Typically viewed as a curiosity in the artist’s œuvre, the unusual cancellation sheet for Félix Vallotton’s 1898 woodcut series Intimités is here reassessed as an integral part of the series and an artwork in its own right. After situating Vallotton’s sheet among the ethical, commercial and ideological stakes of cancellation as a printmaking practice in nineteenth-century France, this article argues that the sheet functions as a uniquely decorative culmination of the series’ overall resistance to narrative. It concludes by re-examining the status of cancellation as a destructive, final act, proposing that it can instead be interpreted as a creative and generative process.