S R BADMIN RWS

SR BADMIN RWSPaintings, Drawings & Prints

Copyright © Chris Beetles Ltd 20158 & 10 Ryder StreetSt James’sLondon SW1Y 6QB020 7839 [email protected]

ISBN 978-1-905738-67-0Cataloguing in publication data is available from the British Library

Written and researched by Chris Beetles, Fiona Nickerson and David WoottonEdited by Fiona Nickerson and David WoottonDesign by Jeremy Brook of Graphic IdeasPhotography by Julian Huxley-ParlourReproduction by www.cast2create.comColour separation and printing by Geoff Neal Litho Limited

With acknowledgements to Helen Armstrong (Society of Sussex Painters), Gail Brodholt (RE), Hatty Davidson (RWS) and John Parsons

58

59

To Eric Pearce who was first in the queue

Cover: Radcot Bridges Near Faringdon, Early May [30]This page: Wareham Mill [preliminary drawing] [58]This page: Wareham Mill [59]Title page: The Village Green [18]Contents page: Old Oasts Near Pluckley, Kent [163]

C H R I S B E E T L E S8 & 10 Ryder Street, St James’s, London SW1Y 6QB

020 7839 7551 [email protected]

www.chrisbeetles.com

S R BADMIN RWSPaintings, Drawings & Prints

S R BADMIN RWS: PAINTINGS, DRAWINGS & PRINTS

2

ContentsIntroduction 3

Chronology of Life and Work 4

Selected Works in the Exhibition 10

Further Works in the Exhibition 28

Works Exhibited at Royal Societies

Royal Academy of Arts Summer Exhibitions 29

Royal Society of Painter-Etchers and Engravers Exhibitions 29

Royal Watercolour Society Exhibitions 30

List of Illustrated Books 33

Catalogue Raisonné of Prints 35

163

3

Introduction

Thirty years ago I wrote the biography of Stanley RoyBadmin RWS: S R Badmin and the English Landscape. It wasmy first book and my first commission. I was given a verysmall fee (I would have paid to do it) and a deadline of afew months. Though familiar with the work, I had spentyears trying to buy everything I could find, and wouldqueue for hours at the RWS biannual exhibitions; I nowhad to get to know the artist. This project was made moredifficult by the reluctant subject, revered for his lifetime asa watercolour artist, but known for a love of privacy andlong lone working practices. However, in the hours spentas inquisitive amanuensis in his taciturn presence, I learntmuch about him and how to see and respond to beauty inthe English Landscape. His ‘silence’, as Thomas Hardywrites of one his Wessex countrymen in Under theGreenwood Tree, ‘was wunnerful to listen to’.

Chris Beetles2015

INTRODUCTION

S R Badmin (1906-1989)


4

18 April 1906Born at 8a Niederwald Road, Sydenham, London, SE26, the second ofthree sons of Charles James Badman, a teacher, and his wife, Margaret(Madge) Raine, both of whom had come from SomersetLater wrote to a family historian that ‘my father got us to spell our namewith an “i” – it was supposed to divert the jeers & insults at school – butnot on your life’

1909Birth of his younger brother, Eric Raine BadminAttended Sydenham SchoolWith his family, stayed regularly with his paternal grandfather, CharlesJames Badman, a carpenter and cabinet maker, in the village of Holcombe,in the Mendips, in Somerset

By 1916Living at 33 Girton Road, Sydenham, London, SE26

1919Won a scholarship to Camberwell School of Arts & Crafts, London, buthad to withdraw from it in order to broaden his general education.Attended the evening school at Camberwell while receiving private tuitionin order to pass his external matriculation. Failed to matriculate threetimes, and finally advanced with a City & Guilds diploma

1922Studied at Camberwell School of Arts & Crafts under J Cosmo Clark andThomas Derrick, among others

1924Won a studentship to the Royal College of Art, London, to study painting

Chronology of Life and Work1925Married Margaret (Peggy) Georgina Colbourn, a company secretary to anestate agent. Transferred from the painting to the design school, andstudied under Randolph Schwabe and E W Tristram, among others

1925-26Charles James Badman built ‘Aleroy’, 45 Thorpewood Avenue, Sydenham,London, SE26, for SRB and Peggy

1927Having specialised in book illustration, was awarded his ARCA diploma

21 May 1927Had his first works reproduced in colour, in The Graphic

1927-28Took a range of courses at the RCA and Camberwell, in preparation foran art teacher’s diploma. These courses included instruction in etching atthe RCA from Malcolm Osborne and Robert Sargent Austin. Produced hisfirst etchings: Hawes Farm; Addington, Kent; Elms at West Wickham; OldOak at West Wickham [CR 1-4]

11-31 January 1930Held his first solo show, at the Twenty-One Gallery, 15 Mill Street,London, W1

Summer 1930Began to exhibit at the Royal Academy of Arts

173

5

CHRONOLOGY OF LIFE AND WORK

1931Elected an associate of the Royal Society of Painter-Etchers and Engravers(ARE), and began to exhibit at its exhibitionsFollowing a slump in the etching market, transferred from the Twenty-OneGallery to the Fine Art Society

By 1932Had a studio at Clapham Common, London, SW4, which was certainly at20 Crescent Grove in 1938-39

1932Elected an associate of the Royal Society of Painters in Water-Colours(ARWS), and began to exhibit at its exhibitionsBought his own printing pressDeath of his elder brother, Alan Charles Badmin

February 1933Held ‘Drawings and Etchings by S R Badmin, ARWS ARE’, the first of twosolo shows at the Fine Art Society, 148 New Bond Street, London, W1

August 1933Visited Bergen, Norway

1934Began to teach two mornings a week at Richmond School of ArtLiving at 17c Weighton Road, Anerley, London, SE20

1935Elected a member of the Royal Society of Painter-Etchers and Engravers (RE)Living at 162 Croydon Road, Anerley, London, SE20

March-September 1935Undertook a six-month tour of the USA for the American magazine,Fortune, and returned to England via Canada

23 December 1935-1 January 1936Visited France

16 March-4 April 1936Held ‘Etchings and Water-Colors by Stanley R Badmin’ at M A McDonald,665 Fifth Avenue, which included the results of his tour of the USA

1936As an enthusiastic amateur footballer, played for the Casuals Football ClubBegan to teach etching one afternoon a week at St John’s Wood School ofArt, with the P F Millard as co-principalAs a result of developing political awareness, persuaded by James Hollandto join the Artists’ International Association (AIA)

March 1936‘Artists of Note: Number 13: S R Badmin, ARWS RE’, published in The Artist, pages 22-24

13 June 1936Birth of his first child, Patrick Alan Badmin

June 1937Held ‘Water-Colours, etc, by S R Badmin, ARWS RE’, the second of twosolo shows at the Fine Art Society

64

69

6


1939Resigned from the Royal Society of Painter-Etchers and EngraversElected a member of the Royal Society of Painters in Water-Colours (RWS)Village and Town and Highways and Byways of Essex published

22 November 1939Birth of his second child, Joanna Rose Badmin

1939-40Produced three zinc-litho plates for the Artists’ International Association

1947Country Bouquet and Trees for Town and Country published

1947-64Began to teach General Drawing one day a week at the Central School of Art

1948Divorced his first wife, PeggyJoined the agency of Saxon Artists and began to take on frequentcommercial commissionsThe Children’s Wonder Book in Colour, National Trust Guide: Buildings andOxford Replanned published

1941Employed by the Ministry of Information

1942Called-up to the RAF, and worked on operational model-making at RAFMedmenham, near Henley-on-ThamesTrees in Britain published

1944Painted The Weekend Pass, a large oil on canvas, for the mess at MedmenhamTrees and Shrubs and How to Grow Them published

1945Royles began to commission images for cards and calendars

1946-47Marriage ended; brought up the children

1946-49Recording Britain published

140

174

119

By 1940Had moved to 46 Venner Road, Sydenham, London, SE26

1940Employed by the Pilgrim Trust to contribute to the Recording BritainScheme, producing drawings of London and Middlesex, Bedfordshire,Buckinghamshire, Northamptonshire, Rutlandshire and Suffolk

Circa 1940Began to contribute to Radio Times


7

1948-49Living at 2 Charlecote Grove, Sydenham, London, SE26

1949The Nature Lover’s Companion and Tree and Shrub Growing published

24 March 1950Married Mrs Rosaline Elizabeth Wates Flew (née Downey), widow ofRobert Flew FRCS (died 1943); brought up her daughter, Elizabeth, withhis children. They lived at her house, ‘Saratoga’, 52 Dacres Road, ForestHill, London, SE26

1950Mother diedThe British Countryside in Colour published

12 June 1951Birth of his third child, Galea Rosaline Badmin

12 September 1951Father died

1952Famous Trees published

1953Nature Through the Seasons in Colour and The Seasons published

March 1953Submitted Here They Come! The Valley to Football and the Fine Arts, aCompetition for Painters, Sculptors and other Artists, which was part ofthe 90th anniversary celebrations of The Football Association. As a result,he received a prize of £25

1955Farm Crops in Britain published

March 1955Held ‘S R Badmin RWS: The English Landscape: An Exhibition of Water-Colours’ at Ernest Brown and Phillips, Leicester Square, London, WC2

24 August 1955: 5.30pmAppeared on BBC Children’s Television explaining how he illustrated a book

28 September 1956: 5pmAppeared on BBC Children’s Television in an item called ‘Detective WorkAmong the Trees’

1957Elected a Fellow of the Society of Industrial Artists

10 July 1957: 3pmAppeared on BBC Television’s Mainly for Women, talking about his work

1958The Central Office of Information commissioned Apple Trees & Landscape(Effects of Smog) to be included in the British Pavilion at Expo 58 in BrusselsThe Shell Guide to Trees and Shrubs published

1959Moved to ‘Coaters’, Bignor, Pulborough, Sussex

137

128


8

1960Trees of Britain published

By 1960 until at least 1987A member of the Society of Sussex Painters

6-30 December 1961Three works were included in the Winter Exhibition, Foyles Art Gallery,Charing Cross Road, London, WC2

1962‘Stanley Roy Badmin, RWS, RE’ by Adrian Bury, published in The OldWater-Colour Society’s Club, The Thirty-Seventh Annual Volume, pages 34-37

1963The Ladybird Book of Trees published

9-30 November 1963‘Exhibition of Paintings, Drawings and Etchings by S R Badmin, Edith Hilder,Rowland Hilder, Will Nickless, Boye Uden, Maurice Wilson’, TunbridgeWells Gallery, 8 Chapel Place, Tunbridge Wells, Kent

1964The Shell and BP Guide to Britain published, containing as illustrations thecovers produced for ‘The Shilling Guides’ published by Shell-Mex and BP Ltd

