Etude de mains ou d'avant-bras Gauguin made several monotypes. This technique consists of the creation of a printed image, usually with the help of an intaglio press, in which the matrix of disparate shapes, sizes, and materials is drawn directly with intaglio ink, oil paints or the newer water-based inks, inserting cutouts of colored papers, metal pieces, etc., according to personal taste, thus becoming a unique object. Gauguin's monotypes were often studies, made to better understand the subjects he would later develop in his paintings or woodcuts. The use of this technique was an almost compulsory choice for Gauguin, as he did not have the possibility of procuring materials for printing, thus finding himself constrained to use this technique, which, on the other hand, also allowed him to get proofs of the various drafts immediately. The subject in this case is repeated on both sides of the sheet, with some differences due to the different pressure and intensity of inking. Both sides, while having the same subject, are unique works: monotypes, as the name indicates. This sheet was miraculously saved, along with a few other works, from the burning of Gauguin's personal effects ordered by Bishop Martin in Hiva Hoa in the aftermath of Gauguin's death. This monotype drawing was exhibited about a year later in Paris together with other monotypes and works by Gauguin from Polynesia. They are a series of studies of arms and hands, later used for a number of paintings. The curious asymmetrical shape of the sheet is probably due to it being cut at the time to remove the parts scorched by the fire from which this and other sheets were saved.