Ben NICHOLSON Paros with Balcony (variation with hand colouring)  (1965)

A unique, hand-coloured working proof from 1965, completed at least a year before the printed edition of Paros with Balcony (1967) from an unknown edition, later included in the portfolio Ben Nicholson 3 which was published in an edition of 50, the first 1-6 portfolios each containing a mixed media variation on a theme of Paros with Balcony. As is sometimes the case with the artist's hand-worked proofs, the printed plate has been cut from its sheet, worked on with black ink, then re-attached to the plate of a new sheet (more information below). The editing in black ink includes adding in new lines as well as blocking out etched lines with a large area of ink in the sky. The supporting sheet is signed and dated in pencil by the artist in the usual manner, and the worked plate is further signed, titled, dated and annotated in pencil on the reverse, also by the artist. Most likely printed by Francois Lafranca and M Basis and published by Ganymed Original Editions and Marlborough Fine Art, London. Referenced in Ben Nicholson Prints 1928-1968, Cristea Gallery (Rentsch Collection), AC41, the portfolio reference AC144-153. Cut plate size: 18.5cm x 24.5cm. Sheet size approx: 41.5cm x 43cm. In very good condition with traces of discolouration and handling to the textured handmade paper, but suitable for float framing without a mount so that the entire sheet is visible (as was the artist's preference).

Opposite we have added some other mixed media examples of Paros with Balcony, demonstrating the subtle differences in line/composition in each version. There are several auction results for Nicholson etchings where the plate has been cut, worked and re-mounted to a support.

Some relevent excerpts regarding the working process, from Ben Nicholson Prints 1928-68 The Rentsch Collection Alan Cristea Gallery, essay by Jeremy Lewison, p52:
Nicholson's alterations and additions could be subtle [...] or radical, as when he sliced through an image or cut off the margins, so that no plate mark survived, and then painted it.

At an early stage of the project,  he thereby indicated his intention to overpaint some of the proofs. 'They not only of course get worked on, but cut - sometimes whole slices cut off'.