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A work made of wood-block print, printed twice in brown and black inks, with selective wiping of the brown, and hand-applied green, blue, two yellows, and pink watercolor on ivory wove japanese paper laid down on cream laid japanese paper (a laminate made by the artist).

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

Paul Gauguin

A work made of wood-block print in black ink, over traces of brown ink, with hand-applied blue, light blue, several greens, pink, orange, pale-orange, yellow, pale-red, and dark-gray watercolor, on ivory japanese paper.

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

Paul Gauguin

A work made of silk, gold and silver gilt strips wound around silk fiber core, plain weave with supplementary patterning and brocading weft tied in twill interlacing polychrome.

Fragment, 17th century

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 yellow ocher ink with traces of black ink on grayish-ivory wove paper (recto); wood-block print in black and yellow ocher ink and oxidized linseed oil (est.) on grayish-ivory wove paper (partial offset impression of the second state) (verso).

Soyez amoureuses, vous serez heureuses (Love, and You Will Be Happy), from the Suite of Late Wood-Block Prints, 1899

Paul Gauguin

A work made of black ink monotype from a glass matrix, over watercolor monotype from a paper matrix, with touches of metallic oil-based media, on thin cream japanese paper laid down on cream wove paper (an imitation japanese vellum).

Two Standing Tahitian Women, 1894

Paul Gauguin

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

Te arii vahine—opoi (Woman with Mangos—Tired), from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

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

Tahitians, Flowers, and Leaves, headpiece for Le sourire, 1899/1900

Paul Gauguin

A work made of watercolor, with black colored pencil, and touches of pen and black ink, over a transfer drawing in black, and wood-block print in black ink with blue watercolor on cream wove paper.

Caricatures of Gauguin and Governor Gallet, with headpiece from Le sourire, 1900

Paul Gauguin

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

Le sourire: Journal méchant, Mar. 1900, 1900

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 wood-block print in black ink on ivory china paper.

Three People, a Mask, a Fox and a Bird, headpiece forLe sourire, 1899, printed and published 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 laid japanese paper.

Three People, a Mask, a Fox and a Bird, headpiece for Le sourire, 1899

Paul Gauguin

A work made of gouache, over a white ground, on gray millboard.

Portrait of the Artist’s Mother (Eve), 1889/90

Paul Gauguin

A work made of wood-block print in black ink on thin ivory japanese paper, laid down on cream wove paper.

Interior of a Tahitian Hut, from the Suite of Late Wood-Block Prints, 1898/99

Paul Gauguin

A work made of wood-block print, printed twice in golden-brown and black inks, with selective wiping of the black ink, over a selectively inked yellow tone block, and transferred deep-yellow, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with hand-applied dark yellow and brown gouache, on cream japanese paper (previously mounted on mottled blue wove paper laid down on cream wove card [a presentation mount]).

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

Paul Gauguin

A work made of wood-block print in black ink with touches of solvent-thinned blue, red, and orange watercolors (recto); wood-block print, printed twice in brown and brown-black ink (a maculature impression) (verso), on cream japanese paper.

Mahana atua (Day of the God), 1894/95

Paul Gauguin

A work made of silk and linen, warp-stripe satin weave self-patterned by reversing of faces.

Fragment, 17th century

A work made of wood-block print, printed twice in deep-yellow ocher and brown ink, with touches of black watercolor, on cream wove paper (an imitation japanese vellum), mounted on mottled blue wove laminate card (recto); wood-block print in black ink over red ink tone block, and brush and solvent-thinned orange wash, on cream wove paper (an imitation japanese vellum) mounted on mottled blue wove laminate card (verso).

Oviri, 1894

Paul Gauguin

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

Mahana atua (Day of the God), 1894/95, printed and published 1921

Paul Gauguin

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