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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 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 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 zincograph in black, with pale orange, red and green watercolor and white crayon, on chrome yellow wove paper.

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

Paul Gauguin

A work made of zincograph in black on chrome yellow wove paper.

Old Women of Arles, from the Volpini Suite, 1889

Paul Gauguin

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

Te atua (The God), from the Noa Noa Suite, 1894

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 zincograph in black on chrome yellow wove paper.

Les cigales et les fourmis (The Grasshoppers and the Ants), from the Volpini Suite, 1889

Paul Gauguin

A work made of pastel over charcoal, selectively stumped, on cream wove paper (discolored to tan), squared in black chalk on cream wove paper (discolored to tan).

Crouching Tahitian Woman (related to the painting Nafea faa ipoipo [When Will You Marry?]), 1891/93

Paul Gauguin

A work made of zincograph in black on chrome yellow wove paper.

Breton Bathers, from the Volpini Suite, 1889

Paul Gauguin

A work made of zincograph in black on chrome yellow wove paper.

Breton Women by a Gate, from the Volpini Suite, 1889

Paul Gauguin

A work made of zincograph in reddish-brown on chrome yellow wove paper.

Human Miseries, from the Volpini Suite, 1889

Paul Gauguin

A work made of zincograph in black on chrome yellow wove paper.

Joies de Bretagne (Joys of Brittany), from the Volpini Suite, 1889

Paul Gauguin

A work made of zincograph in black on chrome yellow wove paper.

Les drames de la mer: Bretagne (Dramas of the Sea: Brittany), from the Volpini Suite, 1889

Paul Gauguin

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