1965Elected RE Hon RetiredThe Reader’s Digest Complete Atlas of the British Isles published

10 November-9 December 1967‘S R Badmin, RWS RE ARCA FSIA. An exhibition of work’ held atWorthing Museum & Art Gallery

136

153

1968Lived at Stane House (Bottom Flat), Bignor, Pulborough, Sutton, Sussex– while building ‘Streamfield’ in a field across from ‘Coaters’Buildings and Builders published

By autumn 1969Moved into ‘Streamfield’

1971AA Illustrated Guide to Britain published

12 May-9 June 1973Four watercolours were included in ‘Watercolour Drawings. From the1973 Exhibition of the Royal Society of Painters in Watercolours’,Worthing Art Gallery

22 September-27 October 1974Seven etchings were included in ‘After many a summer … An Exhibition ofEnglish Pastoral Etchings. To mark the publication of 12 plates by RobinTanner’ at Abbot Hall Art Gallery, Kendal; this then toured to theHolburne Museum, Bath from 9 November to 8 December

1975No Through Road published

14-17 September 1979Five works included in ‘Exhibition of Sussex Views and Works by Sussex Artists’, Petworth Festival of English Music and Art, The LeconfieldHall, Petworth


9

1982Springtime at Ratley, near Edgehill was chosen from the artist’s owncollection to be included in the prestigious exhibition, ‘BritishWatercolours and Drawings’, sent by the British Council to Peking. On its return, it was shown in Edinburgh and Southampton

5-30 October 1984Honoured with a small subsidiary exhibition in the autumn exhibition ofthe Royal Watercolour Society at Bankside Gallery, London, SE1

1985Designed a set of four plates, depicting ‘The Four Seasons of the EnglishCountryside’, for Royal Worcester. These were produced in a limitededition of 20,000

June 1985‘S R Badmin’, major retrospective exhibition, held at Chris Beetles Ltd, 5 Ryder Street, London, SW1 – coinciding with the appearance of Chris Beetles’ biography, S R Badmin and the English Landscape, publishedby Collins

28 February-7 March 198625 etchings and 1 line engraving included in ‘The Etchers’, Chris Beetles Ltd

21 June-25 July 1986Three works included in ‘RWS Watercolour Exhibition’, Bourne Gallery,31-33 Lesbourne Road, Reigate, Surrey

2-11 September 1987‘The Royal College of Art Tradition: Randolph Schwabe and S R Badmin’held at Chris Beetles Ltd, 10 Ryder Street, London, SW1

9-24 July 1988‘Exhibition of Watercolours by S R Badmin, Dennis Roxby-Bott & ErnestGreenwood’, Lannards Gallery, Okehurst Lane, Billingshurst, West Sussex

28 April 1989Died at St Richard’s Hospital, Chichester, West Sussex

171


10

01 SIR ALAN COBHAMRETURNING TO LONDONFROM HIS RECORD BREAKINGFLIGHT TO AUSTRALIAsigned and dated ‘Oct 1926’inscribed ‘From Australia. Cobhamturning preparatory to landing. LCCCounty Hall’ and dated ‘Oct 1926’below mountpen ink and watercolour12 1⁄4 x 9 1⁄2 inches

Alan Cobham won the prestigiousBritannia Trophy in 1923 for his12,000 mile flight around Europe,the Middle East and North Africa.He won the trophy again in 1925when he became the first person tofly to India and back in 1924-25.This painting depicts the third andfinal time he won the trophy, in1926, when he became the firstperson to fly to Australia and backin his de Havilland DH 50J biplane.

Alan Cobham began his Australiaflight on 30 June 1926, which wasmarred when his faithful mechanic,Arthur Elliott, was shot and killedwhilst flying over Basra, Iraq.Cobham continued his flight with areplacement mechanic reachingMelbourne, Australia on 15 August1926 where a record-breakingcrowd of 150,000 people gatheredto meet him. He left Australia forEngland on 29 August 1926 andlanded on the River Thames by theHouses of Parliament 34 days later,on 1 October 1926. This paintingcommemorates his triumphantreturn to crowds of around amillion, who clustered on thebridges and embankments to watchhim land. He received a knighthoodwithin days of returning. The viewis from the Victoria Tower Gardenssouth of the Houses of Parliamentlooking towards the old LondonCounty Council County Hall.

SELECTED WORKS

11

02 THE FALLEN BOUGH IN HYDE PARK, LONDONsigned, inscribed ‘The Fallen Bough’ and dated 1929inscribed with title and ‘Drawing forengraving from a sketch in Hyde Park’,and dated ‘Dec 1928’ below mountpen and ink4 x 4 1⁄4 inches

04 FRENCH EXHIBITION, ‘FIRST’ ROOMsigned, inscribed with title and dated ‘1932 Feb’watercolour with pen and ink6 x 6 3⁄4 inches

The Exhibition of French Art 1200-1900was held at the Royal Academy of Artsbetween January and March 1932. ThoughS R Badmin describes this as the ‘First’Room, it is actually Gallery XI, containingXIXth Century Paintings and especially thoseby Impressionists and Post-Impressionists. It is seen from the doorway to Gallery X,with the Vestibule and Galleries I and IIbeyond. In the same year, S R Badminshowed several of his own etchings in theRoyal Academy Summer Exhibition.

03 MODEL YACHT RACING,CLAPHAM COMMONinscribed with titlepen and ink on tracing paper6 1⁄4 x 6 1⁄4 inches


12 05 LUDLOW, SHROPSHIREsignedsigned and signed with initials, andinscribed ‘British Castles. I suggest 1 inch (minimum width) white borderand dark blue lettering underneath’below mountbodycolour25 x 19 1⁄2 inches

This is the design for one of a series ofposters, ‘Enjoy The Riches of Britain’,issued by various transport companiesin 1932.

SELECTED WORKS

13

09 BURFORDsignedinscribed with title below mountwatercolour with pen and ink11 x 18 inches

This is possibly Study for Burford which was exhibitedin ‘Watercolours and Etchings by S R Badmin ARWS,ARE’, The Fine Art Society, London, 1933, no 50.

08 NEAR JACKSONS MILL, ULEY, GLOSsigned, inscribed with title and dated 1933inscribed with title below mountwatercolour with pen and ink7 1⁄2 x 9 inches

This is the preliminary drawing for Uley, Gloucestershire, which was exhibited at theRoyal Society of Painters in Water-Colours, Winter 1933, no 55.

07 SYCAMOREsigned and inscribed with titlepen and ink with monochrome watercolour4 x 6 inches

06 MARCHsigned, inscribed withtitle and extensive notesbelow mountwatercolour with pen ink and pencil8 x 6 1⁄4 inches

Drawn for but notillustrated in TomStephenson, TheCountryside Companion,London: Odhams Press,1946


1411 OLD COURT HOUSE, WILLIAMSBURG, VIRGINIAsigned and signed with initials, and inscribed ‘Market Tavern Court HousePowder Magazine Williansburg VA’pen ink and watercolour4 3⁄4 x 9 inchesIllustrated: Fortune, 1935 Literature: Chris Beetles, S R Badmin and the English Landscape, London:Collins, 1985, page 18, as ‘Market Square, Williamsburg’Exhibited: Fine Art Society, June 1937, no 29

12 INTERIOR OF HORSE BARN, ILLINOISsigned, inscribed ‘Horse Barn. Illinois Farm’ and dated ‘May 1935’ below mount pen ink and watercolour11 x 9 1⁄2 inchesIllustrated: Fortune, August 1935, ‘A Farm in Illinois, The Life andCircumstances of Mr George Wissmiller, whose 400-acre plane in the cornbelt is still worth 100,000 dollars’Literature: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1984, page 18Exhibited: Fine Art Society, June 1937, no 42, as ‘Interior of Horse Barn, Illinois’

10 DEPT OF MARINE AND FISHERIES, QUEBECinscribed with title below mountwatercolour with pencil6 1⁄2 x 9 inchesThis is the preliminary drawing for Buoys in the Marine Yard, Quebec, which was exhibited at the Royal Society of Painters in Water-Colours, Summer1936, no 48.

In 1935, the magazine Fortune commissioned S R Badmin to tour Americaand complete a series of drawings.

SELECTED WORKS

15

15 REMAINS OFPLESHEY CASTLEsigned with initials and inscribed ‘Pleshey Castle’pen and ink5 x 5 inchesIllustrated: page 43

13-16 are illustrated in Clifford Bax, Highways and Byways in Essex, London: Macmillan and Co, 1939

14 APPROACHING HIGH EASTERsigned with initials and inscribed ‘High Easter, Essex’pen and ink4 3⁄4 x 5 inchesIllustrated: page 39

16 GREAT WALTHAMsigned with initials and inscribed with title and ‘Near Chelmsford’pen and ink6 x 4 3⁄4 inchesIllustrated: page 154

13 FINCHINGFIELDsigned and inscribedwith titlesigned and inscribed‘Finchingfield, Essex’ on reversepen and ink5 1⁄2 x 8 1⁄4 inchesIllustrated: page 102


16

17 EPPING FORESTsigned, inscribed with title and dated 1940pen and ink5 1⁄2 x 9 1⁄2 inches

This is similar to Clifford Bax, Highwaysand Byways in Essex, London: Macmillanand Co, 1939, page 140.

19 ROCKYWOODsigned twice,inscribed with titleand dated 1940pen and ink9 3⁄4 x 7 1⁄2 inches

This is similar to‘Yorkshire Wood’,1936, illustrated inChris Beetles, S R Badmin and theEnglish Landscape,London: Collins,1985, page 40.

18 THE VILLAGE GREENsigned and inscribed with title below mountpen and ink, 4 1⁄2 x 5 3⁄4 inchesIllustrated: Radio Times, 16 August 1940, page 22, ‘The Village Green’Literature: Chris Beetles, S R Badmin and the EnglishLandscape, London: Collins, 1985, page 33

This image illustrated information on the BBC RadioProgramme ‘The Village Green’, broadcast on The HomeService on Thursday 22 August 1940 at 3.30pm.

