknown | |
| VI. De besnijdenis (uit: Taferelen uit het leven van Christus) | 1921 | |
| VI. La Circoncision | Date unknown | |
| Vier naakten | Date unknown | Drawing |
| Vier schouwburgbezoekers | Date unknown | Drawing |
| View of a beach with two boats | Date unknown | Drawing |
| View of a street with a barrow, a streetlamp and a man sitting on a bench | Date unknown | Drawing |
| View of Mariakerke | 1901 | Painting |
| View of Nieuport | 1888 | |
| View of Ostend in the East | 1888 | |
| View of Phnosie, luminous waves and vibrations | 1890 | Painting |
| View of the Ostend Harbour | 1888 | |
| View of the Van Iseghemlaan | 1906 | Painting |
| VII. De doop van Christus (uit: Taferelen uit het leven van Christus) | 1921 | |
| VII. Le Baptême du Christ | Date unknown | |
| VIII. Christus bij de schriftgeleerden (uit: Taferelen uit het leven van Christus) | 1921 | |
| VIII. Le Christ et les docteurs | Date unknown | |
| Vijf personages in een boot (verso) | 1880 | Drawing |
| Village Fair at the Windmill | 1889 | |
| Vissen op een schotel | Date unknown | Drawing |
| Visser met paard | Date unknown | Drawing |
| Vlam | Date unknown | Drawing |
| Vleugel tegen zonnestralen | Date unknown | Drawing |
| Vlucht naar Egypte | 1921 | |
| Vlugge schetsen van bedelaars | Date unknown | Drawing |
| Voetpaadje in Groenendaal | 1888 | |
| Voetpaadje te Groenendaal | 1888 | |
| Vogel en hond bij tak | Date unknown | Drawing |
| Voor de alcade | Date unknown | Drawing |
| Voorovergebogen figuren | 1880 | Drawing |
| Voorovergebogen figuur en tekst | Date unknown | Drawing |
| Vrouw aan klavier en Alfred William Finch | Date unknown | Drawing |
| Vrouw die pannenkoeken bakt | Date unknown | Drawing |
| Vrouw en hondje | Date unknown | Drawing |
| Vrouw, handen en kar | 1881 | Drawing |
| Vrouw in profiel gezien | Date unknown | Drawing |
| Vrouw - man en paard | 1880 | Drawing |
| Vrouw met hoed | Date unknown | Drawing |
| Vrouw met kind, zittend en staand paar | Date unknown | Drawing |
| Vrouw met naaiwerk | 1880 | Drawing |
| Vrouw met neergeslagen blik | Date unknown | Drawing |
| Vrouwenhoofd | 1883 | Drawing |
| Vrouwenhoofd | Date unknown | Drawing |
| Vrouwenhoofd en figuren | Date unknown | Drawing |
| Vrouwenhoofd en zittende figuur | Date unknown | Drawing |
| Vrouwenkop en figuurtjes | Date unknown | Drawing |
| Vrouwenkop en silhouetten | Date unknown | Drawing |
| Vrouwenprofiel (Mariette Rousseau) en andere figuren | 1885 | Drawing |
| Vue d'Ostende | 1893 | Painting |
| Vue D'Ostende à L'est | 1888 | |
| Vue de Nieuport | 1888 | |
| Vue du port d' Ostende | 1888 | |
| Waaier, lamp en figuren (recto) | 1880 | Drawing |
| Walkurengenoegens | Date unknown | Drawing |
| Wandelaar | 1883 | Drawing |
| Wasvrouwen bij de Middellandse zee | Date unknown | Drawing |
| Weggeveegde tekening | Date unknown | Drawing |
| Wenken der nimfen | 1923 | Drawing |
| Wenteltrap | Date unknown | Drawing |
| White and Red Clowns Evolving | 1890 | Drawing |
| Willy Finch in his Studio | 1880 | Painting |
| Willy Finch in the Studio | 1880 | Painting |
| Windmill | Date unknown | Drawing |
| Windmill and boats | Date unknown | Drawing |
| Windmill at Skykens | 1891 | |
| Windmill at Slijkens (Bredene) | 1891 | |
| Windmill at Slykens | 1891 | |
| Windmill "Den Oranjenboom | Date unknown | Drawing |
| Windmolen met zeilboot en met kerk | Date unknown | Drawing |
| Windstoot in het geboomte | 1888 | |
| Wit paard, stoel en figuren | 1880 | Drawing |
| Witches in the Whirlwind | 1896 | Drawing |
| Wizards in a Squall | 1888 | |
| Woman | Date unknown | Drawing |
| Woman on a Breakwater | 1880 | Painting |
| Woman reading | Date unknown | Drawing |
| Woman with a Hood and a Wasp | 1885 | Drawing |
| Woman with Blue Shawl | 1881 | Painting |
| Wordly meeting | Date unknown | Drawing |
| X. Laat de kleinen tot mij komen (uit: Taferelen uit het leven van Christus) | 1921 | |
| X. Laissez venir à moi les petits enfants | Date unknown | |
| XI. Christus drijft de duivel uit bij een bezetene (uit: Taferelen uit het leven van Christus) | 1921 | |
| XI. Le Christ chassant le Démon du corps d'un possédé | Date unknown | |
| XII. Christus bedaart de storm (uit: Taferelen uit het leven van Christus) | 1921 | |
| XII. Le Christ apaisant la tempête | Date unknown | |
| XIII. De wonderbare visvangst (uit: Taferelen uit het leven van Christus) | 1921 | |
| XIII. La Pêche miraculeuse | Date unknown | |
| XIV. Christus loopt op het water (uit: Taferelen uit het leven van Christus) | 1921 | |
