The Temptation of Saint Anthony

• Pol de Mont, “De Schilder en Etser james Ensor”, in De Vlaamsche School (1895), pp. 115 and 118 [translated into French in La Plume (Paris, 1899), pp. 86 and 89].
• Emile Verhaeren, James Ensor (Brussels, 1908), pp. 67-69.
• Albert Croquez, L’Oeuvre Grave de James Ensor (Paris, 1935), p. 39.
• Ensor-Ein Maler aus derm Spaten 19. Jahrhundert, exh. cat. (Stuttgart, Württembergisher Kunstverein, 1972), p. 40.
• Paul Haesaerts, James Ensor (Brussels: Atelier de l’Art Graphique, 1973), p. 85.
• Diane Lesko, James Ensor: The Creative Years (Princeton: Princeton University, 1985), pp. 123-128.
• Robert Hoozee, Sabine Brown-Taevernier, James Ensor: Dessins et Estampes (Antwerp: Fonds Mercator, 1987), pp. 83-92 (ill.), 127-129, no. 81-82.
• Lydia Schoonbaert, Robert Hoozee, James Ensor, exh. cat. (Paris: Musée du Petit Palais, 1990), pp. 56-57 (ill.).
• Robert Hoozee, James Ensor: Schilderijen, Tekeningen en Grafiek, exh. cat. (Utrecht: Centraal Museum, 1993), p. 39. no. 31 (ill.).
• Eliane De Wilde (editor), Ensor, exh. cat. (Brussels: Musée Royaux des Beaux-Arts de Belique, 1999), p. 35 (ill.).
• Catherine de Zegher (editor), Between Street and Mirror: The Drawings of James Ensor, exh. cat. (New York: The Drawing Center, 2001), pp. 34 and pp. 63-64 (ill.).
• Patricia Berman, James Ensor: Christ’s Entry into Brussels in 1889 (Los Angeles: The Getty Museum, 2002), pp. 82 and 72 (ill.).
• Herwig Todts, “Goya, Redon, Ensor: Grotesque Paintings and Drawings,” exh. cat. (Antwerp, 2009), pp. 222, and 223-29.
• Susan M. Canning, Patrick Florizoone, Nancy Ireson, Kimberly Nichols, Debora Silverman, Anna Swimbourne, and Sabine Taevernier, with a forward by Herwig Todts, “James Ensor: The Temptation of Saint Anthony” (Art Institute of Chicago, 2014). https://publications.artic.edu/ensor/reader/temptationstanthony. Accessed August, 2015, Preface para. 1, fig 1 (ill.), Overall Drawing, Revelation, Resistance, and Resilience para. 1, fig. 1 (ill.), para 8, fig 4 (ill.), para. 11, fig 6, 7, 8, 9 (ill.), para. 13, fig. 11, 12, 13, 14, 15 (ill.), para. 15, fig. 16, 17, 18 (ill.), para. 18, fig. 19 (ill.), para. 20, fig. 21, 22, 24 (ill.), para. 21, fig. 26, 27, 28, 29 (ill.), para. 24, fig. 30 (ill.), para. 27, fig. 34, 35, 36 (ill.), para. 29, fig. 40, 41, 42, 43, 44, 45 (ill.), para. 30, fig. 46, 48 (ill.), para. 31, fig. 50 (ill.), para. 34, fig. 53 (ill.), The Trials of the Temptation, para. 8, fig. 2 (ill.), para. 16, fig, 3 (ill.), para. 24, fig. 11, 12 (ill.), para. 30, fig. 16 (ill.), Anthony and the Benediction, para. 5, fig. 3, 4 (ill.), para. 6, fig. 6, 7 (ill.), para. 7, fig. 9 (ill.), para. 8, fig. 10, 11 (ill.), para. 9, fig. 11, 12, 13, 14, 16 (ill.), para. 11, fig. 17, 18, 19 (ill.), para. 12, fig. 20, 21, 22 (ill.), Ensor’s Panache, para. 1, fig. 1 (ill.), para. 7, fig. 3 (ill.), para. 19, fig. 22, 23, 24, 25 (ill.), para. 20, fig. 26, 27 (ill.), para. 21, fig. 28, 29, 30 (ill.), para. 24, fig. 35 (ill.), para. 26, fig. 36, 37 (ill.), para. 30, fig. 40 (ill.), para. 36, fig. 45 (ill.), para. 37, fig. 50, 51 (ill.), para. 38, fig. 53, 54, 55 (ill.), para. 41, fig. 60 (ill.), para. 42, fig. 62 (ill.), para. 44, fig. 67 (ill.), para. 45, fig 68 (ill.), Transcending Tradition, para. 1, fig. 1 (ill.), para. 5, 11, fig. 2 (ill.), para. 11, fig. 7 (ill.), para. 13, fig. 10, 11 (ill.), para. 19, fig. 15 (ill.), para. 20, fig. 16 (ill.), para. 22, fig. 17 (ill.), para. 23, fig. 18, 20 (ill.), para. 24, fig. 21 (ill.), Individual Sheets, sections 230-280.

• Brussels, Salon Les XX, 1889.
• Possibly, Liège, Cercle Athlétique Liégeois, “Exposition d’Eaux-fortes et de Dessin de James Ensor,” Mar. 1903.
• Antwerp, Musée des Beaux-Arts, “Rétrospective James Ensor,” June-Aug. 1951, p. 18, cat. 153.
• Art Institute of Chicago, “Temptation: The Demons of James Ensor,” No. 23, 2014-Jan. 25, 2015; also Los Angeles, J. Paul Getty Museum, June 10-Sept. 7, 2014.

Sold by the artist to Maurice Speth (1887-1938), Kapellen (Belgium), June 12, 1922 [kept with the artist until 1939]; by descent to Maurice’s heir, Jean Speth (1885-1961); to Frédéric (1917-2001); by descent, to 2005; sold through C. G. Boerner to the Art Institute of Chicago, 2006.

• Sheet 3E
• Sheet 3F
• Director’s Statement • Douglas Druick
• Sheet 4B
• Sheet 4E
• Preface • Herwig Todts
• Folio 6B/C