SELECTED WORKS

17

21 AN OLD CIDER PRESSTHE HORSE SUPPLIES THE POWER FOR PULPING THE APPLES.THE MAN SQUEEZES THE LAST DROPS OF JUICE

inscribed with titleinscribed ‘Cider Making’ and dated ‘Done July 12’below mountpen ink and pencil7 1⁄4 x 4 1⁄4 inches

22 NOVEMBERLIFTING, TIPPING & CLAMPING MANGOLDS. BEYOND KALE IS BEING CUT AND LOADED FOR CATTLE FEED AND

A MACHINE LIFTS THE LAST OF THE POTATOES. IN THE DISTANCE SHEEP ARE FEEDING ON THE GROWING KALE

signed with initials and inscribed with titlepen ink, crayon and pencil6 1⁄2 x 8 inches

20 HILL FARMSHEEP AND CULTIVATION OF A LITTLE CATTLE FODDER.OUTCROP OF ROCK IN HAY FIELD AND EVERY BIT OF GRASS

IS CAREFULLY PRESERVED

inscribed with titlewatercolour, pen ink and pencil6 1⁄2 x 8 inchespen and ink sketches of farm workers below mount

20-22 are preliminary drawings for Sir GeorgeStapledon, Farm Crops in Britain, Harmondsworth:Puffin Books, 1955, pages 13, 27 and 29


18

25 CLEARING SNOW, POLE HILLsigned and inscribed with titledated ‘March 1958-63’ below mountwatercolour with bodycolour and pencil6 1⁄2 x 9 3⁄4 inchesLiterature: Chris Beetles, S R Badmin andthe English Landscape, London: Collins,1985, page 81

Royle published this image as a greetings card.

‘I was interested in this grass growingthrough the snow, and the shapes it made.

It was a favourite spot of mine on theDowns in Kent, and I came here often downthe main road from Bromley. Now, look at

those rooks – and I suppose that must be ahare. I think this is a very pleasant one.’

(S R Badmin)

23 SNOW, CASTLETONinscribed with title below mountwatercolour and pencil12 x 10 1⁄4 inchesThis is the preliminary drawing forSnowy Morning, Mam Tor, Derbyshire,which was produced as a commissionfor a Reader’s Digest cover andexhibited at the Royal Society ofPainters in Water-Colours, Autumn1976, no 60. The finished painting isillustrated in Chris Beetles, S R Badminand the English Landscape, London:Collins, 1985, page 115.

24 WINTER SKATINGsigned, inscribed 'Lots of brightfigures about' and dated 'Jan 1962'below mountwatercolour with pen ink and pencil10 x 9 inchesThis is a preliminary drawing for thecover of Homes and Gardens, January 1962.

SELECTED WORKS

19

26 WINTER SUNSHINEsignedsigned, inscribed with title, ‘Background from Sutton End (Poor House) hedge & wall from home’ and ‘Painted for Byron S Miller of Scott Corp. PortlandUSA’, and dated 1963 below mountwatercolour with bodycolour11 x 14 1⁄4 inchesExhibited: Royal Society of Painters in Water-Colours, Spring 1963, no 26

The wall in the left foreground of this image is the end of the drive at ‘Streamfield’, Badmin’s home in Sussex and the hill in the distance is Bignor Hill.Royle reproduced it as a greeting card, and it proved to be their 1980 best-selling Christmas card in the United States.


20

27 MATLOCK, DERBYSHIRE, AUTUMNsigned, inscribed with title and dated ‘Oct 57’signed and inscribed with title on reversewatercolour8 x 10 inches

This is a preliminary drawing for Matlock Bank on anAutumn Afternoon [see below].

28 MATLOCK BANKON AN AUTUMNAFTERNOONsigned, inscribed‘Matlock Dale’ anddated 1962signed with initials,inscribed with title and‘Matlock Bank,Derbyshire’, and dated ‘Oct 30th 1962’on reversewatercolour withbodycolour10 1⁄2 x 14 inches

SELECTED WORKS

21

30 RADCOT BRIDGESNEAR FARINGDON,EARLY MAYsigned, inscribed ‘RadcoteBridges’ and dated 1977watercolour and bodycolour13 x 18 1⁄2 inches

Royle published this image as a greetings card, with thetitle The Old Bridge.

29 ODDINGTON NEAR STOW ONTHE WOLD. A COTSWOLD HAMLETsigned and inscribed with titlewatercolour and pencil4 3⁄4 x 8 1⁄2 inchesExhibited: Royal Society of Painters inWater-Colours, Autumn 1986, no 216, as 'Cotswold Hamlet: Oddington'


22

31 AMBERLEY CASTLE FROMTHE BIG BARNsigned and inscribed with title and‘Leaf from sketchbook’watercolour8 1⁄4 x 5 1⁄4 inchesIllustrated: Chris Beetles, S R Badmin and the EnglishLandscape, London: Collins, 1985,page 139Exhibited: Royal Society ofPainters in Water-Colours, Autumn 1981, no 28

Royle published this image as agreetings card.

32 SWINBROOK CHURCH FROM THE EASTsigned and inscribed 'Swinbrook'watercolour and pencil6 1⁄2 x 4 3⁄4 inchesExhibited: Royal Society of Painters in Water-Colours,Autumn 1977, no 219

33 WHITE PARK BAY, NORTHERN IRELANDsigned and inscribed ‘White Park Bay. N Coast of Ireland’watercolour with bodycolour and pencil6 x 10 inchesExhibited: Royal Society of Painters in Water-Colours,Spring 1986, no 210; 'A Selection of Paintings from the1986 Spring Exhibition of the Royal Society of Paintersin Water-Colours', Bourne Gallery, Reigate, 1986, no 4

‘The good late afternoon light makes it. With the

square stones of the castle and the square shadows,

it's quite effective.’(S R Badmin)

23

35 WEIR PADDLES AT BENSON LOCKsigned and inscribed with titleinscribed ‘Near Wallingford, sketched 1938’ and dated‘1987’ below mountwatercolour7 1⁄4 x 10 inchesExhibited: Royal Society of Painters in Water-Colours, Autumn 1987, no 232

34 PEAR TREE IN THE PADDOCKsigned, inscribed with title and dated 1983watercolour and bodycolour8 1⁄2 x 12 3⁄4 inchesLiterature: Chris Beetles, S R Badmin and the EnglishLandscape, London: Collins, 1985, pages 148-149Exhibited: Royal Society of Painters in Water-Colours, Spring 1983, no 40, as ‘Pear Tree in Blossom’

SELECTED WORKS

‘You get oak that colour in the spring – it's almostautumnal. You notice the orange, caused by the

blossom. [The beech trees] are hardly erupted atall, but the buds are on the move. They were fully

out and light green by the time I had finished the watercolour.’

(S R Badmin)


2436 COLEFORD, SOMERSETsigned with initials in platesigned, inscribed with title and ‘The Carrying Funeral’ below mountetching, from an edition of 405 1⁄2 x 8 inchesexecuted in 1929Catalogue Raisonné no 11

37 SUBURBIAsigned and numbered 24/25line engraving, from an edition of 254 1⁄2 x 3 1⁄2 inchesexecuted in 1929Literature: page 46Catalogue Raisonné no 14

38 EVENING LIGHT NEAR SEVENOAKS, KENTsigned, inscribed with title, ‘Artist’s Proof ’ and dated ‘Dec 1929’etching, from an edition of 405 x 6 1⁄2 inchesexecuted in 1929Literature: page 53Catalogue Raisonné no 16

37, 38, 40, 42 & 43 Literature: Chris Beetles, S R Badmin and the EnglishLandscape, London: Collins, 1985

‘He would have like to have done more engraving, but found it hard physical work: “I found it a terrible strain – you don't

scratch with the burin, you have to push, push against thecopper, and it is a motion against yourself. Some people use

it almost as quickly as a pen, but it is a terrible strainparticularly if you are trying to do a curve, then it's

quite a strain on both arms.”’(Chris Beetles, S R Badmin and the English Landscape, pages 48-49)

25

41 BURFORD, OXFORDSHIREsigned, inscribed with title in plate, and numbered 16/45etching, from an edition of 455 1⁄4 x 7 1⁄2 inchesexecuted in 1931Catalogue Raisonné no 25Exhibited: Royal Society of Painter-Etchers and Engravers, 1931, no 28

39 ABBEY BARN, DOULTINGsigned and inscribed with title and ‘A/P’etching, from an edition of 304 1⁄2 x 5 1⁄2 inchesexecuted in 1930Catalogue Raisonné no 19

40 SWINBROOK BRIDGEsignedinscribed with title and numbered 43/45 below mountetching, from an edition of 454 1⁄2 x 6 1⁄4 inchesexecuted in 1931Literature: pages 50-51, 54Catalogue Raisonné no 22Exhibited: Royal Society of Painter-Etchers and Engravers, 1931, no 72;Royal Academy of Arts, Summer 1932, no 1109

SELECTED WORKS

‘His “Swinbrook Bridge”, sketched in the transient light of a passingstorm with troubled waters eddying vividly about its stone piers,

shows a fine old rugged picturesque significance.’(Malcolm Salaman (ed), Fine Prints of the Year, 1931)

26


42 STORM OVER POLE HILL, KENTsigned, inscribed ‘Pole Hill’ and numbered14/20etching, from a second edition of 20 in 19804 1⁄2 x 8 1⁄2 inchesexecuted in 1931Literature: page 65 (watercolour)Catalogue Raisonné no 27

43 PRIORY PONDsigned, inscribed with title and ‘13/25 2nd ed’inscribed ‘2nd ed. Merryhill Press 1st ed lost or incomplete during war.’etching, from a second edition of 25 in 19815 1⁄4 x 6 inchesexecuted in 1932Literature: page 58Catalogue Raisonné no 32

44 DARBY AND JOAN COTTAGEsigned, inscribed ‘Cottage Garden’ and dated 1937etching, from an incomplete edition of 155 1⁄2 x 3 3⁄4 inchesexecuted in 1935Catalogue Raisonné no 39Exhibited: Royal Society of Painter-Etchers and Engravers, 1938, no 129

SELECTED WORKS

27

46 OXFORDSHIRE COTTAGEsigned with initials and dated ’36 in platesignedetching, from an edition of 404 1⁄4 x 6 inchesexecuted in 1936Catalogue Raisonné no 40Exhibited: Royal Society of Painter-Etchers and Engravers, 1936, no 44

45 RICHMOND, YORKSsigned, inscribed with title and numbered 18/50etching, from an edition of 503 x 7 3⁄4 inchesexecuted in 1935Catalogue Raisonné no 37Exhibited: Royal Society of Painter-Etchers and Engravers, 1935, no 199

28


47 Nude48 Nude49 Nude50 Nude51 Two Nudes52 Beech Woods,

Abinger Hammer53 Christmas 1928. Pavilion

Hotel, Scarborough54 The Suicide55 Found Drowned, Shepton

Mallett, Somerset56 Beginning the Season,

Richmond57 Richmond Bridge58 Wareham Mill

[preliminary drawing]59 Wareham Mill60 Sketch for Lincolns Inn

N E Corner61 Rhayader. Wales62 Ludlow, April63 Blackheath Village from

the Heath64 Bergen Harbour, Norway65 Isleworth Reach66 Wadham College, Oxford67 From Weighton Road Flats68 ‘Here They Come!’

