S R BADMIN RWS

SR BADMIN RWS Paintings, Drawings & Prints

To Eric Pearce who was first in the queue Copyright © Chris Beetles Ltd 2015 8 & 10 Ryder Street St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com ISBN 978-1-905738-67-0 Cataloguing in publication data is available from the British Library

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Written and researched by Chris Beetles, Fiona Nickerson and David Wootton Edited by Fiona Nickerson and David Wootton Design by Jeremy Brook of Graphic Ideas Photography by Julian Huxley-Parlour Reproduction by www.cast2create.com Colour 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

Cover: This page: This page: Title page: Contents page:

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

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S R BADMIN

RWS

Paintings, Drawings & Prints

CHRIS BEETLES 8 & 10 Ryder Street, St James’s, London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

Contents Introduction

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Chronology of Life and Work

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Selected Works in the Exhibition

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Further Works in the Exhibition

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Works Exhibited at Royal Societies Royal Academy of Arts Summer Exhibitions

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Royal Society of Painter-Etchers and Engravers Exhibitions Royal Watercolour Society Exhibitions 2

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List of Illustrated Books 33 Catalogue RaisonnĂŠ of Prints 35

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I N T RO DU CT I O N

Introduction Thirty years ago I wrote the biography of Stanley Roy Badmin RWS: S R Badmin and the English Landscape. It was my first book and my first commission. I was given a very small fee (I would have paid to do it) and a deadline of a few months. Though familiar with the work, I had spent years trying to buy everything I could find, and would queue for hours at the RWS biannual exhibitions; I now had to get to know the artist. This project was made more difficult by the reluctant subject, revered for his lifetime as a watercolour artist, but known for a love of privacy and long lone working practices. However, in the hours spent as inquisitive amanuensis in his taciturn presence, I learnt much about him and how to see and respond to beauty in the English Landscape. His ‘silence’, as Thomas Hardy writes of one his Wessex countrymen in Under the Greenwood Tree, ‘was wunnerful to listen to’.

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Chris Beetles 2015

S R Badmin (1906-1989)

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

Chronology of Life and Work 1925 Married Margaret (Peggy) Georgina Colbourn, a company secretary to an estate agent. Transferred from the painting to the design school, and studied under Randolph Schwabe and E W Tristram, among others 1925-26 Charles James Badman built ‘Aleroy’, 45 Thorpewood Avenue, Sydenham, London, SE26, for SRB and Peggy 1927 Having specialised in book illustration, was awarded his ARCA diploma 21 May 1927 Had his first works reproduced in colour, in The Graphic

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18 April 1906 Born at 8a Niederwald Road, Sydenham, London, SE26, the second of three sons of Charles James Badman, a teacher, and his wife, Margaret (Madge) Raine, both of whom had come from Somerset Later wrote to a family historian that ‘my father got us to spell our name with an “i” – it was supposed to divert the jeers & insults at school – but not on your life’ 1909 Birth of his younger brother, Eric Raine Badmin Attended Sydenham School With his family, stayed regularly with his paternal grandfather, Charles James Badman, a carpenter and cabinet maker, in the village of Holcombe, in the Mendips, in Somerset

1927-28 Took a range of courses at the RCA and Camberwell, in preparation for an art teacher’s diploma. These courses included instruction in etching at the RCA from Malcolm Osborne and Robert Sargent Austin. Produced his first etchings: Hawes Farm; Addington, Kent; Elms at West Wickham; Old Oak at West Wickham [CR 1-4] 11-31 January 1930 Held his first solo show, at the Twenty-One Gallery, 15 Mill Street, London, W1 Summer 1930 Began to exhibit at the Royal Academy of Arts

By 1916 Living at 33 Girton Road, Sydenham, London, SE26 1919 Won a scholarship to Camberwell School of Arts & Crafts, London, but had to withdraw from it in order to broaden his general education.

Attended the evening school at Camberwell while receiving private tuition in order to pass his external matriculation. Failed to matriculate three times, and finally advanced with a City & Guilds diploma 1922 Studied at Camberwell School of Arts & Crafts under J Cosmo Clark and Thomas Derrick, among others 1924 Won a studentship to the Royal College of Art, London, to study painting

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

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

By 1932 Had a studio at Clapham Common, London, SW4, which was certainly at 20 Crescent Grove in 1938-39 1932 Elected an associate of the Royal Society of Painters in Water-Colours (ARWS), and began to exhibit at its exhibitions Bought his own printing press Death of his elder brother, Alan Charles Badmin February 1933 Held ‘Drawings and Etchings by S R Badmin, ARWS ARE’, the first of two solo shows at the Fine Art Society, 148 New Bond Street, London, W1

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August 1933 Visited Bergen, Norway 23 December 1935-1 January 1936 Visited France

16 March-4 April 1936 Held ‘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 1936 As an enthusiastic amateur footballer, played for the Casuals Football Club Began to teach etching one afternoon a week at St John’s Wood School of Art, with the P F Millard as co-principal As a result of developing political awareness, persuaded by James Holland to join the Artists’ International Association (AIA) 64

1934 Began to teach two mornings a week at Richmond School of Art Living at 17c Weighton Road, Anerley, London, SE20 1935 Elected a member of the Royal Society of Painter-Etchers and Engravers (RE) Living at 162 Croydon Road, Anerley, London, SE20

March 1936 ‘Artists of Note: Number 13: S R Badmin, ARWS RE’, published in The Artist, pages 22-24 13 June 1936 Birth of his first child, Patrick Alan Badmin June 1937 Held ‘Water-Colours, etc, by S R Badmin, ARWS RE’, the second of two solo shows at the Fine Art Society

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

1939 Resigned from the Royal Society of Painter-Etchers and Engravers Elected a member of the Royal Society of Painters in Water-Colours (RWS) Village and Town and Highways and Byways of Essex published 22 November 1939 Birth of his second child, Joanna Rose Badmin 1939-40 Produced three zinc-litho plates for the Artists’ International Association

1941 Employed by the Ministry of Information 1942 Called-up to the RAF, and worked on operational model-making at RAF Medmenham, near Henley-on-Thames Trees in Britain published 1944 Painted The Weekend Pass, a large oil on canvas, for the mess at Medmenham Trees and Shrubs and How to Grow Them published 1945 Royles began to commission images for cards and calendars 1946-47 Marriage ended; brought up the children 1946-49 Recording Britain published

6 174 By 1940 Had moved to 46 Venner Road, Sydenham, London, SE26 1940 Employed by the Pilgrim Trust to contribute to the Recording Britain Scheme, producing drawings of London and Middlesex, Bedfordshire, Buckinghamshire, Northamptonshire, Rutlandshire and Suffolk Circa 1940 Began to contribute to Radio Times

119 1947 Country Bouquet and Trees for Town and Country published 1947-64 Began to teach General Drawing one day a week at the Central School of Art

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1948 Divorced his first wife, Peggy Joined the agency of Saxon Artists and began to take on frequent commercial commissions The Children’s Wonder Book in Colour, National Trust Guide: Buildings and Oxford Replanned published

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

1955 Farm Crops in Britain published

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

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

24 March 1950 Married Mrs Rosaline Elizabeth Wates Flew (née Downey), widow of Robert Flew FRCS (died 1943); brought up her daughter, Elizabeth, with his children. They lived at her house, ‘Saratoga’, 52 Dacres Road, Forest Hill, London, SE26 1950 Mother died The British Countryside in Colour published

24 August 1955: 5.30pm Appeared on BBC Children’s Television explaining how he illustrated a book 28 September 1956: 5pm Appeared on BBC Children’s Television in an item called ‘Detective Work Among the Trees’ 1957 Elected a Fellow of the Society of Industrial Artists