| XIV. Le Christ marchant sur la mer | Date unknown | |
| XIX. Christus ter berechting overgeleverd aan de schriftgeleerden (uit: Taferelen uit het leven van Christus) | 1921 | |
| XIX. Le Christ aux critiques | Date unknown | |
| XV. De intrede in Jeruzalem (uit: Taferelen uit het leven van Christus) | 1921 | |
| XV. L'entrée à Jérusalem | Date unknown | |
| XVI. Het Laatste Avondmaal (uit: Taferelen uit het leven van Christus) | 1921 | |
| XVI. La Cène | Date unknown | |
| XVII. De judaskus (uit: Taferelen uit het leven van Christus) | 1921 | |
| XVII. Le baiser de Judas | Date unknown | |
| XVIII. De bespotting van Christus (uit: Taferelen uit het leven van Christus) | 1921 | |
| XVIII. Le Christ aux outrages | Date unknown | |
| XX. De geseling (uit: Taferelen uit het leven van Christus) | 1921 | |
| XX. La Flagellation | Date unknown | |
| XXI. De kruisweg (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXI. La montée au Calvaire | Date unknown | |
| XXII. De kruisoprichting (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXII. L'Élévation en croix | Date unknown | |
| XXIII. Christus tussen de moordenaars (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXIII. Le Christ entre les larrons | Date unknown | |
| XXIV. De kruisafneming (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXIV. La Descente de croix | Date unknown | |
| XXIX. De Heilige Geest verlicht de apostelen (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXIX. Le Saint Esprit éclairant les Apôtres | Date unknown | |
| XXV. Le retour du Calvaire | Date unknown | |
| XXV. Terugkeer van de Calvarieberg (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVI. Le Christ sur les genoux de sa mère | Date unknown | |
| XXVI. Piëta (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVII. Christus en de engelen (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVII. Le Christ et les Anges | Date unknown | |
| XXVIII. De Hemelvaart (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVIII. L'Ascension | Date unknown | |
| XXX. De Tenhemelopneming van Maria (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXX. L'Assomption | Date unknown | |
| XXXI. De engelen vereren Maria (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXXI. La Vierge adorée par les Anges | Date unknown | |
| Yellow Apples | 1880 | Painting |
| Young Boy | 1882 | Drawing |
| Zakmes met bewerkte hecht | Date unknown | Drawing |
| Zeilboot | Date unknown | Painting |
| Zeilboot, dorpskerk en windmolen | Date unknown | Drawing |
| Zeilbootje | Date unknown | Drawing |
| Zeilboten | 1890 | Drawing |
| Zeilboten | Date unknown | Drawing |
| Zelfportret | 1919 | Drawing |
| Zelfportret en figuren - Ensor en zijn familie | 1886 | Drawing |
| Zelfportret onder leeuwenjacht | Date unknown | Drawing |
| Zelfportret ("Pas fini") | 1885 | Drawing |
| Zicht op Nieuwpoort | 1888 | |
| Zieke luizenbos bij de kachel | 1895 | |
| Zittend meisje en twee figuurtjes | 1917 | Drawing |
| Zittend naakt met gekruiste benen | Date unknown | Drawing |
| Zittende en staande heer | Date unknown | Drawing |
| Zolder, trap en mand (verso) | Date unknown | Drawing |
| Zonderlinge insecten | 1888 |
Frequently Asked Questions
His birthplace was the Belgian coastal city of Ostend, and his birth date was 13 April 1860. He was the elder child of the Englishman James Frederic Ensor and the Ostender Maria Catharina Haegheman. The family rented rooms to summer visitors and ran a shop selling souvenirs and curiosities, including shells, chinoiseries and masks. Ensor had one sister, Maria Carolina Emma, known as Mariette or Mitche. This mixed family and commercial setting helped give him objects and people to observe, although it does not provide a single explanation for his later imagery. [1][2]
Following local drawing lessons in 1876, the seventeen-year-old moved from Ostend to study at Brussels’s Royal Academy. His enrolment lasted from 1877 until 1880, among future participants in progressive Belgian groups. Beyond the classroom, his friendship with Théo Hannon and the Rousseau-Hannon family introduced him to a liberal circle of artists, writers and scientists. He returned to Ostend after his studies but maintained regular contact with Brussels. [2][3]
Les XX, also called Les Vingt or The Twenty, was an artists’ association founded in Brussels in 1883 after Ensor and other members broke from L’Essor. Ensor was a founding member. With Octave Maus as secretary, the group’s exhibitions became an important channel for Belgian and international avant-garde art. Ensor sometimes clashed with colleagues and critics, but he remained involved until the association dissolved in 1893 and opposed its closure. He later exhibited with its successor, La Libre Esthétique. [1][2]