The Valley

1935: Tour of the USA for the American magazine, Fortune

69 New York70 Study for Rittenhouse

Square, Philadelphia, for‘Fortune’, New York

71 Meet Me at the Eagle72 Quebec Looking Back

Over Charles Bay fromCitadel

73 Sous Le Cap, Quebec

74 Richmond, Yorks75 Hampstead76 Hampstead77 Holly Bush Hill, Hampstead78 Study for Cheyne Row

(from the N) Etching and Painting

79 Wood Cutting

80 Multiwall Sacks81 View of Buckingham82 Adelphi Arches, John St83 Adelphi Arches,

Lower John St84 Abingdon85 Chegworth Mill86 In the Boatyard, Gosport87 Entrance to Docks,

Wapping88 Prospect of Whitby,

Wapping89 Study for Twickenham

Eel Pie Island90 Aldwych, London

1939: Illustrations to Clifford Bax, Highways and Byways of Essex

91 Great Chesterford92 Chrishall Church93 Manuden94 Stansted Hall95 Crown House, Newport96 Thaxted97 The South Porch,

Thaxted Church98 Helion Bumpstead99 Steeple Bumpstead100 Audley End101 Havering-atte-Bower

(Village Stocks)102 The Cattle Market,

Waltham Abbey103 Waltham Abbey104 Littlebury Mill, Near Ongar

105 A British Common[Clapham Common]

106 Dulwich Park107 Cliveden Reach108 Islington Alms Houses109 Collecting Grass for Silage

Heaps, Early Method, Near Eynsford

110 Mevagissey111 Horlicks Winter112 Near Hambledon (Henley)113 Near Henley114 Barn Interior,

Near Hastings115 Rowing Regatta at Durham

1945-47: London NorthEastern Railway Carriage Poster Designs

116 Alnmouth Viaduct117 Welwyn Viaduct118 Berwick on Tweed

119 A Harvest Display120 Studies for ‘Day at the

Fair’, Odhams Press, 1948121 Sweet Chestnut,

Knole Park, Kent122 Upavon123 Folkestone124 The Tower125 Alder, Dovedale126 Field Maple, W Wickham127 The Six Sisters: Sycamore.

Thorpe Hall, South Lincs128 Elms129 Water Glistens in the Fields130 Gloucestershire Valley

1955: Illustrations to Sir George Stapledon,Farm Crops in Britain

131 The Hops are Picked into 5 Bushel Baskets

132 Preparing the Land133 Typical Lincolnshire Fen

Farmland

134 Vale of Forth and StirlingCastle from SW

135 Smithia Rallies to Queen Enijay

136 February137 April

1958-66: Illustrations to Radio Times

138 On the Cornish Coast139 The Countryside in January140 The Countryside in October141 Walk in the Woods142 November: Bringing Down

the Sheep from the Hills, Cumberland

143 Farmyard144 Christmas Week,

Trafalgar Square

145 Oak, Brockenhurst Nr Bulmer Sussex

146 Cotswold Back Gardens147 Winter Skating148 Central Art School

Students Sketching at South Bank by Southwark Bridge

149 Lincoln Inn Fields

1963: Illustrations to Brian Vesey-Fitzgerald,The Ladybird Book of Trees

150 Elms, Common and Dutch151 Blackthorn in Blossom152 Ladybird Book of Trees

153 Northamptonshire154 Yorkshire155 Ludlow, November156 April157 May158 Bignor Church, Floodlit;

Bignor Church from theMile Oak

159 Cloud Studies160 Thunder Clouds Over

Duncton Hill161 Peat Cutting, Near

Dungiven, SperrinMountains

162 Hazlett Wood Farm,Knockholt, Kent

163 Old Oasts Near Pluckley,Kent

164 Skyscape, S Downs. Late Afternoon

165 K Shoes for the Country166 New Thatch, Sulgrave

Northamptonshire167 Swinbrook Church168 Stopham Bridge169 Bibury170 Summer in Devon

[preliminary drawing]171 Summer in Devon172 Bishop Auckland Bridge

Over Weir Near Durham

Further Etchings173 Dulwich Village S E174 Dulwich Park, London 1940

Further Works in the Exhibition

29

Royal Academy of Arts Summer Exhibitions

‘Aleroy’, Thorpewood Avenue, Sydenham, SE1930 1149 Shepton Mallet (etching)1931 943 Great Turnstile

1173 Richmond Bridge (etching)1932 1109 Swinbrook Bridge (etching)

1124 Potato Clamps, Kent (etching)1933 750 Pest House Farm, East Sheen

756 Abingdon1260 Priory Pond (etching)

17c Weighton Road, Anerley, SE1934 776 Chepstow

976 Westerham Mill1322 Wareham, Dorset (etching)

162 Croydon Road, Anerley, SE1935 1311 Cheyne Row (etching)

30 Crescent Grove, SW41936 940 Richmond, Yorkshire

1015 A Surrey Farm1938 786 Entrance to Wapping Docks1939 704 Polstead: Spring

716 A London Common

2 Charlecote Grove, SE261948 986 Durham from Wharton Park1949 538 Kelso1951 714 A Smattering of Snow near North-Leach

817 Whitehall from St James’s Park

52 Dacres Road, Forest Hill, SE231952 971 The Ouse, near Harrold

975 Ludlow: Spring Morning1953 755 A Bright Winter Day

785 Wharfedale1955 746 Evening: Maidenhead1956 695 Wear Giffard, Devon1957 864 Skating in St James’s Park

882 A View from Savoy Hotel

‘Coaters’, Bignor, Pulborough, West Sussex (Engraver)1960 867 Flooded Meadows1964 683 Sunset near Llangollen

1027 Central Building of Exeter University1965 963 Sidney Wood, Surrey1966 147 St James’s Park: Spring

Stane House, Bignor, Pulborough, West Sussex1968 255 Gilbert White’s Selbourne

‘Streamfield’, Bignor, Pulborough, West Sussex (Engraver)

1981 266 Priory Pond, Stroud Valley, Glos (etching)

Royal Society of Painter-Etchers and Engravers Exhibitions

1931 24 Dulwich Village 28 Burford72 Swinbrook Bridge180 Shepton Mallet

1932 42 Potato Clamps, Kent178 Richmond Bridge183 Priory Pond, Stroud

1933 107 Mill Street, W

1935 55 Cheyne Row, Chelsea199 Richmond, Yorkshire

1936 44 Cottage

1938 129 Cottage Garden

1956 Cheyne Row, ChelseaEvening Light, SevenoaksMill Street W

1979 71 Wareham, Dorset (E) PCC edition 1934

1981 47 Fallen Mill Sails60 Priory Pond, Glos72 The Stroud Canal, Glos

WORKS EXHIBITED AT ROYAL SOCIETIES

30


1932 Summer3 Mill Street, W48 The Season Commences –

Richmond76 Frome, Somerset90 Cornish Mill Farm151 Watercress Beds, near Dorking1932 Winter125 Ludlow, April140 The Severn Valley174 Dorset Farm180 Pest House Farm, Sheen186 Clapham Common1933 Summer39 Dursely Dough Trough and Cam

Peak, Gloucestershire1933 Winter4 The Conjunction of the Wye and

the Severn11 The Filter Beds, Snodland

Paper Mill42 The Creek, Snodland Paper Mill55 Uley, Gloucestershire66 Jackson’s Saw Mill, Uley233 Bergen, Norway1934 Summer2 Grey Day – Oxfordshire98 Isleworth191 Chelsea Street1934 Winter10 Cheyne Row, Chelsea94 Barnard Castle100 Dorking Valley102 Entrance to Fellows’ Garden,

Wadham College104 Reeth, Yorkshire1935 Summer5 Barnard Castle, Yorkshire132 Swinbrook Bridge, Gloucestershire1935 Winter55 Quebec92 Yacht Sheds, Poole1936 Summer48 Buoys in the Marine Yard, Quebec72 Avebury Stones, Wiltshire134 Yorkshire Wood1936 Winter2 The Rotunda, Stowe36 The Regents Canal,

near Paddington79 View of Buckingham

86 View of Alkham, Kent148 Last Man In1937 Spring72 Chegworth Mill, Top Floor78 Chegworth Mill, First Floor91 Chegworth Mill, Ground Floor1937 Autumn47 Cottage Garden107 Waites’ Boat House, Richmond140 Cottage Greenhouse1938 Summer14 Essex Stairs47 Parson’s Pleasure1938 Autumn50 Spring Sunday, Hyde Park142 Autumn, Suffolk154 Bourton-on-the-Water;

Bank Holiday160 Eel Pie Island, Twickenham1939 Summer4 Naunton, Gloucestershire101 The Temple Boat House, Isleworth124 Cheyne Row1939 Autumn20 Syon House, Isleworth23 Isleworth Ferry38 Cliveden Reach44 Kingston Bridge54 Essex Farm1940 Summer25 Piling Roots on a Frosty Morning29 A Sprinkling of Snow, Suffolk161 The Striped Field1941 Autumn25 A Mixed Copse33 Buckingham Landscape, Evening84 Buckingham93 Defences on the Kitchen Front102 Felmersham from the

Sharnbrook Road1942 Summer17 Long Melford Mill22 Moated Farmhouse, Northants116 Wareham Mill118 Cliveden Reach119 Rhayader1943 Autumn26 Hayfield30 Study of Winter Trees117 Nell Gwynne Farm and

Medmenham Church

Royal Watercolour Society Exhibitions

1944 Autumn113 Pre-War Sunday in Hyde Park123 Stooking before the Rain128 Quebec from the Ramparts129 Cornfields in the Thames Valley1945 Autumn65 Cartshed in Savernake Forest130 Henley Regatta, 1945135 Clearing Mist, February Morning152 Kingston Bridge176 Cutting Hay1946 Autumn132 The Keeper’s Cottage136 The Chapel in the Farmyard,

Porlock1947 Autumn21 Butley Priory, near Woodbridge60 Anaesthesia – Old Oak in

Staverton Forest191 The Dower House, Lavington Park1948 Autumn148 Bridges into Scotland154 Croxdale Bridges185 Bridges at Yarm, Yorkshire1949 Summer122 Knole Park, Sevenoaks123 Christchurch, Oxford, showing

proposed replanning of St Aldate’s202 Merton Fields, Oxford1949 Autumn193 Alnmouth, Northumberland1950 Summer100 Welwyn Viaduct1950 Autumn31 Braemar from Glen Calleter58 Leaf from a Sketch Book; Cotswolds64 Leaf from a Sketch Book; in the

Mournes75 Crockham Hill, Kent1951 Summer42 Ashton, Northamptonshire1951 Autumn2 Swalcliffe, Oxfordshire26 Barns at Ablington, Gloucestershire51 Springtime at Ratley1952 Summer15 Widdecombe in the Moor46 View from the Royal Festival Hall50 The Royal Festival Hall1952 Autumn23 Lulworth Cove