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

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

12 September 1951 Father died

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

1952 Famous Trees published

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

128 1953 Nature Through the Seasons in Colour and The Seasons published March 1953 Submitted Here They Come! The Valley to Football and the Fine Arts, a Competition for Painters, Sculptors and other Artists, which was part of the 90th anniversary celebrations of The Football Association. As a result, he received a prize of £25

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S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

1968 Lived at Stane House (Bottom Flat), Bignor, Pulborough, Sutton, Sussex – while building ‘Streamfield’ in a field across from ‘Coaters’ Buildings and Builders published By autumn 1969 Moved into ‘Streamfield’ 1971 AA Illustrated Guide to Britain published

136 1960 Trees of Britain published By 1960 until at least 1987 A member of the Society of Sussex Painters 8

12 May-9 June 1973 Four watercolours were included in ‘Watercolour Drawings. From the 1973 Exhibition of the Royal Society of Painters in Watercolours’, Worthing Art Gallery 22 September-27 October 1974 Seven etchings were included in ‘After many a summer … An Exhibition of English Pastoral Etchings. To mark the publication of 12 plates by Robin Tanner’ at Abbot Hall Art Gallery, Kendal; this then toured to the Holburne Museum, Bath from 9 November to 8 December

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

1975 No Through Road published

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

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

1963 The 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’, Tunbridge Wells Gallery, 8 Chapel Place, Tunbridge Wells, Kent 1964 The Shell and BP Guide to Britain published, containing as illustrations the covers produced for ‘The Shilling Guides’ published by Shell-Mex and BP Ltd 1965 Elected RE Hon Retired The 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 at Worthing Museum & Art Gallery

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1982 Springtime at Ratley, near Edgehill was chosen from the artist’s own collection to be included in the prestigious exhibition, ‘British Watercolours and Drawings’, sent by the British Council to Peking.

On its return, it was shown in Edinburgh and Southampton 5-30 October 1984 Honoured with a small subsidiary exhibition in the autumn exhibition of the Royal Watercolour Society at Bankside Gallery, London, SE1 1985 Designed a set of four plates, depicting ‘The Four Seasons of the English Countryside’, for Royal Worcester. These were produced in a limited edition 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, published

by Collins 28 February-7 March 1986 25 etchings and 1 line engraving included in ‘The Etchers’, Chris Beetles Ltd 21 June-25 July 1986 Three 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 & Ernest Greenwood’, Lannards Gallery, Okehurst Lane, Billingshurst, West Sussex 28 April 1989 Died at St Richard’s Hospital, Chichester, West Sussex

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01 SIR ALAN COBHAM RETURNING TO LONDON FROM HIS RECORD BREAKING FLIGHT TO AUSTRALIA signed and dated ‘Oct 1926’ inscribed ‘From Australia. Cobham turning preparatory to landing. LCC County Hall’ and dated ‘Oct 1926’ below mount pen ink and watercolour 12 1⁄4 x 9 1⁄2 inches

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Alan Cobham won the prestigious Britannia Trophy in 1923 for his 12,000 mile flight around Europe, the Middle East and North Africa.

He won the trophy again in 1925 when he became the first person to fly to India and back in 1924-25.

This painting depicts the third and final time he won the trophy, in 1926, when he became the first person to fly to Australia and back in his de Havilland DH 50J biplane.

Alan Cobham began his Australia flight on 30 June 1926, which was marred when his faithful mechanic, Arthur Elliott, was shot and killed whilst flying over Basra, Iraq.

Cobham continued his flight with a replacement mechanic reaching Melbourne, Australia on 15 August 1926 where a record-breaking crowd of 150,000 people gathered to meet him. He left Australia for England on 29 August 1926 and landed on the River Thames by the Houses of Parliament 34 days later, on 1 October 1926. This painting commemorates his triumphant return to crowds of around a million, who clustered on the bridges and embankments to watch him land. He received a knighthood within days of returning. The view is from the Victoria Tower Gardens south of the Houses of Parliament looking towards the old London County Council County Hall.

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02 THE FALLEN BOUGH IN HYDE PARK, LONDON signed, inscribed ‘The Fallen Bough’ and dated 1929 inscribed with title and ‘Drawing for engraving from a sketch in Hyde Park’, and dated ‘Dec 1928’ below mount pen and ink 4 x 4 1⁄4 inches 03 MODEL YACHT RACING, CLAPHAM COMMON inscribed with title pen and ink on tracing paper 6 1⁄4 x 6 1⁄4 inches

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04 FRENCH EXHIBITION, ‘FIRST’ ROOM signed, inscribed with title and dated ‘1932 Feb’ watercolour with pen and ink 6 x 6 3⁄4 inches The Exhibition of French Art 1200-1900 was held at the Royal Academy of Arts between January and March 1932. Though S R Badmin describes this as the ‘First’ Room, it is actually Gallery XI, containing XIXth Century Paintings and especially those

by Impressionists and Post-Impressionists.

It is seen from the doorway to Gallery X, with the Vestibule and Galleries I and II beyond. In the same year, S R Badmin showed several of his own etchings in the Royal Academy Summer Exhibition.

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

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05 LUDLOW, SHROPSHIRE signed signed and signed with initials, and inscribed ‘British Castles. I suggest 1 inch (minimum width) white border and dark blue lettering underneath’ below mount bodycolour 25 x 19 1⁄2 inches This is the design for one of a series of posters, ‘Enjoy The Riches of Britain’, issued by various transport companies in 1932.

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06 MARCH signed, inscribed with title and extensive notes below mount watercolour with pen ink and pencil 8 x 6 1⁄4 inches Drawn for but not illustrated in Tom Stephenson, The Countryside Companion, London: Odhams Press, 1946

08 NEAR JACKSONS MILL, ULEY, GLOS signed, inscribed with title and dated 1933 inscribed with title below mount watercolour with pen and ink 7 1⁄2 x 9 inches This is the preliminary drawing for Uley, Gloucestershire, which was exhibited at the Royal Society of Painters in Water-Colours, Winter 1933, no 55.

07 SYCAMORE signed and inscribed with title pen and ink with monochrome watercolour 4 x 6 inches

09 BURFORD signed inscribed with title below mount watercolour with pen and ink 11 x 18 inches This is possibly Study for Burford which was exhibited in ‘Watercolours and Etchings by S R Badmin ARWS, ARE’, The Fine Art Society, London, 1933, no 50.

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S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

10 DEPT OF MARINE AND FISHERIES, QUEBEC inscribed with title below mount watercolour with pencil 6 1⁄2 x 9 inches This is the preliminary drawing for Buoys in the Marine Yard, Quebec, which was exhibited at the Royal Society of Painters in Water-Colours, Summer 1936, no 48.

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11 OLD COURT HOUSE, WILLIAMSBURG, VIRGINIA signed and signed with initials, and inscribed ‘Market Tavern Court House Powder Magazine Williansburg VA’ pen ink and watercolour 4 3⁄4 x 9 inches Illustrated: 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

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

12 INTERIOR OF HORSE BARN, ILLINOIS signed, inscribed ‘Horse Barn. Illinois Farm’ and dated ‘May 1935’ below mount pen ink and watercolour 11 x 9 1⁄2 inches Illustrated: Fortune, August 1935, ‘A Farm in Illinois, The Life and Circumstances of Mr George Wissmiller, whose 400-acre plane in the corn belt is still worth 100,000 dollars’ Literature: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1984, page 18 Exhibited: Fine Art Society, June 1937, no 42, as ‘Interior of Horse Barn, Illinois’

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

13 FINCHINGFIELD signed and inscribed with title signed and inscribed ‘Finchingfield, Essex’ on reverse pen and ink 5 1⁄2 x 8 1⁄4 inches Illustrated: page 102

14 APPROACHING HIGH EASTER signed with initials and inscribed ‘High Easter, Essex’ pen and ink 4 3⁄4 x 5 inches Illustrated: page 39

15 REMAINS OF PLESHEY CASTLE signed with initials and inscribed ‘Pleshey Castle’ pen and ink 5 x 5 inches Illustrated: page 43 16 GREAT WALTHAM signed with initials and inscribed with title and ‘Near Chelmsford’ pen and ink 6 x 4 3⁄4 inches Illustrated: page 154

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S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

17 EPPING FOREST signed, inscribed with title and dated 1940 pen and ink 5 1⁄2 x 9 1⁄2 inches This is similar to Clifford Bax, Highways and Byways in Essex, London: Macmillan and Co, 1939, page 140.

