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A work made of wood-block print in black ink on grayish-ivory china paper.

Te po (The Night), from the Noa Noa Suite, 1893–94, printed and published 1921

Paul Gauguin

A work made of zincograph in black on ivory wove paper (imitation japanese vellum).

Projet d’assiette (Leda) (Design for a Plate [Leda]), frontispiece from the Volpini Suite, 1889, printed after 1911

Paul Gauguin

A work made of wood-block print in black ink, over stenciled dark-red ink and a yellow-ink tone block, on cream wove paper (an imitation japanese vellum).

Auti te pape (Women at the River), from the Noa Noa Suite, 1894

Paul Gauguin

A work made of wood-block print in black ink on grayish-ivory china paper.

Auti te pape (Women at the River) from the Noa Noa Suite, 1893/94, printed and published 1921

Paul Gauguin

A work made of etching, drypoint and engraving in brown-black on cream japanese laid paper.

Portrait of Stéphane Mallarmé, 1891, printed 1919

Paul Gauguin

A work made of zincograph in black on ivory wove paper (an imitation japanese vellum).

Old Women of Arles, from the Volpini Suite, 1889, printed after 1911

Paul Gauguin

A work made of black fabricated chalk with pastel on ivory laid paper.

Seated Breton Woman, 1886

Paul Gauguin

A work made of wood-block print in black ink on grayish-ivory china paper.

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite, 1893–94, printed and published 1921

Paul Gauguin

A work made of wood-block print in black ink on grayish-ivory china paper.

Nave nave fenua (Delightful Land), from the Noa Noa Suite, 1893/94, printed 1921

Paul Gauguin

A work made of wood-block print in black ink on grayish-ivory china paper.

Maruru (Offerings of Gratitude), from the Noa Noa Suite, 1893–94, printed and published 1921

Paul Gauguin

A work made of wood-block print in black ink on thin ivory japanese paper, tipped on thin white japanese paper.

Tahitian Carrying Bananas, from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

A work made of black fabricated chalk, selectively blended, with touches of brush and gray gouache, over traces of black fabricated chalk offset (recto); graphite (verso); on ivory wove paper (removed from a sketchbook).

Seated Tahitian Woman (recto), Sketches of Roosters and Chickens (verso), 1891/93

Paul Gauguin

A work made of wood-block print, printed in black ink on cream wove paper.

Maruru (Offerings of Gratitude), from the Noa Noa Suite, 1893/94, printed 1941/42

Paul Gauguin

A work made of wood-block print in black ink on tan wove paper.

Te atua (The God), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of second-state impression laid down on first-state impression wood-block print of second state in black ink on lunette-shaped, thin ivory japanese paper, laid down on wood-block print of first state in brownish-black ink on lunette-shaped ivory wove paper.

Te atua (The God), from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

A work made of wood-block print in residual brown and black inks on ivory wove paper.

Te atua (The God), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of wood-block print, printed twice in brown and black inks, with selective wiping, and a transferred twill impression, on cream wove japanese paper, laid down on cream laid japanese paper (a laminate made by the artist).

Te faruru (Here We Make Love), from the Noa Noa Suite, 1893–94

Paul Gauguin

A work made of end-grain boxwood block, with a commercially prepared gray ground, selectively inked in black printing ink.

Maruru (Offerings of Gratitude), from the Noa Noa Suite, 1893/1894

Paul Gauguin

A work made of wood-block print in black, with a transferred twill impression, on tan wove paper.

Noa Noa (Fragrant), from the Noa Noa Suite, 1893/94

Paul Gauguin

A work made of second-state impression laid down on first-state impression wood-block print of second state in black ink on thin ivory japanese paper, laid down on wood-block print of first state in ocher ink on grayish-ivory wove paper (recto); wood-block print in black ink and oxidized linseed oil (est.) on grayish-ivory wove paper (partial offset impression of the second state) (verso).

Change of Residence, from the Suite of Late Wood-Block Prints, 1899

Paul Gauguin

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