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Stanley Roy Badmin, R.W.S, R.E., A.I.A., F.S.I.A. 1906-1989.

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Burford, Oxfordshire. 1931. Etching. Beetles 25. 5 1/4 x 7 1/2 (sheet 7 5/8 x 10 1/16). Edition 45 published by the Twenty-One Gallery. Exhibited: Royal Society of Painter-Etchers and Engravers, 1931. Illustrated: Guichard: British Etchers. 1850-1940. Unobtrusive vertical fold, lower right. A rich impression printed on Basingwerk Parchment, on the full sheet with deckle edges. Signed in pencil. $1,650.

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Evening Light, near Sevenoaks, Kent. 1930. Etching. Beetles 16. 5 1/8 x 6 1/2 (sheet 9 x 11 5/8). Edition 40, #35, published by the Twenty-One Gallery. A rich, tonal impression printed on blue/green laid paper that lends an evening glow. Signed, titled and numbered in pencil. $1,750.

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Fallen Mill Sails. 1931. Etching. Beetles 24. 4 1/8 x 4 15/16 (sheet 7 x8). Edition 35, #31. Published by the Twenty-One Gallery in 1931. Exhibited: Fine Art Society, 1933; Royal Society of Painter-Etchers and Engravers, 1981. Illustrated: Guichard: British Etchers. 1850-1940. An extremely rich impression with subtle tonal wiping, printed on cream wove paper. Signed, titled and numbered in pencil. $1,750.

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New Hop Poles. 1930. Etching. Beetles 17. 6 x 6 5 1/4 (sheet 11 1/2 x 9). Edition 30, #29, published by the Twenty-One Gallery. Exhibited at the Royal Society of Painter-Etchers and Engravers, 1932(?); Fine Art Society, February 1933, #38, £3.13.6. A rich, tonal impression printed on cream laid paper. Signed, titled and numbered in pencil. $1,450.

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Priory Pond Stroud. 1932. Etching. Beetles 32. 5 1/4 x 6 (sheet 8 5/8 x 11 3/8). Edition 30, #29. Published by the Twenty-One Gallery in 1931. Exhibited: Royal Society of Painter-Etchers and Engravers, 1932. An extremely rich impression with subtle tonal wiping, printed on 'Basingwerk Parchment' cream wove paper. Signed, titled and numbered in pencil. $1,750.

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Richmond Bridge. 1931. Etching. Beetles 24. 4 3/8 x 6 3/8 (sheet 9 1/2 x 12). Edition 50, #3. Published by the Twenty-One Gallery. Exhibited:Royal Academy ofArts, 1931. Royal Society of Painter-Etchers and Engravers, 1932. Art Institute of Chicago, March - May, 1932. Illustrated: The Studio Nov. 1931, p. 348. A rich, tonal impression printed on cream laid paper with full margins and deckle edges on two sides. Signed, titled and numbered in pencil. $1,750.

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Richmond, Yorks. 1935. Etching. Beetles 37. 2 7/8 x 7 1/8 (sheet 7 3/8 x 12 1/2). Edition 50. Published by the Fine Art Society. Exhibited:Royal Academy ofArts, 1931. Royal Society of Painter-Etchers and Engravers, 1935. 5 A rich, tonal impression printed on cream wove paper (possibly Basingwerk Parchment) on the full sheet with deckle edges. Signed in pencil. $1,250.

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Sorting Potatoes (Potato Clamps). 1931. Etching. Beetles 31. 4 x 7 (sheet 10 1/2 x 12 1/4). Trial proof, prior to the edition of 25 published by the Twenty-One Gallery. An extremely rich impression with subtle tonal wiping, printed on 'Lalanne' cream laid paper with a 'T.L. & Cie (FRANCE) countermark. Signed, titled and annotated 'Edition 25' and 'Trial on Lalanne Thin / Medium ink' in pencil. Accompanied by the artist's name and address portion of the orginal mat (mount). $1,750.

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Swinbrook Bridge. 1931. Etching. Beetles 22. 3 11/16 x 5 7/8 (sheet 7 3/8 x 9 7/8). Edition 45, #28. Published by the Twenty-One Gallery. Exhibited: Royal Society of Painter-Etchers and Engravers, 1931; Royal Academy of Arts, 1932. Illustrated: Fine Prints of the Year, 1931. A rich impression with plate tone printed on cream wove paper, probably Basingwerk Parchment. Signed, titled and numbered in pencil. $2,000.

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Wareham, Dorset. 1934. Etching. Beetles 36. 5 1/4 x 6 1/4 (sheet 9 1/4 x 11 1/4). Edition 50 for the Print Collector's Club. Exhibited: Royal Academy, 1934; Royal Society of Painter-Etchers and Engravers, 1934 and 1979. Printed on tan wove paper, possibly Basingwerk Parchment. Signed and titled in pencil. $1,250.

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Stanley Roy Badmin was born in Sydenham, London on 18 April 1906. He studied at Camberwell School of Art (1922-24) and the Royal College of Art (1924-27), and began his career by contributing illustrations to The Graphic (1927) and The Tatler (1928). In 1928, he qualified as a teacher, and supplemented his income by teaching at Richmond School of Art (1934) and St Johnís Wood School of Art (1936). However, he worked increasingly as an etcher and watercolourist, and was soon elected to the Royal Society of Painter-Etchers and Engravers (ARE 1931, RE 1935) and the Royal Society of Painters in Water-Colours (ARWS 1932, RWS 1939). His etchings are represented in numerous public collections, including the British Museum; the Ashmolean Museum (Oxford); Aberystwyth University School of Art; and the Herbert F Johnson Museum of Art, Cornell University (NY).

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British Fine Prints

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