16 19 ROCKY WOOD signed twice, inscribed with title and dated 1940 pen and ink 9 3⁄4 x 7 1⁄2 inches

18 THE VILLAGE GREEN signed and inscribed with title below mount pen and ink, 4 1⁄2 x 5 3⁄4 inches Illustrated: Radio Times, 16 August 1940, page 22, ‘The Village Green’ Literature: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 33 This image illustrated information on the BBC Radio Programme ‘The Village Green’, broadcast on The Home Service on Thursday 22 August 1940 at 3.30pm.

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

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20-22 are preliminary drawings for Sir George Stapledon, Farm Crops in Britain, Harmondsworth: Puffin Books, 1955, pages 13, 27 and 29 20 HILL FARM SHEEP AND CULTIVATION OF A LITTLE CATTLE FODDER. OUTCROP OF ROCK IN HAY FIELD AND EVERY BIT OF GRASS IS CAREFULLY PRESERVED

inscribed with title watercolour, pen ink and pencil 6 1⁄2 x 8 inches pen and ink sketches of farm workers below mount

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

inscribed with title inscribed ‘Cider Making’ and dated ‘Done July 12’ below mount pen ink and pencil 7 1⁄4 x 4 1⁄4 inches

22 NOVEMBER LIFTING, 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 title pen ink, crayon and pencil 6 1⁄2 x 8 inches

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

23 SNOW, CASTLETON inscribed with title below mount watercolour and pencil 12 x 10 1⁄4 inches This is the preliminary drawing for Snowy Morning, Mam Tor, Derbyshire, which was produced as a commission for a Reader’s Digest cover and exhibited at the Royal Society of Painters in Water-Colours, Autumn 1976, no 60. The finished painting is illustrated in Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 115.

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24 WINTER SKATING signed, inscribed 'Lots of bright figures about' and dated 'Jan 1962' below mount watercolour with pen ink and pencil 10 x 9 inches This is a preliminary drawing for the cover of Homes and Gardens, January 1962.

25 CLEARING SNOW, POLE HILL signed and inscribed with title dated ‘March 1958-63’ below mount watercolour with bodycolour and pencil 6 1⁄2 x 9 3⁄4 inches Literature: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 81 Royle published this image as a greetings card.

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

It was a favourite spot of mine on the Downs in Kent, and I came here often down the main road from Bromley. Now, look at those rooks – and I suppose that must be a hare. I think this is a very pleasant one.’

(S R Badmin)

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26 WINTER SUNSHINE signed signed, inscribed with title, ‘Background from Sutton End (Poor House) hedge & wall from home’ and ‘Painted for Byron S Miller of Scott Corp. Portland USA’, and dated 1963 below mount watercolour with bodycolour 11 x 14 1⁄4 inches Exhibited: 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.

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

27 MATLOCK, DERBYSHIRE, AUTUMN signed, inscribed with title and dated ‘Oct 57’ signed and inscribed with title on reverse watercolour 8 x 10 inches This is a preliminary drawing for Matlock Bank on an Autumn Afternoon [see below].

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28 MATLOCK BANK ON AN AUTUMN AFTERNOON signed, inscribed ‘Matlock Dale’ and dated 1962 signed with initials, inscribed with title and ‘Matlock Bank, Derbyshire’, and dated ‘Oct 30th 1962’ on reverse watercolour with bodycolour 10 1⁄2 x 14 inches

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29 ODDINGTON NEAR STOW ON THE WOLD. A COTSWOLD HAMLET signed and inscribed with title watercolour and pencil 4 3⁄4 x 8 1⁄2 inches Exhibited: Royal Society of Painters in Water-Colours, Autumn 1986, no 216, as 'Cotswold Hamlet: Oddington'

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30 RADCOT BRIDGES NEAR FARINGDON, EARLY MAY signed, inscribed ‘Radcote Bridges’ and dated 1977 watercolour and bodycolour 13 x 18 1⁄2 inches Royle published this image as a greetings card, with the title The Old Bridge.

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

31 AMBERLEY CASTLE FROM THE BIG BARN signed and inscribed with title and ‘Leaf from sketchbook’ watercolour 8 1⁄4 x 5 1⁄4 inches Illustrated: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 139 Exhibited: Royal Society of Painters in Water-Colours, Autumn 1981, no 28 Royle published this image as a greetings card.

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‘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)

32 SWINBROOK CHURCH FROM THE EAST signed and inscribed 'Swinbrook' watercolour and pencil 6 1⁄2 x 4 3⁄4 inches Exhibited: Royal Society of Painters in Water-Colours, Autumn 1977, no 219

33 WHITE PARK BAY, NORTHERN IRELAND signed and inscribed ‘White Park Bay. N Coast of Ireland’ watercolour with bodycolour and pencil 6 x 10 inches Exhibited: Royal Society of Painters in Water-Colours, Spring 1986, no 210; 'A Selection of Paintings from the 1986 Spring Exhibition of the Royal Society of Painters in Water-Colours', Bourne Gallery, Reigate, 1986, no 4

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‘You get oak that colour in the spring – it's almost autumnal. You notice the orange, caused by the blossom. [The beech trees] are hardly erupted at all, 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)

34 PEAR TREE IN THE PADDOCK signed, inscribed with title and dated 1983 watercolour and bodycolour 8 1⁄2 x 12 3⁄4 inches Literature: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, pages 148-149 Exhibited: Royal Society of Painters in Water-Colours, Spring 1983, no 40, as ‘Pear Tree in Blossom’ 23

35 WEIR PADDLES AT BENSON LOCK signed and inscribed with title inscribed ‘Near Wallingford, sketched 1938’ and dated ‘1987’ below mount watercolour 7 1⁄4 x 10 inches Exhibited: Royal Society of Painters in Water-Colours, Autumn 1987, no 232

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

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36 COLEFORD, SOMERSET signed with initials in plate signed, inscribed with title and ‘The Carrying Funeral’ below mount etching, from an edition of 40 5 1⁄2 x 8 inches executed in 1929 Catalogue Raisonné no 11

37 SUBURBIA signed and numbered 24/25 line engraving, from an edition of 25 4 1⁄2 x 3 1⁄2 inches executed in 1929 Literature: page 46 Catalogue Raisonné no 14

‘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 the copper, and it is a motion against yourself. Some people use it almost as quickly as a pen, but it is a terrible strain particularly 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)

38 EVENING LIGHT NEAR SEVENOAKS, KENT signed, inscribed with title, ‘Artist’s Proof ’ and dated ‘Dec 1929’ etching, from an edition of 40 5 x 6 1⁄2 inches executed in 1929 Literature: page 53 Catalogue Raisonné no 16

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39 ABBEY BARN, DOULTING signed and inscribed with title and ‘A/P’ etching, from an edition of 30 4 1⁄2 x 5 1⁄2 inches executed in 1930 Catalogue Raisonné no 19

‘His “Swinbrook Bridge”, sketched in the transient light of a passing storm 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)

41 BURFORD, OXFORDSHIRE signed, inscribed with title in plate, and numbered 16/45 etching, from an edition of 45 5 1⁄4 x 7 1⁄2 inches executed in 1931 Catalogue Raisonné no 25 Exhibited: Royal Society of Painter-Etchers and Engravers, 1931, no 28

