Trial impression of the 2nd of 7 unpublished states (Published in an edition of 45 from the 8th state by the Twenty One Gallery in 1931) Beetles 1985: 22 (Chris Beetles, S.R. Badmin and the English Landscape, London: Collins, 1985, p. 63) Beetles 2015: 22 (Chris Beetles, S.R. Badmin RWS: Paintings, Drawings & Prints, London: Chris Beetles Ltd., p.41) Badmin produced forty etchings from 1928 to 1936 after graduating from the Royal College of Art where he learned etching and engraving under Professor Malcolm Osborne and Robert Sargent Austin. Austin recommended Badmin to the Twenty One Gallery in 1928 and it began publishing his prints annually until 1932 when he transferred to the Fine Art Society. Despite early critical acclaim, Badmin abandoned printmaking in 1936 for more lucrative work in illustration and watercolor owing to the gradual decline of the etching market after the Wall Street Crash of 1929. --- Among Badmin’s finest etchings, Swinbrook Bridge was exhibited to critical acclaim at the Royal Society of Painter-Etchers in 1931 and at the Royal Academy in 1932. It was considered to be the Badmin etching that came closest to the spirit of F. L. Griggs. As one American critic commented in 1933: “I associate Badmin with Griggs because I think his Swinbrook Bridge is constructed with the same perfection of form, tone and pattern.” Swinbrook Bridge stood near the village of Burford, Oxfordshire, which had been home to the Mitford family since the early 1920s. The old wooden bridge lasted until the Second World War when it was replaced by one of stone. Gallery label for installation of YCBA collection, 2017