31

147 A Chiltern Valley1953 Summer48 A Chiltern Village109 Avebury Stones148 Sydenham Hill1953 Autumn62 St Ives from Porthminster1954 Summer17 Alford, Surrey21 Upper Tweedale25 Christmas Weather in the Village1955 Summer51 The Cotswolds in Spring146 Snowdon from Capel Curig1955 Autumn31 Perth35 Salisbury Plain, Thundery Weather52 Northumberland, near Housesteads127 The River Tay near Perth1956 Summer18 Roman Wall, Northumberland25 A Cotswold Hamlet50 Over Haddon, Derbyshire70 Ty Issa Farm, Vron, North Wales96 Upland Village, Derbyshire1957 Summer28 Leaf from a Sketch Book No 129 Study of two Lime Trees33 Leaf from a Sketch Book No 21957 Autumn95 A Monmouthshire Mountainside150 Knole Park, Autumn Study156 Castle Combe, Wiltshire1958 Summer22 Spring in the Cotswolds147 Ash Tree219 The Spinney1958 Autumn5 A Corner of the Greenhouse21 Drifted Snow, Kent27 March Snow1959 Summer24 Entrance to Peak Cavern,

Derbyshire1959 AutumnFolio Irish June In Mourne Mountains1960 Summer22 Late Autumn, Egg Bottom, Bignor26 Skating on Oakwood Pond133 Egg Bottom, Autumn1960 Autumn21 The Triangular Lodge, Rushton25 Winter Scene27 Magnolia Grandiflora

45 Kirby Hall, Northants1961 Summer18 Pulborough, Spring19 Snow on the South Downs1961 Autumn17 The Steep Wood96 The Ash Tree125 Stopham Bridge214 The Wilmington Yew1962 Autumn17 The Steep Wood96 The Ash Tree125 Stopham Bridge1963 Summer26 Winter Sunshine33 The Thaw49 Wiltshire Harvest1963 Autumn24 Bignor Hill, Spring28 Shoreham, Kent43 The River Vronwy1964 Summer26 An Old-fashioned Winter Scene53 Saxon Tower near Earls Barton1964 Autumn19 Leaf from Sketch Book, Duncton

Quarry23 Skating on the Mill Pond40 Bignor from the Mall Oak48 View from the edge of Bignor Park1965 Summer16 Clematis20 Salpiglossis58 Rostherne Mere, November133 Wilmington PrioryFolio Upper and Lower Slaughter1965 Autumn24 Riding School Exercising in the

Snow, Cowdray Park62 Cumulus Clouds gathering over the

S Downs105 Gordale Scar, Yorkshire107 Lower House, West Burton123 New Zealand v Dexter’s Eleven at

Arundel Park1966 Summer24 Kew Gardens, Spring84 Trees and Ponies124 Floods at Fittleworth1966 Autumn24 Arundel Roofs100 Arundel Castle, Spring183 The Ploughing Match, Bignor187 The Great Mangold Heap

1967 Summer27 Trees in a Park51 The Tall Tree [Bignor]109 A Wooded Bank1967 Autumn78 Lillies80 Magnolia Grandiflora114 Bolton Abbey, Wharfedale118 The Cowdray Hunt in Bignor ParkFolio Tree Study. Downs1968 Summer31 Kew Gardens, Autumn91 Crayke, Vale of York160 Clearing Mist, Kent1968 Autumn18 Dell Quay, Chichester Harbour132 Fallen Clapper Stones, Dartmoor163 Petworth from the S E1969 Summer30 Byeworth – Autumn95 Study of Lilies1969 Autumn19 Mr Fox Decides to go Home26 The Elder Tree159 First Time Round: Harvesting at

Wolstanbury Hill1970 Summer25 Milverton, Somerset26 Lodsworth28 November [Arundel]158 Clovelly195 Marine Yard, Quebec1970 Autumn17 Cornish Harbour98 Cheddar1971 Summer6 Winter Evening near Petworth

[Evening Snow]103 Great Shefford, Berkshire119 Mixed Conifers, April172 Warmington217 Floods near Fittleworth1971 Autumn15 The View from the Ilex Grove,

Bignor Park109 Deer Disturbed by Horsemen144 Yew and Whitebeam on the

South Downs1972 Summer27 Wiggenholt Church

(near Pulborough)49 Overcast Weather, Worcestershire128 Burpham, Spring

WORKS EXHIBITED AT ROYAL SOCIETIES


32

1972 Autumn33 ‘The Local’, Sutton, Sussex137 Trees at the Castle Entrance1973 Summer24 Cocking from the South26 The Old Farm Yard, Findon Place1973 Autumn26 Trees in April28 Old Oasts, Kent (near Pluckley)49 The Upper Reaches of the

River Severn125 Findon Place and Church, Sussex197 Study of Beeches [from Sketch

Book]1974 Summer24 A Corner of Dulverton28 Old Barn, Bignor50 Receding Floods, Pulborough1974 Autumn28 Old Barn, Bignor136 Oast Houses near Goudhurst1975 Summer8 Cavedale, Castleton, Derbyshire32 View from The Lamb Hotel,

Dulverton38 Gate and Guardroom on

Hadrian’s Wall49 From a Cave Entrance, Cavedale128 The Derbyshire Moors above

Tideswell130 Farm in the Vale of Firth1975 Autumn32 Deserted Barn74 Springhead Farm, early April104 Study for ‘Parham’106 Late Snow1976 Summer28 November Sunshine, Fittleworth34 Autumn Wedding, Findon135 Loading Timber in a West Country

Wood171 October Afternoon1976 Autumn25 Monoliths30 ‘Pick-it-Yourself ’ Fruit Farm52 Ash and Blackthorn on the South

Downs Way60 Snowy Morning, Mam Tor,

Derbyshire122 Harvesting Late into the Evening,

Amberley1977 Summer26 Peak Hole Waters, Castleton47 Shilton, Oxfordshire

67 Floods on the River Rother75 Frosty Evening, Patching Pond225 Sussex Cottage1977 Autumn5 Beacon Hill, near Ilkley32 Study for ‘Loch Linnhe’219 Swinbrook Church from the East1978 Summer32 Spring, Near Midhurst34 The Avon Gorge173 The Canal at Islington1978 Autumn65 Wheatham Hill, Autumn69 Study for ‘Polstead’1979 Summer22 Hunt at Little Barrington55 New Thatch (West Burton)60 Autumn afternoon, near Petersfield183 Repairing Weather-boarding, Bury1979 Autumn129 The Tulip Tree near Midhurst131 Oak before Ash1981 Summer35 Snow in the Dales49 The ‘Narrow Boat’, Grand Union

Canal, Islington54 Evening Light, Swinbrook150 The Lower Paddocks, Woolbeding1981 Autumn21 Offa’s Dyke, Shropshire Border23 Study for Willington Tithe Barn28 Amberley Castle from the Big Barn1982 Summer23 Ludlow, October Afternoon42 Leith Hill from the South1982 Autumn54 The Bridge and Mill at Boot,

Eskdale56 Market Morning, Farringdon1983 Summer29 Flood Waters, Stopham Bridge40 Pear Tree in Blossom 46 Autumn from my Studio1983 Autumn141 City Road Lock, Islington1984 Autumn

‘Three Hundredth Exhibition’ 59 Skating in St James’s Park60 Countisbury Hill, Lynmouth 62 Autumn in the Garden64 Study of Farmyard, Alkham, KentFolio Study for Trees in Park Hambledon1985 Autumn112 Memory of Shropshire

115 Bridge at Bishop Auckland1986 Summer209 Approaching the Lakes from

Cockermouth210 White Park Bay, N Ireland211 Peat Cutting near Dungiven1986 Autumn213 Ludlow in November215 Alnmouth: Study216 Cotswold Hamlet: Oddington1987 Summer144 Lulworth Cove from the West145 The Small Barn146 The Toboggan Slopes1987 Autumn229 The Old Mill, Bignor232 Weir Paddles, Benson Lock1988 Summer77 Exeter University from the East144 The River Ouse at Odell1988 Autumn84 The Ironstone Village,

Northampton86 Study of Beeches1989 Summer137 Early April near Henley

33

1939S R BadminVillage and Town(series ed by Noel Carrington, Puffin PictureBooks, no 16)Harmondsworth: Penguin Books Ltd(paperback, 7 ¼ x 8 ¾ inches, 32 pages,including cover)illustrated throughout in colour and black & white

Clifford BaxHighways and Byways in EssexLondon: Macmillan & Co Ltd(hardback, 7 ¾ x 5 inches, xvi + 360 pages)illustrated with black & white line drawings[with F L M Griggs]

1942S R BadminTrees in Britain(series ed by Noel Carrington, Puffin PictureBooks, no 31)West Drayton: Penguin Books Ltd(hardback/paperback, 7 x 8 ¾ inches, 32 pages)illustrated throughout in colour and black & white

1944Winston Hugh RoweTrees and Shrubs and How to Grow Them(Penguin Specials, S145)Harmondsworth: Penguin Books Ltd(paperback, 7 x 4 ½ inches, 192 + 12 pages)illustrated with black & white line drawings[with W H Rowe, and with 25 photographs byRichard St Barbe Baker and R C B Gardner]

1946-49Arnold Palmer (ed)Recording BritainLondon: Oxford University Press, inassociation with the Pilgrim Trust(4 volumes, each hardback, 10 x 7 ½ inches:Volume 1: xii + 224 pagesVolume 2: x + 220 pagesVolume 3: x + 228 pagesVolume 4: x + 238 pages)a black & white drawing by S R Badminappears on the dust jacket of volumes 2, 3 and 4; sepia plates of work by Badmin appearin volumes 1 and 2, covering London andMiddlesex, Buckinghamshire and Bedfordshirein the first; and Suffolk and Northampton andRutlandshire in the second[with many other illustrators]

1947Brenda ColvinTrees for Town and Country. A selection of sixtytrees suitable for general cultivation in England.Prepared for the Association of Planning andRegional ReconstructionLondon: Lund Humphries(hardback, 11 ¼ x 9 inches, 132 pages)illustrated throughout: dust jacket and black &white line drawings[with uncredited photographs]

List of Illustrated BooksThe first British edition is listed. Books for which Badmin only designed the dust jacket have not been included.