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

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42 STORM OVER POLE HILL, KENT signed, inscribed ‘Pole Hill’ and numbered 14/20 etching, from a second edition of 20 in 1980 4 1⁄2 x 8 1⁄2 inches executed in 1931 Literature: page 65 (watercolour) Catalogue Raisonné no 27

43 PRIORY POND signed, 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 1981 5 1⁄4 x 6 inches executed in 1932 Literature: page 58 Catalogue Raisonné no 32

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44 DARBY AND JOAN COTTAGE signed, inscribed ‘Cottage Garden’ and dated 1937 etching, from an incomplete edition of 15 5 1⁄2 x 3 3⁄4 inches executed in 1935 Catalogue Raisonné no 39 Exhibited: Royal Society of Painter-Etchers and Engravers, 1938, no 129

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

46 OXFORDSHIRE COTTAGE signed with initials and dated ’36 in plate signed etching, from an edition of 40 4 1⁄4 x 6 inches executed in 1936 Catalogue Raisonné no 40 Exhibited: Royal Society of Painter-Etchers and Engravers, 1936, no 44

27

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

Further Works in the Exhibition 47 48 49 50 51 52 53 54 55 56 57 58 59 60

28

61 62 63 64 65 66 67 68

69 70 71 72 73 74 75 76 77 78 79

Nude Nude Nude Nude Two Nudes Beech Woods, Abinger Hammer Christmas 1928. Pavilion Hotel, Scarborough The Suicide Found Drowned, Shepton Mallett, Somerset Beginning the Season, Richmond Richmond Bridge Wareham Mill [preliminary drawing] Wareham Mill Sketch for Lincolns Inn N E Corner Rhayader. Wales Ludlow, April Blackheath Village from the Heath Bergen Harbour, Norway Isleworth Reach Wadham College, Oxford From Weighton Road Flats ‘Here They Come!’

The Valley 1935: Tour of the USA for the American magazine, Fortune New York Study for Rittenhouse Square, Philadelphia, for ‘Fortune’, New York Meet Me at the Eagle Quebec Looking Back Over Charles Bay from Citadel Sous Le Cap, Quebec Richmond, Yorks Hampstead Hampstead Holly Bush Hill, Hampstead Study for Cheyne Row (from the N) Etching and Painting Wood Cutting

80 81 82 83 84 85 86 87 88 89 90

91 92 93 94 95 96 97 98 99 100 101 102 103 104

Multiwall Sacks View of Buckingham Adelphi Arches, John St Adelphi Arches, Lower John St Abingdon Chegworth Mill In the Boatyard, Gosport Entrance to Docks, Wapping Prospect of Whitby, Wapping Study for Twickenham Eel Pie Island Aldwych, London 1939: Illustrations to Clifford Bax, Highways and Byways of Essex Great Chesterford Chrishall Church Manuden Stansted Hall Crown House, Newport Thaxted The South Porch, Thaxted Church Helion Bumpstead Steeple Bumpstead Audley End Havering-atte-Bower (Village Stocks) The Cattle Market, Waltham Abbey Waltham Abbey Littlebury Mill, Near Ongar

105 A British Common [Clapham Common] 106 Dulwich Park 107 Cliveden Reach 108 Islington Alms Houses 109 Collecting Grass for Silage Heaps, Early Method, Near Eynsford 110 Mevagissey 111 Horlicks Winter 112 Near Hambledon (Henley) 113 Near Henley 114 Barn Interior, Near Hastings 115 Rowing Regatta at Durham

1945-47: London North Eastern Railway Carriage Poster Designs 116 Alnmouth Viaduct 117 Welwyn Viaduct 118 Berwick on Tweed 119 A Harvest Display 120 Studies for ‘Day at the Fair’, Odhams Press, 1948 121 Sweet Chestnut, Knole Park, Kent 122 Upavon 123 Folkestone 124 The Tower 125 Alder, Dovedale 126 Field Maple, W Wickham 127 The Six Sisters: Sycamore.

Thorpe Hall, South Lincs 128 Elms 129 Water Glistens in the Fields 130 Gloucestershire Valley 1955: Illustrations to Sir George Stapledon, Farm Crops in Britain 131 The Hops are Picked into 5 Bushel Baskets 132 Preparing the Land 133 Typical Lincolnshire Fen Farmland 134 Vale of Forth and Stirling Castle from SW 135 Smithia Rallies to Queen Enijay 136 February 137 April

138 139 140 141 142

1958-66: Illustrations to Radio Times On the Cornish Coast The Countryside in January The Countryside in October Walk in the Woods November: Bringing Down the Sheep from the Hills, Cumberland

143 Farmyard 144 Christmas Week, Trafalgar Square

145 Oak, Brockenhurst Nr Bulmer Sussex 146 Cotswold Back Gardens 147 Winter Skating 148 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 Dutch 151 Blackthorn in Blossom 152 Ladybird Book of Trees 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172

Northamptonshire Yorkshire Ludlow, November April May Bignor Church, Floodlit; Bignor Church from the Mile Oak Cloud Studies Thunder Clouds Over Duncton Hill Peat Cutting, Near Dungiven, Sperrin Mountains Hazlett Wood Farm, Knockholt, Kent Old Oasts Near Pluckley, Kent Skyscape, S Downs.

Late Afternoon K Shoes for the Country New Thatch, Sulgrave Northamptonshire Swinbrook Church Stopham Bridge Bibury Summer in Devon [preliminary drawing] Summer in Devon Bishop Auckland Bridge Over Weir Near Durham

Further Etchings 173 Dulwich Village S E 174 Dulwich Park, London 1940

W O R K S EX H I B I T ED AT ROYA L S O CI E T I E S

Royal Academy of Arts Summer Exhibitions 1930 1931 1932 1933

1934

1935 1936 1938 1939

1948 1949 1951

1952 1953 1955 1956 1957

1960 1964 1965 1966

‘Aleroy’, Thorpewood Avenue, Sydenham, SE 1149 Shepton Mallet (etching) 943 Great Turnstile 1173 Richmond Bridge (etching) 1109 Swinbrook Bridge (etching) 1124 Potato Clamps, Kent (etching) 750 Pest House Farm, East Sheen 756 Abingdon 1260 Priory Pond (etching) 17c Weighton Road, Anerley, SE 776 Chepstow 976 Westerham Mill 1322 Wareham, Dorset (etching)

1968

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

1981

‘Streamfield’, Bignor, Pulborough, West Sussex (Engraver) 266 Priory Pond, Stroud Valley, Glos (etching)

Royal Society of Painter-Etchers and Engravers Exhibitions 1931

24 28 72 180

Dulwich Village Burford Swinbrook Bridge Shepton Mallet

1932

42 178 183

Potato Clamps, Kent Richmond Bridge Priory Pond, Stroud

1933

107

Mill Street, W

1935

55 199

Cheyne Row, Chelsea Richmond, Yorkshire

1936

44

Cottage

1938

129

Cottage Garden

162 Croydon Road, Anerley, SE 1311 Cheyne Row (etching) 30 Crescent Grove, SW4 940 Richmond, Yorkshire 1015 A Surrey Farm 786 Entrance to Wapping Docks 704 Polstead: Spring 716 A London Common 2 Charlecote Grove, SE26 986 Durham from Wharton Park 538 Kelso 714 A Smattering of Snow near North-Leach 817 Whitehall from St James’s Park 52 Dacres Road, Forest Hill, SE23 971 The Ouse, near Harrold 975 Ludlow: Spring Morning 755 A Bright Winter Day 785 Wharfedale 746 Evening: Maidenhead 695 Wear Giffard, Devon 864 Skating in St James’s Park 882 A View from Savoy Hotel ‘Coaters’, Bignor, Pulborough, West Sussex (Engraver) 867 Flooded Meadows 683 Sunset near Llangollen 1027 Central Building of Exeter University 963 Sidney Wood, Surrey 147 St James’s Park: Spring

