I normally finish print editions in a short period of time to assure equal quality, but this edition is an exception for a few reasons. It was created for A Rose Veiled in Black from Three Hands Press, and I agreed not to share it until the book was released. (I did get permission to show the prints at the Esoteric Book Conference, and all finished prints are now sold.)
Since I opted to make Babalon a variable edition, I worked up a few prints in different colors in order to chose one for publication. After I hit the point where I was satisfied, I decided to hold off on further color work until the book was released because gold leaf is delicate. When I gild prints, I have to take some extra steps to store them safely.
Now the book is out, so I can finish and sell the remaining prints, but my current priority is the Project Which Shall Not be Named. Since my work space is limited, and my project work messy, my current plan is to keep #5-7 safely stored until I can give them the attention they deserve! Though historically color applied to woodcuts could be very slapdash*, I favor careful, thought-out color, particularly on such a limited edition.
*Stenciled woodcuts can be particularly rough looking, though it is interesting to consider the technique was an early form of mass production. Such prints were often sold with the intention buyers would paste them in to containers. If you'd like to learn more, this is a good article.