L IST OF ILLUSTRATED BOOKS

Phyllis NicholsonCountry BouquetLondon: John Murray(hardback, 8 ¾ x 5 ½ inches, v + 106 pages)illustrated throughout: dust jacket and black &white line drawings

1948The Children’s Wonder Book in Colour. Number TwoLondon: Odhams Press Ltd(hardback, 12 x 8 ¾ inches, 192 pages)illustrated with colour and black & whitedrawings to his own story, ‘All the Fun of the Fair’, pages 170-174[with many other illustrators]

James Lees-MilneNational Trust Guide: BuildingsLondon: B T Batsford(hardback, 7 ½ x 5 inches, viii + 184 pages)illustrated throughout: colour dust jacket andblack & white line drawings

Thomas SharpOxford ReplannedLondon: the Architectural Press for OxfordCity Council(hardback, 9 ¼ x 7 inches, 224 pages)illustrated with colour plates[with A C Webb, and with photographs, andreproductions of engravings and maps]

1949William Aspden and othersThe Nature Lover’s CompanionLondon: Odhams Press Ltd (hardback, 10 x 7 inches, 256 pages)(Reissued with small changes in 1958 as The Children’s Nature Book)illustrated with colour plates[with other illustrators]

Winston Hugh Rowe Tree and Shrub GrowingLondon: Faber & Faber(hardback, 8 ¾ x 5 ½ inches, 234 pages)(A rewritten and enlarged edition of Trees and Shrubs and How to Grow Them, 1944)illustrated with black & white line drawings[with W H Rowe, and with photographs byRichard St Barbe Baker, and others – though all are uncredited]

1950Park Browman and othersThe British Countryside in ColourLondon: Odhams Press Ltd(hardback, 10 x 7 inches, 192 pages)illustrated dust jacket and colour plates[with uncredited photographs]


34

1952Richard St Barbe BakerFamous TreesLondon: Dropmore Press(hardback, 9 x 6 inches, 118 + 14 pages,limited edition of 999 copies)illustrated throughout: dust jacket, coverprinted in gold, two-colour line drawings

1953BL Burtt, R S R Fitter, E F Kirby, Jack Pennington, A G StreetNature Through The Seasons in ColourLondon: Odhams Press Ltd(hardback, 10 x 7 inches, 192 pages)illustrated with colour plates[with other illustrators]

Ralph WightmanThe SeasonsLondon: Cassell & Co(hardback, 8 ¼ x 5 inches 168 + 4 pages)illustrated throughout with black & white line drawings

1955Sir George StapledonFarm Crops in Britain(series ed by Noel Carrington, Puffin PictureBooks, no 98)Harmondsworth: Penguin(paperback, 7 x 8 ¾ inches, 32 pages)illustrated throughout in colour and black & white

1958Geoffrey GrigsonThe Shell Guide to Trees and ShrubsLondon: Phoenix House(hardback, 11 ¼ x 8 ¼, 48 pages)illustrated throughout: colour cover and colourplates with black & white keys

1960Peter CollinsTrees of BritainLondon: The Sunday Times(card cover, 9 ¼ x 6 ½ inches, 68 pages)illustrated throughout: cover printed in red,black & white line drawings, some of whichhad appeared in two-colours in Famous Trees

1963Brian Vesey-FitzGeraldThe Ladybird Book of Trees(Ladybird Books. Nature Series)Loughborough: Wills & Hepworth(hardback, 7 x 4 ¼, 50 pages)illustrated throughout: colour dust jacket, blueprinted cover, colour plates and black & whiteline drawings

1964Geoffrey Boumphrey (ed)The Shell and BP Guide to BritainLondon: Ebury Press, in association with theRainbird Publishing Group(hardback, 8 ¾ x 5 ½ inches, xxxii + 808 pages)illustrated with colour plates[with many other illustrators]

Geoffrey Grigson, with James FisherShell Nature BookLondon: Phoenix House(hardback, 11 ¼ x 8 inches, 136 pages)(collecting the contents of The Shell Guide toTrees and Shrubs, 1958) [alongside ‘Flowers ofthe Countryside’ illustrated by Edith andRowland Hilder; ‘Birds and Beasts’ illustrated

by Maurice Wilson in collaboration withRowland Hilder; Fossils, Insects and Reptilesillustrated by Tristram Hillier; Wild Lifeillustrated by John Leigh-Pemberton; the coveris by Tom Adams]

1965The Reader’s Digest Complete Atlas of the British IslesLondon: The Reader’s Digest Association(hardback, 15 ½ x 10 ¾ inches, 230 pages)illustrated with black & white line drawings[with many other illustrators]

1968J A WilliamsBuilding and BuildersLondon: Longmans(paperback, 8 ½ x 5 ½ inches, 192 + 8 pages)illustrated throughout with black & white line drawings

1971John Arlott, Patrick Bailey, F R Banks and 23 othersAA Illustrated Guide to BritainLondon: Drive Publications Ltd for theAutomobile Association(hardback, 8 ½ x 10 inches, 544 pages)illustrated with colour illustrations[with Patrick Oxenham and Faith Shannon, andwith photographs]

1975No Through Road: the AA Book of Country Walks,London: Drive Publications for the AutomobileAssociation, 1975(Three elements collected together in ahardback ring binder, 11 ¾ x 9 inches:1. Walking in Britain: paperback, 11 ½ x 7 inches, 152 pages;2. Selected Walks: 207 loose leaves, 11 ¼ x 7 ½ inches;3. Walker’s Handbook: paperback, 7 ½ x 4 ¾ inches)illustrated with colour illustrations[with many other illustrators, and withphotographs by Patrick Thurston]

35

Catalogue Raisonné of Prints


36

1 1927 Hawes Farm, West Wickham 21.9 x 39.7 cm 35 Twenty-One Etching Signed, inscribed ‘Hawes Farm, W Wickam [sic],8 5⁄8 x 15 5⁄8 in Gallery Kent’, and dated ’27 in the plate.

Etched at the Royal College of Art in 1927.Published in 1928.Exhibited: Twenty-One Gallery, 1929, 3 1⁄2 gns.Collection of the Ashmolean Museum, Oxford (2/35).‘Now a suburban development’ (SRB Etching Notes).

2 1927 Addington, Surrey 16.2 x 27.3 cm 40 Twenty-One Etching Near West Wickham.6 3⁄8 x 10 3⁄4 in Gallery Originally titled ‘Addington, Kent, Surrey,

near Croydon’ and ‘Kent has been struck out’ (SRB Etching Notes).Etched at the Royal College of Art in 1927.Published in 1928.Exhibited: Twenty-One Gallery, 1929, 3 1⁄2 gns.Collection of the Ashmolean Museum, Oxford (4/40).SRB also notes that there was a proof of this in the pub, ‘The Cricketers’ in Addington Village and that it is ‘now suburban’ (SRB Etching Notes).

3 1927 Elms at West Wickham 16.2 x 27.3 cm 40 Twenty-One Etching ‘Layhams Farm’ added to title inscribed by SRB6 6⁄8 x 10 3⁄4 in Gallery on etching 26/40.

Also known as ‘Elms Near West Wickham’ (as in Fine Prints of the Year, 1928).Etched at the Royal College of Art in 1927.Exhibited: Twenty-One Gallery, 1929, 2 gns; Fine Art Society, February 1933, no 58, £2.12.6.

4 1927 Old Oak at West Wickham 10.5 x 13 cm 35 Twenty-One Etching ‘2nd St trial on toned Jap inscribed “The Old Oak.4 1⁄8 x 5 in Gallery Corner of W Wickham Common, Kent July 1927”’.

Later inscribed ‘Houses all around now but treepreserved (but in a sorry state) 1960’ (SRB Etching Notes).Exhibited: Twenty-One Gallery, 1930.Collection of the Ashmolean Museum, Oxford (5/35); Kemper Art Museum, Washington University in St Louis: the gift of Dr Malvern B Clopton, 1938.

No Year Title Size Edition Published Medium Notes

CATALOGUE RAISONNE OF PRINTS

37

5 1928 Elm and Cart at Mells, 15.5 x 12 cm 35 Twenty-One Etching Called ‘Elm at Mells Somerset’ in Fine Prints of the Year,Somerset 6 1⁄8 x 4 3⁄4 in Gallery 1928, where the edition is listed as 25.

Published in 1928 at 2 gns.Exhibited: Twenty-One Gallery, 1930; Colnalghi, New York, 1930, $96; Fine Art Society, February 1933,no 42, £2.12.6, as ‘Elms Near Mells, Somerset’.

6 1928 The Tip Cart 9.8 x 13 cm 35 Twenty-One Etching Also known as ‘The Dung Cart’.3 7⁄8 x 5 1⁄8 in Gallery Signed with initials and dated 28 in plate.

1st state has a Dutch barn in the background,which is eliminated in the second state.Etched at the Royal College of Art.Exhibited: Twenty-One Gallery, 1929; Fine Art Society, February 1933, no 33, £2.12.6.

7 1928 Shops at Shere 13 x 21 cm – – Lithograph SRB remembered doing this at the Royal College of5 x 8 3⁄8 in and colour Art in 1928. Not published.

8 1928 Shere, Surrey 16.2 x 20 cm 10 Twenty-One Aquatint SRB remembered doing this at the Royal College of6 3⁄8 x 8 in Gallery Art in 1928.

9 1929 Mells, Somerset 14 x 18 cm 40 Twenty-One Etching The third trial of the 2nd state was tried on vellum paper.5 1⁄2 x 7 1⁄8 in Gallery Fine Prints of the Year, 1929 stated it was priced at 2 gns

on publication.Collection of Davison Art Center, Wesleyan University,Connecticut: the gift of George W Davison, 1937 (ed 16/40).


38


10 1929 The Field Corner 12 x 16.2 cm 40 Twenty-One Etching Somerset. 4 3⁄4 x 6 3⁄8 in Gallery ‘My Aunt and Uncle’s field (top end of Holcombe)

(nr Radstock)’ (SRB Etching Notes).Signed with initials in plate.Exhibited: Twenty-One Gallery, 1929; Fine Art Society, February 1933, no 21, £2.12.6; McDonald’s Gallery, New York, 1936.Collection of the British Museum: donated by Herbert Stuart Pakington, 4th Baron Hampton, 1955 (23/40); Davison Art Center, Wesleyan University, Connecticut:the gift of George W Davison, 1942 (ed 8/40); Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman Jr (A/P).Illustrated: C Geoffrey Holme (ed), Etchings of Today, 1929.

11 1929 Coleford, Somerset 14 x 20 cm 40 Twenty-One Etching Also known as ‘A Carrying Funeral’.5 1⁄2 x 8 in Gallery Signed with initials in plate.

Edition printed on a vellum paper.Exhibited: Twenty-One Gallery, 1930, 2 1⁄2 gns; McDonald’s Gallery, New York, March 1936.

12 1929 The Old Ash 14 x 10 cm 40 Twenty-One Etching In Tanyard Farm, Cuckfield, Sussex. Also known5 1⁄2 x 4 in Gallery as ‘The Ash Bole’.