29

1956

Cheyne Row, Chelsea Evening Light, Sevenoaks Mill Street W

1979

71

Wareham, Dorset (E) PCC edition 1934

1981

47 60 72

Fallen Mill Sails Priory Pond, Glos The Stroud Canal, Glos

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

Royal Watercolour Society Exhibitions 1932 3 48 76 90 151 1932 125 140 174 180 186 1933 39 1933 4 11 30

42 55 66 233 1934 2 98 191 1934 10 94 100 102 104 1935 5 132 1935 55 92 1936 48 72 134 1936 2 36 79

Summer Mill Street, W The Season Commences – Richmond Frome, Somerset Cornish Mill Farm Watercress Beds, near Dorking Winter Ludlow, April The Severn Valley Dorset Farm Pest House Farm, Sheen Clapham Common Summer Dursely Dough Trough and Cam Peak, Gloucestershire Winter The Conjunction of the Wye and the Severn The Filter Beds, Snodland Paper Mill The Creek, Snodland Paper Mill Uley, Gloucestershire Jackson’s Saw Mill, Uley Bergen, Norway Summer Grey Day – Oxfordshire Isleworth Chelsea Street Winter Cheyne Row, Chelsea Barnard Castle Dorking Valley Entrance to Fellows’ Garden, Wadham College Reeth, Yorkshire Summer Barnard Castle, Yorkshire Swinbrook Bridge, Gloucestershire Winter Quebec Yacht Sheds, Poole Summer Buoys in the Marine Yard, Quebec Avebury Stones, Wiltshire Yorkshire Wood Winter The Rotunda, Stowe The Regents Canal, near Paddington View of Buckingham

86 148 1937 72 78 91 1937 47 107 140 1938 14 47 1938 50 142 154 160 1939 4 101 124 1939 20 23 38 44 54 1940 25 29 161 1941 25 33 84 93 102 1942 17 22 116 118 119 1943 26 30 117

View of Alkham, Kent Last Man In Spring Chegworth Mill, Top Floor Chegworth Mill, First Floor Chegworth Mill, Ground Floor Autumn Cottage Garden Waites’ Boat House, Richmond Cottage Greenhouse Summer Essex Stairs Parson’s Pleasure Autumn Spring Sunday, Hyde Park Autumn, Suffolk Bourton-on-the-Water; Bank Holiday Eel Pie Island, Twickenham Summer Naunton, Gloucestershire The Temple Boat House, Isleworth Cheyne Row Autumn Syon House, Isleworth Isleworth Ferry Cliveden Reach Kingston Bridge Essex Farm Summer Piling Roots on a Frosty Morning A Sprinkling of Snow, Suffolk The Striped Field Autumn A Mixed Copse Buckingham Landscape, Evening Buckingham Defences on the Kitchen Front Felmersham from the Sharnbrook Road Summer Long Melford Mill Moated Farmhouse, Northants Wareham Mill Cliveden Reach Rhayader Autumn Hayfield Study of Winter Trees Nell Gwynne Farm and Medmenham Church

1944 113 123 128 129 1945 65 130 135 152 176 1946 132 136 1947 21 60 191 1948 148 154 185 1949 122 123 202 1949 193 1950 100 1950 31 58 64 75 1951 42 1951 2 26 51 1952 15 46 50 1952 23

Autumn Pre-War Sunday in Hyde Park Stooking before the Rain Quebec from the Ramparts Cornfields in the Thames Valley Autumn Cartshed in Savernake Forest Henley Regatta, 1945 Clearing Mist, February Morning Kingston Bridge Cutting Hay Autumn The Keeper’s Cottage The Chapel in the Farmyard, Porlock Autumn Butley Priory, near Woodbridge Anaesthesia – Old Oak in Staverton Forest The Dower House, Lavington Park Autumn Bridges into Scotland Croxdale Bridges Bridges at Yarm, Yorkshire Summer Knole Park, Sevenoaks Christchurch, Oxford, showing proposed replanning of St Aldate’s Merton Fields, Oxford Autumn Alnmouth, Northumberland Summer Welwyn Viaduct Autumn Braemar from Glen Calleter Leaf from a Sketch Book; Cotswolds Leaf from a Sketch Book; in the Mournes Crockham Hill, Kent Summer Ashton, Northamptonshire Autumn Swalcliffe, Oxfordshire Barns at Ablington, Gloucestershire Springtime at Ratley Summer Widdecombe in the Moor View from the Royal Festival Hall The Royal Festival Hall Autumn Lulworth Cove

W O R K S EX H I B I T ED AT ROYA L S O CI E T I E S

147 1953 48 109 148 1953 62 1954 17 21 25 1955 51 146 1955 31 35 52 127 1956 18 25 50 70 96 1957 28 29 33 1957 95 150 156 1958 22 147 219 1958 5 21 27 1959 24 1959 Folio 1960 22 26 133 1960 21 25 27

A Chiltern Valley Summer A Chiltern Village Avebury Stones Sydenham Hill Autumn St Ives from Porthminster Summer Alford, Surrey Upper Tweedale Christmas Weather in the Village Summer The Cotswolds in Spring Snowdon from Capel Curig Autumn Perth Salisbury Plain, Thundery Weather Northumberland, near Housesteads The River Tay near Perth Summer Roman Wall, Northumberland A Cotswold Hamlet Over Haddon, Derbyshire Ty Issa Farm, Vron, North Wales Upland Village, Derbyshire Summer Leaf from a Sketch Book No 1 Study of two Lime Trees Leaf from a Sketch Book No 2 Autumn A Monmouthshire Mountainside Knole Park, Autumn Study Castle Combe, Wiltshire Summer Spring in the Cotswolds Ash Tree The Spinney Autumn A Corner of the Greenhouse Drifted Snow, Kent March Snow Summer Entrance to Peak Cavern, Derbyshire Autumn Irish June In Mourne Mountains Summer Late Autumn, Egg Bottom, Bignor Skating on Oakwood Pond Egg Bottom, Autumn Autumn The Triangular Lodge, Rushton Winter Scene Magnolia Grandiflora

45 1961 18 19 1961 17 96 125 214 1962 17 96 125 1963 26 33 49 1963 24 28 43 1964 26 53 1964 19 23 40 48 1965 16 20 58 133 Folio 1965 24 62 105 107 123 1966 24 84 124 1966 24 100 183 187

Kirby Hall, Northants Summer Pulborough, Spring Snow on the South Downs Autumn The Steep Wood The Ash Tree Stopham Bridge The Wilmington Yew Autumn The Steep Wood The Ash Tree Stopham Bridge Summer Winter Sunshine The Thaw Wiltshire Harvest Autumn Bignor Hill, Spring Shoreham, Kent The River Vronwy Summer An Old-fashioned Winter Scene Saxon Tower near Earls Barton Autumn Leaf from Sketch Book, Duncton Quarry Skating on the Mill Pond Bignor from the Mall Oak View from the edge of Bignor Park Summer Clematis Salpiglossis Rostherne Mere, November Wilmington Priory Upper and Lower Slaughter Autumn Riding School Exercising in the Snow, Cowdray Park Cumulus Clouds gathering over the S Downs Gordale Scar, Yorkshire Lower House, West Burton New Zealand v Dexter’s Eleven at Arundel Park Summer Kew Gardens, Spring Trees and Ponies Floods at Fittleworth Autumn Arundel Roofs Arundel Castle, Spring The Ploughing Match, Bignor The Great Mangold Heap