Ostend remained Ensor’s home from birth to death, apart from his years of study in Brussels, and he maintained an attic studio there from 1880. In 1917 he moved to the inherited Vlaanderenstraat house now preserved as the James Ensor House. He travelled relatively little, with limited trips to the Netherlands, London and Paris, but regularly stayed in Brussels and took part in its exhibitions and social life. Letters, collectors, publications and museum acquisitions connected him to a much wider European network. [2][3][6]
Recognition accumulated in stages. He exhibited from the early 1880s and helped found Les XX in 1883, while public collections in Brussels, Dresden and Vienna bought groups of his prints during the 1890s. German artists and critics responded to his innovations around 1900; Belgian collectors and Kunst van Heden promoted him; state honours began in 1903; and monographs and retrospectives expanded his audience. In 1929 a major Brussels exhibition coincided with his application for Belgian naturalisation and his elevation to baron. Later fame should not obscure either the support he received earlier or the diversity of the work he continued to make. [1][2][10][12]
Discussion
Use this evidence-led guide as a starting point for close looking rather than a final verdict.
Share an observation about James Ensor Biography or a source that adds useful context.
Reader Insights
Which work most clearly complicates the familiar image of Ensor as only a painter of masks?
Where do Ostend, Brussels networks or older art most productively alter your reading?
Which source or surviving object would you investigate next?
Join the Conversation
Add your reading below, keeping observations specific and evidence clear.
References
- Royal Museum of Fine Arts Antwerp (KMSKA), “James Ensor”. View source; accessed 30 August 2026.
- Flemish Art Collection, “Biography”. View source; Herwig Todts, with contributions by Cathérine Verleysen and Robert Hoozee; Archived online museum; consulted with current institutional sources; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “James Ensor Archive”. View source; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA) and University of Antwerp, “Ensor Research Project”. View source; accessed 30 August 2026.
- Mu.ZEE, “Research”. View source; accessed 30 August 2026.
- City of Ostend, “The James Ensor House (Vlaanderenstraat 29)”. View source; accessed 30 August 2026.
- Museum of Modern Art, New York, “James Ensor”. View source; Anna Swinbourne; exhibition overview, 2009; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “Ensor: Painter and Writer or Writing Painter?”. View source; Herwig Todts; accessed 30 August 2026.
- Art Institute of Chicago, “Preface”. View source; Herwig Todts; James Ensor: The Temptation of Saint Anthony; accessed 30 August 2026.
- Mu.ZEE, “James Ensor en de Bal du Rat Mort: Kunst, Vermaak en Liefdadigheid”. View source; (Dutch; archive-based account of Ensor’s honours); accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “Ensor Answers the Proust Questionnaire”. View source; Herwig Todts; accessed 30 August 2026.
- J. Paul Getty Museum, “James Ensor: Christ’s Entry into Brussels in 1889”. View source; Patricia G. Berman; 2002; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “The Oyster Eater”. View source; accessed 30 August 2026.
- Flemish Art Collection and Mu.ZEE, “Self-Portrait with Flowered Hat”. View source; accessed 30 August 2026.
- Museum of Modern Art, New York, “Masks Confronting Death”. View source; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “The Intrigue”. View source; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “The Astonishment of the Mask Wouse”. View source; accessed 30 August 2026.
- Royal Museums of Fine Arts of Belgium, “Squelettes se disputant un hareng saur”. View source; (French collection record); accessed 30 August 2026.
- James Ensor Advisory Committee, “Chronology”. View source; Used only as a cross-check alongside current institutional sources; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), Ensor Research Project bibliography. View source; accessed 30 August 2026.
- Royal Museum of Fine Arts Antwerp (KMSKA), “Ensor Painted over His Own Work”. View source; accessed 30 August 2026.










