Ben Nicholson, O.M. (1894-1982)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more THE PROPERTY FROM A EUROPEAN COLLECTION
Ben Nicholson, O.M. (1894-1982)

Oct 14-53 (Zennor)

Ben Nicholson, O.M. (1894-1982)
Oct 14-53 (Zennor)
signed, inscribed and dated 'Ben Nicholson/Oct 14-53/(Zennor)' (on the reverse)
oil and pencil on carved board, relief
26½ x 18¾ in. (67.4 x 47.6 cm.)
To be sold in the artist's original frame.
S. Meyer, Kilchberg, Zurich, 1989.
with Gallerie Lopes, Zurich, where purchased by the present owner.
Exhibition catalogue, XXVII Biennale, Venice, British Council, 1954, no. 52.
Exhibition catalogue, Ben Nicholson, Amsterdam, British Council, Stedelijk Museum, 1954, no. 60.
Exhibition catalogue, Ben Nicholson, Bottrop, Quadrat Moderne Galerie, 1989, no. 20.
Venice, British Council, XXVII Biennale, June - October 1954, no. 52.
Amsterdam, British Council, Stedelijk Museum, Ben Nicholson, Winter 1954-1955, no. 60; this exhibition travelled to Paris and Brussels.
Germany, Bottrop, Quadrat Moderne Galerie, Ben Nicholson, October - December 1989, no. 20.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Lot Essay

In 1953 Nicholson returned to the medium of the painted relief after an interval of six years. The relief and circles in Oct 14-53 (Zennor) appear to be ordered with simplicity and serenity, which is reinforced by the cool, pale tones of this work. There is a delicacy in the fine lines of the circles, and the balance of the smaller and larger circles within the relief creates a sense of equilibrium.

Peter Khoroche writes, 'In these later reliefs we see Nicholson constantly exploring and developing the potentialities of colour and texture just as much as form. It is as if all the subtle gradations of colour, tone and texture that he registered while drawing landscape and architecture were stored away, later to find expression in his carved surfaces where colour is not simply brushed onto the surface of the board but is made to seem indivisable from it. These formal and technical developments go hand in hand with Nicholson's expanding range of motifs and with his desire to make his work as inclusive a response to life as possible' (exhibition catalogue, Ben Nicholson 'chasing out something alive' drawings and painted reliefs 1950-75, Cambridge, Kettle's Yard, 2002, p. 26).

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