1967 27 51 109 1967 78 80 114 118 Folio 1968 31 91 160 1968 18 132 163 1969 30 95 1969 19 26 159 1970 25 26 28 158 195 1970 17 98 1971 6 103 119 172 217 1971 15 109 144 1972 27 49 128

Summer Trees in a Park The Tall Tree [Bignor] A Wooded Bank Autumn Lillies Magnolia Grandiflora Bolton Abbey, Wharfedale The Cowdray Hunt in Bignor Park Tree Study. Downs Summer Kew Gardens, Autumn Crayke, Vale of York Clearing Mist, Kent Autumn Dell Quay, Chichester Harbour Fallen Clapper Stones, Dartmoor Petworth from the S E Summer Byeworth – Autumn Study of Lilies Autumn Mr Fox Decides to go Home The Elder Tree First Time Round: Harvesting at Wolstanbury Hill Summer Milverton, Somerset Lodsworth November [Arundel] Clovelly Marine Yard, Quebec Autumn Cornish Harbour Cheddar Summer Winter Evening near Petworth [Evening Snow] Great Shefford, Berkshire Mixed Conifers, April Warmington Floods near Fittleworth Autumn The View from the Ilex Grove, Bignor Park Deer Disturbed by Horsemen Yew and Whitebeam on the South Downs Summer Wiggenholt Church (near Pulborough) Overcast Weather, Worcestershire Burpham, Spring

31

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

1972 33 137 1973 24 26 1973 26 28 49 125 197

32

1974 24 28 50 1974 28 136 1975 8 32 38 49 128 130 1975 32 74 104 106 1976 28 34 135 171 1976 25 30 52 60 122 1977 26 47

Autumn ‘The Local’, Sutton, Sussex Trees at the Castle Entrance Summer Cocking from the South The Old Farm Yard, Findon Place Autumn Trees in April Old Oasts, Kent (near Pluckley) The Upper Reaches of the River Severn Findon Place and Church, Sussex Study of Beeches [from Sketch Book] Summer A Corner of Dulverton Old Barn, Bignor Receding Floods, Pulborough Autumn Old Barn, Bignor Oast Houses near Goudhurst Summer Cavedale, Castleton, Derbyshire View from The Lamb Hotel, Dulverton Gate and Guardroom on Hadrian’s Wall From a Cave Entrance, Cavedale The Derbyshire Moors above Tideswell Farm in the Vale of Firth Autumn Deserted Barn Springhead Farm, early April Study for ‘Parham’ Late Snow Summer November Sunshine, Fittleworth Autumn Wedding, Findon Loading Timber in a West Country Wood October Afternoon Autumn Monoliths ‘Pick-it-Yourself ’ Fruit Farm Ash and Blackthorn on the South Downs Way Snowy Morning, Mam Tor, Derbyshire Harvesting Late into the Evening, Amberley Summer Peak Hole Waters, Castleton Shilton, Oxfordshire

67 75 225 1977 5 32 219 1978 32 34 173 1978 65 69 1979 22 55 60 183 1979 129 131 1981 35 49 54 150 1981 21 23 28 1982 23 42 1982 54 56 1983 29 40 46 1983 141 1984 59 60 62 64 Folio 1985 112

Floods on the River Rother Frosty Evening, Patching Pond Sussex Cottage Autumn Beacon Hill, near Ilkley Study for ‘Loch Linnhe’ Swinbrook Church from the East Summer Spring, Near Midhurst The Avon Gorge The Canal at Islington Autumn Wheatham Hill, Autumn Study for ‘Polstead’ Summer Hunt at Little Barrington New Thatch (West Burton) Autumn afternoon, near Petersfield Repairing Weather-boarding, Bury Autumn The Tulip Tree near Midhurst Oak before Ash Summer Snow in the Dales The ‘Narrow Boat’, Grand Union Canal, Islington Evening Light, Swinbrook The Lower Paddocks, Woolbeding Autumn Offa’s Dyke, Shropshire Border Study for Willington Tithe Barn Amberley Castle from the Big Barn Summer Ludlow, October Afternoon Leith Hill from the South Autumn The Bridge and Mill at Boot, Eskdale Market Morning, Farringdon Summer Flood Waters, Stopham Bridge Pear Tree in Blossom Autumn from my Studio Autumn City Road Lock, Islington Autumn ‘Three Hundredth Exhibition’ Skating in St James’s Park Countisbury Hill, Lynmouth Autumn in the Garden Study of Farmyard, Alkham, Kent Study for Trees in Park Hambledon Autumn Memory of Shropshire

115 1986 209 210 211 1986 213 215 216 1987 144 145 146 1987 229 232 1988 77 144 1988 84 86 1989 137

Bridge at Bishop Auckland Summer Approaching the Lakes from Cockermouth White Park Bay, N Ireland Peat Cutting near Dungiven Autumn Ludlow in November Alnmouth: Study Cotswold Hamlet: Oddington Summer Lulworth Cove from the West The Small Barn The Toboggan Slopes Autumn The Old Mill, Bignor Weir Paddles, Benson Lock Summer Exeter University from the East The River Ouse at Odell Autumn The Ironstone Village, Northampton Study of Beeches Summer Early April near Henley

L I S T O F I L LU S T R AT ED BO O KS

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

1939 S R Badmin Village and Town (series ed by Noel Carrington, Puffin Picture Books, 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 Bax Highways and Byways in Essex London: Macmillan & Co Ltd (hardback, 7 ¾ x 5 inches, xvi + 360 pages) illustrated with black & white line drawings [with F L M Griggs]

1946-49 Arnold Palmer (ed) Recording Britain London: Oxford University Press, in association with the Pilgrim Trust (4 volumes, each hardback, 10 x 7 ½ inches: Volume 1: xii + 224 pages Volume 2: x + 220 pages Volume 3: x + 228 pages Volume 4: x + 238 pages) a black & white drawing by S R Badmin appears on the dust jacket of volumes 2, 3 and 4; sepia plates of work by Badmin appear in volumes 1 and 2, covering London and Middlesex, Buckinghamshire and Bedfordshire in the first; and Suffolk and Northampton and Rutlandshire in the second [with many other illustrators] 1947 Brenda Colvin Trees for Town and Country. A selection of sixty trees suitable for general cultivation in England.

Prepared for the Association of Planning and Regional Reconstruction London: Lund Humphries (hardback, 11 ¼ x 9 inches, 132 pages) illustrated throughout: dust jacket and black & white line drawings [with uncredited photographs]

1942 S R Badmin Trees in Britain (series ed by Noel Carrington, Puffin Picture Books, no 31) West Drayton: Penguin Books Ltd (hardback/paperback, 7 x 8 ¾ inches, 32 pages) illustrated throughout in colour and black & white 1944 Winston Hugh Rowe Trees 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 by Richard St Barbe Baker and R C B Gardner]

1948 The Children’s Wonder Book in Colour. Number Two London: Odhams Press Ltd (hardback, 12 x 8 ¾ inches, 192 pages) illustrated with colour and black & white drawings to his own story, ‘All the Fun of the Fair’, pages 170-174 [with many other illustrators] James Lees-Milne National Trust Guide: Buildings London: B T Batsford (hardback, 7 ½ x 5 inches, viii + 184 pages) illustrated throughout: colour dust jacket and black & white line drawings Thomas Sharp Oxford Replanned London: the Architectural Press for Oxford City Council (hardback, 9 ¼ x 7 inches, 224 pages) illustrated with colour plates [with A C Webb, and with photographs, and reproductions of engravings and maps] 1949 William Aspden and others The Nature Lover’s Companion London: 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 Growing London: 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 by Richard St Barbe Baker, and others – though all are uncredited]

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

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

33

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

1952 Richard St Barbe Baker Famous Trees London: Dropmore Press (hardback, 9 x 6 inches, 118 + 14 pages, limited edition of 999 copies) illustrated throughout: dust jacket, cover printed in gold, two-colour line drawings