Signed with initials in plate.Exhibited: Twenty-One Gallery, 1930, 2 gns; Fine Art Society, February 1933, no 54, £2.12.6; McDonald’s Gallery, New York, 1936; Fine Art Society, June 1937, no 2, 2 gns; Worthing Art Gallery, 1967, no 113.Collection of the Aberystwyth University School of Art: purchased from the Twenty-One Gallery in 1931 (39/40); the Ashmolean Museum, Oxford; the British Museum: donated by SRB in 1934 (A/P); the Museum of New Zealand: the gift of Mrs Harold Wright in 1965.


39


13 1929 Tanyard Farm 13 x 17.5 cm 40 Twenty-One Etching Near Cuckfield, Sussex.5 x 6 7⁄8 in Gallery Artist’s proofs were done in warm black ink on heavy

Whatman paper.Exhibited: Twenty-One Gallery, 1929; Fine Art Society, February 1933, no 59, £3.13.6.‘This etching was used to illus the Colnalghi advertisement in Country Life for their 1975 exhib (15 Apr-16 May) entitled, “The Early Ets of Graham Sutherland and Romantic Landscape Ets and Woodcutsin Engl from 1850-1931”’ (SRB Etching Notes).Collection of the Aberystwyth University School of Art: purchased from the Twenty-One Gallery in 1931 (32/40); Martin Art Gallery, Muhlenberg College: Florence Foerderer Tonner Collection.

14 1929 Suburbia 11 x 9.2 cm 25 Twenty-One Line ‘Based on Girton and Tannsfeld roads, Sydenham SE26.4 3⁄8 x 3 5⁄8 in Gallery Engraving Lived at 33 Girton when 10’ (SRB Etching Notes).

Inscribed with title in the plate below the image. Signedwith initials and dated 29 on the road sign in the plate.Exhibited: Twenty-One Gallery, 1929; Fine Art Society, February 1933, no 66, £2.12.6; Worthing Art Gallery, 1967, no 118.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 46.

15 1929 Lime Kilns, Pole Hill, Kent 9.5 x 12 cm – – Line Also known as ‘Deserted Kilns’.3 3⁄4 x 4 3⁄4 in Engraving Engraved at the Royal College of Art.

Not published.‘Kilns at Pole Hill (Kent) Chalk Quarry. 2nd trial of Deserted Kilns is the only “clean” print of 3’ (SRB Etching Notes).

16 1930 Evening Light near Sevenoaks, 13 x 16.5 cm 40 Twenty-One Etching The artist’s proof was done on fine Dutch laid paperKent 5 1⁄8 x 6 1⁄2 in Gallery in December 1929.

Exhibited: Fine Art Society, 1933, no 13; McDonald’s Gallery, New York, 1936; Royal Society of Painter-Etchers and Engravers, 1956; Worthing Art Gallery, 1967, no 2.Collection of the Aberystwyth University School of Art:purchased from the Twenty-One Gallery in 1931 (23/40); the Ashmolean Museum, Oxford (36/40, inscribed ‘(Riverhead) nearer Pole Hill (in distance)’).Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 53 (Artist’s Proof ).


40


17 1930 New Hop Poles 15.2 x 13.4 cm 30 Twenty-One Etching View near Riverhead and Pole Hill, near Sevenoaks, Kent6 x 5 1⁄4 in Gallery Also known as ‘Hop Valley’.

Exhibited: Twenty-One Gallery, 1930, 3 gns; Fine Art Society, February 1933, no 38, £3.13.6; Worthing Art Gallery, 1967, no 117.Collection of the Ashmolean Museum, Oxford (30/30);Davison Art Center, Wesleyan University, Connecticut:the gift of George W Davison, 1939 (12/30).

18 1929 Shepton Mallet, Somerset 14 x 7.3 cm 50 Twenty-One Etching Regarded by SRB as one of his best. 5 1⁄2 x 2 7⁄8 in Gallery Exhibited: Royal Academy of Arts, 1930, no 1149;

Royal Society of Painter-Etchers and Engravers, 1931, no 180; Fine Art Society, 1933, no 15, £2.12.6; McDonald’s Gallery, New York, 1936; Worthing Art Gallery, 1967, no 115.Collection of the British Museum: donated by the Contemporary Art Society in 1936 (inscribed ‘This is a reversed view of the old town from the new road viaduct. Somerset’); Herbert F Johnson Museum of Art,Cornell University: the bequest of William P ChapmanJr (49/50) (the collection also holds the drawing on which the etching is based); National Gallery of Canada: the gift of the David Lemon Collection, 1989.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 52 (no 22/50illustrated).Literature: Malcolm Salaman, ‘A chat with the print lover’, The Studio, April 1930.

19 1929 The Abbey Barn, Doulting 11.4 x 14 cm 30 Twenty-One Etching The tithe barn is in Doulting, near Shepton Mallet,4 1⁄2 x 5 1⁄2 in Gallery Somerset.

Signed with initials and dated 29 in the plate.Some drypoint in the second and final state.Exhibited: Twenty-One Gallery, 1930; Fine Art Society, February 1933, no 34, £3.3.0; McDonald’s Gallery, New York, March 1936; Worthing Art Gallery, 1967, no 3, as ‘Doulting Tithe Barn’.Collection of the British Museum: donated by Herbert Stuart Parkinson, 4th Baron Hampton in 1955 (7/30); Davison Art Center, Wesleyan University, Connecticut:the gift of George W Davison, 1944 (16/40); Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr (the collection also holds the drawing on which the etching is based).Illustrated: Colour, April 1930.


41


20 1930 Dulwich Village S E 13 x 17.8 cm 50 Twenty-One Etching ‘Dulwich College kids, my 1st wife, my children5 x 7 in Gallery exercising’ (SRB Etching Notes).

Inscribed with title in the plate below the image. Signed with initials and dated ’30 in plate.Exhibited: Royal Society of Painter-Etchers and Engravers, 1932, no 24; Fine Art Society, February 1933, no 45, £3.13.6; Lannards Gallery, Billingshurst, 1988, no 15 (46/50); Worthing Art Gallery, 1967, no 6.Collection of Brooklyn Museum: the gift of James K Callaghan; Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman,Jr; National Gallery of Canada: the gift of the David Lemon Collection, 1989 (the collection also holds the drawing on which the etching is based); Southwark Council.

21 1930 Deserted Barn, Chipstead 15.2 x 25.5 cm – – Etching Three trial proofs, some chalked. Not published, plate Surrey 6 x 10 in destroyed and back polished and cut for ‘Backways,

Trebarwith’ (SRB Etching Notes).

22 1931 Swinbrook Bridge 10 x 15.2 cm 45 Twenty-One Etching Swinbrook Bridge is near Burford, Oxfordshire; 4 x 6 in Gallery it was replaced during the Second World War.

An edition of 45 was taken from the 8th state. ‘Near Witney, N of A40 on Windrush river. The sky was re-worked many times’ (SRB Etching Notes).Exhibited: Royal Society of Painter-Etchers and Engravers, 1931, no 72; Royal Academy of Arts, 1932, no 1109; Fine Art Society, February 1933, no 40, £3.3.0; McDonald’s Gallery, New York, 1936; Fine Art Society, July 1937, no 49, 2 1⁄2 gns; Leicester Galleries, 1955, no 2, as ‘Old Swinbrook’; Worthing Art Gallery, 1967, no 9.Collection of the Aberystwyth University School of Art: purchased from the Twenty-One Gallery in 1931 (14/30); the Ashmolean Museum, Oxford; the British Museum: donated by Contemporary Art Society in 1934 (10/30, ‘trial of st’); Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr; Yale Center for British Art: the G Allen Collection, 1994 (trial 2nd state).Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 54.


42


23 1931 Fallen Mill Sails 1.4 x 13 cm 35 Twenty-One Etching ‘Sketched somewhere in Kent, south of Edenbridge’.4 1⁄2 x 5 in Gallery Signed with initials in the plate.

Exhibited: Fine Art Society, 1933, no 23; McDonald’s Gallery, New York, 1936; Worthing Art Gallery, 1967, no 114; Royal Society of Painter-Etchers and Engravers,1981, no 47; Lannards Gallery, Billingshurst, 1988, no 16 (26/35).Collection of the Aberystwyth University School of Art:bought from the Twenty-One Gallery in 1931 (10/35); the British Museum: donated by Herbert Stuart Pakington, 4th Baron Hampton in 1955 (12/35); Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 55.

24 1931 Richmond Bridge, Surrey 11.4 x 16.5 cm 50 Twenty-One Etching Exhibited: Royal Academy of Arts, 1931, no 1173; 4 1⁄2 x 6 1⁄2 in Gallery ‘First International Exhibition of Etching and Engraving,

Art Institute of Chicago, March-May 1932, no 89, $20; Royal Society of Painter-Etchers and Engravers, 1932, no 178; Fine Art Society, February 1933, no 53, £4.14.6 (study also exhibited, no 3, £4.4.0); McDonald’s Gallery, New York, 1936, as ‘Richmond-on-Thames’; Fine Art Society, June 1937, no 50, 4 gns; Worthing Art Gallery, 1967, no 11, as ‘Richmond Bridge over the River Thames’.Collection of the British Museum: donated by Contemporary Art Society in 1936 (A/P); HerbertF Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr.Illustrated: The Studio, November 1931, page 348; Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 56.


43


25 1931 Burford, Oxfordshire 14 x 20 cm 45 Twenty-One Etching Inscribed with title in the plate below the image.5 1⁄2 x 8 in Gallery Signed with initials in the plate.

Five states including trial proof without lettering on plate.Exhibited: Royal Society of Painter-Etchers and Engravers, 1931, no 28; Fine Art Society, February 1933, no 14 (study also exhibited, no 50, £5.5.0); McDonald’s Gallery, New York, 1936; Fine Art Society,June 1937, no 1 (trial proof before lettering) 6 gns; Worthing Art Gallery, 1967, no 1.Collection of the Aberyswyth University School of Art:bought from the Twenty-One Gallery in 1931 (33/45); the Ashmolean Museum, Oxford; the British Museum: donated by Contemporary Art Society in 1933 (1/45); Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr.Illustrated: Kenneth Garland, British Etchers 1850-1940, London: Robin Garton, 1977, plate v.

26 1931 Stroud Canal, 12 x 17.8 cm – – Etching Signed with initials and dated 31 in the plate; regardedGloucestershire. 4 3⁄4 x 7 in by SRB as unfinished. Eight run off from the 1st state.

Exhibited: Fine Art Society, 1933, no 28.

1980 12 x 17.8 cm 15 Merrihill Etching Exhibited: Royal Society of Painter-Etchers and Engravers,4 3⁄4 x 7 in Press, 1981, no 72, as ‘The Stroud Canal, Glos’; Lannards

Dyfed Gallery, Billingshurst, 1988, no 19 (4/15 hand-coloured).

