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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 watercolor monotype on ivory japanese paper, discolored to tan, laid down on tan wove paper.

Bust of a Tahitian Woman, 1894

Paul Gauguin

A work made of wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and transferred golden-yellow, green, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with brush and black ink and diluted yellow printing ink, on cream japanese paper.

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

Paul Gauguin

A work made of wood-block print printed twice in black ink on cream wove paper (an imitation japanese vellum) (recto); wood-block print in black ink over orange ink tone block, on cream wove paper (an imitation japanese vellum) (verso).

Man Carrying Bananas Followed by Two Horses, headpiece for Le sourire, 1900

Paul Gauguin

A work made of wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and stenciled red oil medium, on cream japanese paper discolored to a grayish tone.

Nave nave fenua (Delightful Land), from the Noa Noa Suite, 1893–94

Paul Gauguin

A work made of wood-block print in black ink on mottled gray-blue wove paper, laid down on buff wove paper.

A Horse and Birds, headpiece for Le sourire, 1899

Paul Gauguin

A work made of wood-block print in black ink on thin ivory japanese paper, laid down on thin ivory japanese paper (a modern mount).

Woman Picking Fruit and Oviri, 1895/96

Paul Gauguin

A work made of wood-block print in black ink, with selective wiping, on pink wove paper (faded to pinkish tan).

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite, 1893/94

Paul Gauguin

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

Two Women Chattering, headpiece for Le Sourire, 1900

Paul Gauguin

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

A Fisherman Drinking Beside His Canoe, 1894

Paul Gauguin

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

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

Paul Gauguin

A work made of rubbing in black and red ink, on ivory wove japanese paper.

Christ on the Cross, after 1895

Paul Gauguin

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

Women, Animals, and Foliage, 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 japanese paper, laid down on ivory japanese paper.

Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire, 1899/1900

Paul Gauguin

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

Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite, 1894

Paul Gauguin

A work made of zincograph in black ink on cream wove paper.

Two Maori Women Squatting Down, 1894/95, published Feb. 3, 1895

Paul Gauguin

A work made of transfer zincograph on coarse-grained transfer paper, in dark-blue ink on thin ivory wove paper (an imitation japanese vellum).

Ia orana Maria (Hail Mary), 1894/95, published Mar. 1895

Paul Gauguin

A work made of lithograph in black ink on ivory wove paper, discolored to light brown.

Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from L’estampe originale, 1894

Paul Gauguin

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

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

Paul Gauguin

A work made of wood-block print in black ink, over solvent thinned and selectively applied yellow ocher ink, on cream wove paper.

Noa noa (Fragrant), 1894/95

Paul Gauguin

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