1960 Peter Collins Trees of Britain London: 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 which had appeared in two-colours in Famous Trees

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

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

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

1965 The Reader’s Digest Complete Atlas of the British Isles London: The Reader’s Digest Association (hardback, 15 ½ x 10 ¾ inches, 230 pages) illustrated with black & white line drawings [with many other illustrators] 1968 J A Williams Building and Builders London: Longmans (paperback, 8 ½ x 5 ½ inches, 192 + 8 pages) illustrated throughout with black & white line drawings 1971 John Arlott, Patrick Bailey, F R Banks and 23 others AA Illustrated Guide to Britain London: Drive Publications Ltd for the Automobile Association (hardback, 8 ½ x 10 inches, 544 pages) illustrated with colour illustrations [with Patrick Oxenham and Faith Shannon, and with photographs]

34 1955 Sir George Stapledon Farm Crops in Britain (series ed by Noel Carrington, Puffin Picture Books, no 98) Harmondsworth: Penguin (paperback, 7 x 8 ¾ inches, 32 pages) illustrated throughout in colour and black & white

1964 Geoffrey Boumphrey (ed) The Shell and BP Guide to Britain London: Ebury Press, in association with the Rainbird Publishing Group (hardback, 8 ¾ x 5 ½ inches, xxxii + 808 pages) illustrated with colour plates [with many other illustrators] 1958 Geoffrey Grigson The Shell Guide to Trees and Shrubs London: Phoenix House (hardback, 11 ¼ x 8 ¼, 48 pages) illustrated throughout: colour cover and colour plates with black & white keys

by Maurice Wilson in collaboration with Rowland Hilder; Fossils, Insects and Reptiles illustrated by Tristram Hillier; Wild Life illustrated by John Leigh-Pemberton; the cover is by Tom Adams]

Geoffrey Grigson, with James Fisher Shell Nature Book London: Phoenix House (hardback, 11 ¼ x 8 inches, 136 pages) (collecting the contents of The Shell Guide to Trees and Shrubs, 1958) [alongside ‘Flowers of the Countryside’ illustrated by Edith and Rowland Hilder; ‘Birds and Beasts’ illustrated

1975 No Through Road: the AA Book of Country Walks, London: Drive Publications for the Automobile Association, 1975 (Three elements collected together in a hardback 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 with photographs by Patrick Thurston]

Catalogue RaisonnĂŠ of Prints

35

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

36

No Year

Title

Size

Edition Published

Medium

Notes

1

1927

Hawes Farm, West Wickham

21.9 x 39.7 cm 8 5⁄8 x 15 5⁄8 in

35

Twenty-One Gallery

Etching

Signed, inscribed ‘Hawes Farm, W Wickam [sic], 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 6 3⁄8 x 10 3⁄4 in

40

Twenty-One Gallery

Etching

Near West Wickham.

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 6 6⁄8 x 10 3⁄4 in

40

Twenty-One Gallery

Etching

‘Layhams Farm’ added to title inscribed by SRB 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 4 1⁄8 x 5 in

35

Twenty-One Gallery

Etching

‘2nd St trial on toned Jap inscribed “The Old Oak. Corner of W Wickham Common, Kent July 1927”’.

Later inscribed ‘Houses all around now but tree preserved (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.

CATA LO G U E R A I S O N N E OF PRI NT S

No Year

Title

Size

Edition Published

Medium

Notes

5

1928

Elm and Cart at Mells, Somerset

15.5 x 12 cm 6 1⁄8 x 4 3⁄4 in

35

Twenty-One Gallery

Etching

Called ‘Elm at Mells Somerset’ in Fine Prints of the Year, 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 3 7⁄8 x 5 1⁄8 in

35

Twenty-One Gallery

Etching

Also known as ‘The Dung Cart’.

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 5 x 8 3⁄8 in

–

–

Lithograph SRB remembered doing this at the Royal College of and colour Art in 1928. Not published.

8

1928

Shere, Surrey

16.2 x 20 cm 6 3⁄8 x 8 in

10

Twenty-One Gallery

Aquatint

SRB remembered doing this at the Royal College of Art in 1928.

9

1929

Mells, Somerset

14 x 18 cm 5 1⁄2 x 7 1⁄8 in

40

Twenty-One Gallery

Etching

The third trial of the 2nd state was tried on vellum paper.

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).

37

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

No Year

Title

Size

Edition Published

Medium

Notes

10

1929

The Field Corner

12 x 16.2 cm 4 3⁄4 x 6 3⁄8 in

40

Twenty-One Gallery

Etching

Somerset.

‘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 5 1⁄2 x 8 in

40

Twenty-One Gallery

Etching

Also known as ‘A Carrying Funeral’.

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 5 1⁄2 x 4 in

40

Twenty-One Gallery

Etching

In Tanyard Farm, Cuckfield, Sussex. Also known 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.

38

CATA LO G U E R A I S O N N E OF PRI NT S

No Year

Title

Size

Edition Published

Medium

Notes

13

1929

Tanyard Farm

13 x 17.5 cm 5 x 6 7⁄8 in

40

Twenty-One Gallery

Etching

Near Cuckfield, Sussex.

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 Woodcuts in 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 4 3⁄8 x 3 5⁄8 in

25

Twenty-One Gallery

Line Engraving

‘Based on Girton and Tannsfeld roads, Sydenham SE26.

Lived at 33 Girton when 10’ (SRB Etching Notes).

Inscribed with title in the plate below the image. Signed with 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 3 3⁄4 x 4 3⁄4 in

–

–

Line Engraving

Also known as ‘Deserted Kilns’.

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, Kent

13 x 16.5 cm 5 1⁄8 x 6 1⁄2 in

40

Twenty-One Gallery

Etching

The artist’s proof was done on fine Dutch laid paper in December 1929.

Exhibited: Fine Art Society, 1933, no 13; McDonald’s Gallery, New York, 1936; Royal Society of PainterEtchers 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 ).

39

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

No Year

Title

Size

Edition Published

Medium

Notes

17

1930

New Hop Poles

15.2 x 13.4 cm 6 x 5 1⁄4 in

30

Twenty-One Gallery

Etching

View near Riverhead and Pole Hill, near Sevenoaks, Kent 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 5 1⁄2 x 2 7⁄8 in

50

Twenty-One Gallery

Etching

Regarded by SRB as one of his best.

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 Chapman Jr (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 22/50 illustrated).

Literature: Malcolm Salaman, ‘A chat with the print lover’, The Studio, April 1930.

19

1929

The Abbey Barn, Doulting

11.4 x 14 cm 4 1⁄2 x 5 1⁄2 in

30

Twenty-One Gallery

Etching

The tithe barn is in Doulting, near Shepton Mallet, 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.

40

CATA LO G U E R A I S O N N E OF PRI NT S

No Year

Title

Size

Edition Published

Medium

Notes

20

1930

Dulwich Village S E

13 x 17.8 cm 5 x 7 in

50

Twenty-One Gallery

Etching

‘Dulwich College kids, my 1st wife, my children 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 Surrey

15.2 x 25.5 cm 6 x 10 in

–

–

Etching

Three trial proofs, some chalked. Not published, plate destroyed and back polished and cut for ‘Backways, Trebarwith’ (SRB Etching Notes).

22

1931

Swinbrook Bridge

10 x 15.2 cm 4 x 6 in

45

Twenty-One Gallery

Etching

Swinbrook Bridge is near Burford, Oxfordshire; 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.

41

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

42

No Year

Title

Size

Edition Published

Medium

Notes

23

1931

Fallen Mill Sails

1.4 x 13 cm 4 1⁄2 x 5 in

35

Twenty-One Gallery

Etching

‘Sketched somewhere in Kent, south of Edenbridge’.