27 1931 Storm over Pole Hill, Kent 10.8 x 21.6 cm – – Etching Printed in black.4 1⁄4 x 8 1⁄2 in

1980 10.8 x 21.6 cm 20 Merrihill Etching A few only were printed in black plus two colours.4 1⁄4 x 8 1⁄2 in Press,

Dyfed Dyfed

1980 10.8 x 21.6 cm 15 Merrihill Hand- Exhibited: Lannards Gallery, Billingshurst, 1988, no 17 4 1⁄4 x 8 1⁄2 in Press, coloured (9/15 hand-coloured).

Dyfed Etching

28 1931 The Old Hedger … 8.9 x 8.9 cm – – Etching Four prints only made. Not published. at dinner break 3 1⁄2 x 3 1⁄2 in SRB Etching Notes state a different size:

10.8 x 9.7 cm, 4 1⁄4 x 3 7⁄8 in.

29 1931 Ide Hill, Kent 12 x 21 cm – – Etching One state only, not published. Three prints only made.4 3⁄4 x 8 1⁄4 in


44


30 1931 Beeches in Ashdown Forest 12 x 21 cm – – Etching One print only, signed, inscribed with title and ‘A/P 4 3⁄4 x 8 1⁄4 in Trial’ in pencil.

31 1931 Potato Clamps 10 x 18 cm 25 Twenty-One Etching Also known as ‘Sorting Potatoes’. Keston,4 x 7 1⁄8 in Gallery Biggin Hill, Kent.

‘You can see the straw ventilation going up, covered with earth, like little chimneys’ (SRB).Signed with initials and dated 31 in the plate.Exhibited: Royal Society of Painter-Etchers and Engravers, 1932, no 42; Twenty-One Gallery, July 1932;Royal Academy of Arts, 1932, no 1124; Fine Art Society, February 1933, no 46, £3.13.6 (study also exhibited, no 11, £5.5.0); McDonald’s Gallery, New York, 1936; Leicester Galleries, 1955, no 1; Worthing Art Gallery, 1967, no 10.Collection of the Ashmolean Museum, Oxford (15/25); the British Council; the British Museum: donated by SRB in 1934 (A/P).Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 7.

32 1932 Priory Pond 13.4 x 15.5 cm 30 Twenty-One Etching Priory Pond is near Kingstanley, Stroud, Gloucestershire.5 1⁄4 x 6 1⁄8 in Gallery Signed with initials and dated 32 in the plate.

The 1st edition and records were lost in the war but the plate survived.Exhibited: Royal Society of Painter-Etchers and Engravers, 1932, no 183; Royal Academy of Arts, 1933, no 1260; Fine Art Society, February 1933, no 39,£4.14.6; McDonald’s Gallery, New York, 1936; Fine ArtSociety, July 1937, no 47, 4 gns; Worthing Art Gallery, 1967, no 7, as ‘Priory Pond, Stroud’. Collection of Boston Museum of Fine Arts: the gift of Dr Fritz Talbot in 1937 (24/30); the British Museum: donated by Contemporary Art Society in 1941; Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr; Kemper Art Museum, Washington University in St Louis: the bequest of Dr Malvern B Clopton, 1938; Yale Center or British Art: the G Allen Smith Collection in 1994.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 58.


45


1981 Priory Pond 13.4 x 15.5 cm 25 Merrihill Etching Reprint. Black ink.5 1⁄4 x 6 1⁄8 in Press, Exhibited: Royal Society of Painter-Etchers and

Dyfed Engravers, 1981, no 60, as ‘Priory Pond, Glos’.

13.4 x 15.5 cm 20 Merrihill Hand- Reprint. Hand-coloured.5 1⁄4 x 6 1⁄8 in Press, Coloured Exhibited: Royal Academy of Arts, 1981, no 266

Dyfed Etching (hand-coloured); Lannards Gallery, Billingshurst, 1988,no 20 (11/20)

1981 Priory Pond 13.4 x 15.5 cm – Merrihill Coloured A few only were printed in colours.5 1⁄4 x 6 1⁄8 in Press, Etching

Dyfed

33 1932 Mill Street, W 14.6 x 17.1 cm 25 Twenty-One Etching ‘The 21 Gallery Mill St (bombed during the war: 5 3⁄4 x 6 3⁄4 in Gallery now continuation of Savile Row) the Artist going in’

(SRB Etching Notes).Exhibited: Twenty-One Gallery, 1932; Fine Art Society, February 1933, no 22, £3.13.6 (study also exhibited no 31, £5.5.0); Royal Society of Painter-Etchers and Engravers, 1933, no 107; McDonald’s Gallery, New York, 1936; Fine Art Society, July 1937, no 4, 3 gns; Royal Society of Painter-Etchers and Engravers, 1956; Child’s Gallery, Boston, 1978, $275.Collection of the Ashmolean Museum, Oxford (19/25); the British Museum: donated by the Contemporary Art Society in 1941 (21/25); the Museum of London.Illustrated: Fine Prints of the Year, 1932.Literature: The Studio, February 1933, page 98 (watercolour of the same view); Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 59.

34 1932 Cornish Farm, Trebarwith 11.8 x 14.6 cm – – Etching ‘Done after Sept 1930 – on the back of Deserted 4 5⁄8 x 5 3⁄4 in Barn plate’ (SRB Etching Notes.)



46

35 1932 The Old Slate Quarry / 19 x 14 cm – – Drypoint The only full drypoint. Coast at Tintagel / Backways, 7 1⁄2 x 5 1⁄2 in Inscribed on 1st trial ‘On the cliff at Trebarwith: The Trebarwith old slate quarry, but the building in the foreground

could be an old lead mine’. ‘Backways Cove, just roundthe S Headland Trebarwith Strand’ (SRB Etching Notes).

36 1934 Wareham, Dorset 13.4 x 15.9 cm 50 Print Etching ‘PC’ had been inserted with slight addition of sepia 5 1⁄4 x 6 1⁄4 in Collectors’ in the final state. Six Artist’s Proofs.

Club Signed with initials, inscribed ‘CP’ and dated 1934 on a shop sign in the plate.Exhibited: Fine Art Society, 1933, no 20; Royal Academy of Arts, 1934, no 1322; Royal Society of Painter-Etchers and Engravers, 1934; McDonald’s Gallery, New York, 1936; Worthing Art Gallery, 1967, no 4; Royal Society of Painter-Etchers and Engravers, 1979, no 71.Collection of the Ashmolean Museum, Oxford; the British Museum, acquired in 1934; the Herbert F Johnson Museum of Art, Cornell University: the bequest of William P Chapman, Jr; National Gallery of Canada: purchased 1934.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 60 (final trial ofthe final state illustrated).

37 1935 Richmond, Yorks 7.3 x 18 cm 50 Fine Art Etching Priced at £2.10.0 on publication.2 7⁄8 x 7 1⁄8 in Society Some proofs were hand-coloured.

Exhibited: Royal Society of Painter-Etchers and Engravers, 1935, no 199; McDonald’s Gallery, New York, 1936; Worthing Art Gallery, 1967, no 116.Collection of the Whitworth Art Gallery, acquired in 1943.



47

38 1935 Cheyne Row, Chelsea 15 x 15.2 cm 50 Fine Art Etching Priced at £3.10.0 on publication.5 7⁄8 x 6 in Society Exhibited: Royal Academy of Arts, 1935, no 1311;

Royal Society of Painter-Etchers and Engravers, 1935, no 55; Fine Art Society, July 1937, no 48, 3 1⁄2 gns; Royal Society of Painter-Etchers and Engravers, 1956; Worthing Art Gallery, 1967, no 5.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 61.

39 1935 Darby and Joan Cottage 12.4 x 16.5 cm 15 Fine Art Etching Also known as ‘The Cottage Garden’.4 7⁄8 x 6 1⁄2 in Society Near Bures and Assington, Essex. ‘Done from a wc

I did near Bures, Essex. Darby and Joan set-up: smoked hams in the chimney’ (SRB Etching Notes).A hand-coloured edition of 15 was started.Exhibited: Royal Society of Painter-Etchers and Engravers, 1938, no 129; Lannards Gallery, Billingshurst, 1988, no 18 (5/15 hand-coloured).

40 1936 Oxfordshire Cottage 10.5 x 15.5 cm 40 Fine Art Etching Near Woodstock.4 1⁄8 x 6 1⁄8 in Society Signed with initials and dated 36 in the plate.

Exhibited: Royal Society of Painter-Etchers and Engravers, 1936, no 44, as ‘Cottage’; Fine Art Society, June 1937, no 3, 2 1⁄2 gns as ‘Oxford Cottage’.

Additions to the Catalogue Raisonné published in 1985

41 c1927 The Lovers 7.6 x 10.1 cm – – Woodcut One copy inscribed ‘Sydenham Hill above 3 x 4 in Charlecote Grove SE26’.



48

42 c1927 Shirley Hills 10.1 x 7.6 cm – – Woodcut One copy inscribed ‘Shirley Hills Kent. Near Croydon’.4 x 3 in

43 c1927 Sailor’s Girl 7.6 x 12.7 cm – – Etching Known only from the destroyed plate.3 x 5 in SRB inscribed the title on a sheet of paper containing

this and other destroyed plates.

44 c1927 Nude 2nd 12 x 9.1 cm – – Etching One copy inscribed ‘1st trial 1 of st & only st’.4 3⁄4 x 7 1⁄2 in

45 c1936 The Adelphi Arches: 12 x 16.5 cm – – Etching Signed ‘SRB’ in the plate.Lower Robert St, London 4 3⁄4 x 6 1⁄2 in Not published. To be printed in 2015.



46 c1929 Boat Builders 13 x 19 cm – – Etching Not published. To be printed in 2015.7 1⁄2 x 5 1⁄8 in

47 1939 Down for a Refill 12.5 x 20 cm Artists Lithoplate Barrage Balloons on Clapham Common.4 7⁄8 x 7 7⁄8 in International Collection of the British Museum: purchased from the

Association Artists’ International Association in 1940 (on the same sheet as a copy of ‘A British Common’); Manchester Art Gallery; Tate Archive.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 20.

48 1939 A British Common 12.5 x 20 cm Artists Lithoplate Digging a Gunsite on Clapham Common.4 7⁄8 x 7 7⁄8 in International Collection of the British Museum: purchased from the

Association Artists’ International Association in 1940 (on the same sheet as a copy of ‘Down for a Refill’); Manchester Art Gallery; Tate Archive.Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 21.

49 1940 Dulwich Park Jan 1940 17.2 x 27.4 cm Artists Lithoplate Skating in Dulwich Park.6 3⁄4 x 10 3⁄4 in International Collection of the Tate Archive.

Association


C H R I S B E E T L E S8 & 10 Ryder Street, St James’s, London SW1Y 6QB

020 7839 7551 [email protected] www.chrisbeetles.com

Documents

S R BADMIN RWS