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 4 1⁄2 x 6 1⁄2 in

50

Twenty-One Gallery

Etching

Exhibited: Royal Academy of Arts, 1931, no 1173; ‘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 ‘Richmondon-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); Herbert F 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.

CATA LO G U E R A I S O N N E OF PRI NT S

No Year

Title

Size

Edition Published

Medium

Notes

25

1931

Burford, Oxfordshire

14 x 20 cm 5 1⁄2 x 8 in

45

Twenty-One Gallery

Etching

Inscribed with title in the plate below the image.

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, Gloucestershire.

12 x 17.8 cm 4 3⁄4 x 7 in

–

–

Etching

Signed with initials and dated 31 in the plate; regarded

by SRB as unfinished. Eight run off from the 1st state.

Exhibited: Fine Art Society, 1933, no 28.

12 x 17.8 cm 4 3⁄4 x 7 in

15

Merrihill Press, Dyfed

Etching

Exhibited: Royal Society of Painter-Etchers and Engravers, 1981, no 72, as ‘The Stroud Canal, Glos’; Lannards Gallery, Billingshurst, 1988, no 19 (4/15 hand-coloured).

10.8 x 21.6 cm 4 1⁄4 x 8 1⁄2 in

–

–

Etching

Printed in black.

10.8 x 21.6 cm 4 1⁄4 x 8 1⁄2 in

20

Merrihill Press, Dyfed

Etching

A few only were printed in black plus two colours.

10.8 x 21.6 cm 4 1⁄4 x 8 1⁄2 in

15

Merrihill Press, Dyfed

Handcoloured Etching

Exhibited: Lannards Gallery, Billingshurst, 1988, no 17 (9/15 hand-coloured).

1980

27

1931

Storm over Pole Hill, Kent

1980 Dyfed 1980

28

1931

The Old Hedger … at dinner break

8.9 x 8.9 cm 3 1⁄2 x 3 1⁄2 in

–

–

Etching

Four prints only made. Not published.

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 4 3⁄4 x 8 1⁄4 in

–

–

Etching

One state only, not published. Three prints only made.

43

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

No Year

Title

Size

Edition Published

Medium

Notes

30

1931

Beeches in Ashdown Forest

12 x 21 cm 4 3⁄4 x 8 1⁄4 in

–

–

Etching

One print only, signed, inscribed with title and ‘A/P Trial’ in pencil.

31

1931

Potato Clamps

10 x 18 cm 4 x 7 1⁄8 in

25

Twenty-One Gallery

Etching

Also known as ‘Sorting Potatoes’. Keston, 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 5 1⁄4 x 6 1⁄8 in

30

Twenty-One Gallery

Etching

Priory Pond is near Kingstanley, Stroud, Gloucestershire.

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 Art Society, 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.

44

CATA LO G U E R A I S O N N E OF PRI NT S

No Year 1981

1981

Title

Size

Edition Published

Medium

Notes

Priory Pond

13.4 x 15.5 cm 5 1⁄4 x 6 1⁄8 in

25

Merrihill Press, Dyfed

Etching

Reprint. Black ink.

Exhibited: Royal Society of Painter-Etchers and Engravers, 1981, no 60, as ‘Priory Pond, Glos’.

13.4 x 15.5 cm 5 1⁄4 x 6 1⁄8 in

20

Merrihill Press, Dyfed

HandColoured Etching

Reprint. Hand-coloured.

Exhibited: Royal Academy of Arts, 1981, no 266 (hand-coloured); Lannards Gallery, Billingshurst, 1988, no 20 (11/20)

13.4 x 15.5 cm 5 1⁄4 x 6 1⁄8 in

–

Merrihill Press, Dyfed

Coloured Etching

A few only were printed in colours.

Priory Pond

45 33

1932

Mill Street, W

14.6 x 17.1 cm 5 3⁄4 x 6 3⁄4 in

25

Twenty-One Gallery

Etching

‘The 21 Gallery Mill St (bombed during the war: 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 4 5⁄8 x 5 3⁄4 in

–

–

Etching

‘Done after Sept 1930 – on the back of Deserted Barn plate’ (SRB Etching Notes.)

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

No Year

Title

Size

Edition Published

Medium

Notes

35

1932

The Old Slate Quarry / Coast at Tintagel / Backways, Trebarwith

19 x 14 cm 7 1⁄2 x 5 1⁄2 in

–

–

Drypoint

The only full drypoint.

Inscribed on 1st trial ‘On the cliff at Trebarwith: The old slate quarry, but the building in the foreground could be an old lead mine’. ‘Backways Cove, just round the S Headland Trebarwith Strand’ (SRB Etching Notes).

36

1934

Wareham, Dorset

13.4 x 15.9 cm 5 1⁄4 x 6 1⁄4 in

50

Print Collectors’ Club

Etching

‘PC’ had been inserted with slight addition of sepia in the final state. Six Artist’s Proofs.

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 of the final state illustrated).

37

1935

Richmond, Yorks

7.3 x 18 cm 2 7⁄8 x 7 1⁄8 in

50

Fine Art Society

Etching

Priced at £2.10.0 on publication.

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.

46

CATA LO G U E R A I S O N N E OF PRI NT S

No Year

Title

Size

Edition Published

Medium

Notes

38

1935

Cheyne Row, Chelsea

15 x 15.2 cm 5 7⁄8 x 6 in

50

Fine Art Society

Etching

Priced at £3.10.0 on publication.

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 4 7⁄8 x 6 1⁄2 in

15

Fine Art Society

Etching

Also known as ‘The Cottage Garden’.

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 4 1⁄8 x 6 1⁄8 in

40

Fine Art Society

Etching

Near Woodstock.

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’.

–

–

Woodcut

One copy inscribed ‘Sydenham Hill above Charlecote Grove SE26’.

Additions to the Catalogue Raisonné published in 1985 41

c1927 The Lovers

7.6 x 10.1 cm 3 x 4 in

47

S R BADMIN RWS: PAI N TI N G S , D R AWI N G S & P R I N T S

No Year

Title

Size

Edition Published

Medium

Notes

42

c1927 Shirley Hills

10.1 x 7.6 cm 4 x 3 in

–

–

Woodcut

One copy inscribed ‘Shirley Hills Kent. Near Croydon’.

43

c1927 Sailor’s Girl

7.6 x 12.7 cm 3 x 5 in

–

–

Etching

Known only from the destroyed plate.

SRB inscribed the title on a sheet of paper containing this and other destroyed plates.

44

c1927 Nude 2nd

12 x 9.1 cm 4 3⁄4 x 7 1⁄2 in

–

–

Etching

One copy inscribed ‘1st trial 1 of st & only st’.

45

c1936 The Adelphi Arches: Lower Robert St, London

12 x 16.5 cm 4 3⁄4 x 6 1⁄2 in

–

–

Etching

Signed ‘SRB’ in the plate.

Not published. To be printed in 2015.

48

CATALOGUE RAISONNE OF PRINTS

No Year

Title

Size

Edition Published

Medium

Notes

–

–

Etching

Not published. To be printed in 2015.

46

c1929 Boat Builders

13 x 19 cm 7 1⁄2 x 5 1⁄8 in

47

1939

Down for a Refill

12.5 x 20 cm 4 7⁄8 x 7 7⁄8 in

Artists International Association

Lithoplate Barrage Balloons on Clapham Common.

Collection of the British Museum: purchased from the 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 4 7⁄8 x 7 7⁄8 in

Artists International Association

Lithoplate Digging a Gunsite on Clapham Common.

Collection of the British Museum: purchased from the 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 6 3⁄4 x 10 3⁄4 in

Artists International Association

Lithoplate Skating in Dulwich Park.

Collection of the Tate Archive.

CHRIS BEETLES 8 & 10 Ryder Street, St James’s, London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com