David Young Cameron, “Arran Peaks”, 1912

David Young Cameron (aka Sir David Young Cameron RA RSA RE) (1865–1945)—one of the leading practitioners of the Etching Revival

“Arran Peaks”, 1912

Technical Details & Condition:

Drypoint with etching and plate tone, printed in warm black ink on fine cream wove paper with small margins. The plate bears the artist’s initials (“DYC”) inscribed in the upper left corner. The print is pencil-signed by Cameron in the lower margin, alongside a notation (from another hand) stating: “Arran Peaks. [Early?] State before plate was cut.” Despite this note, the size of the platemark closely matches the dimensions of the plate when it was cut. 

This is state five (of six), with the artist’s initials inscribed in the sky at upper left. According to Frank Rinder’s 1932 catalogue raisonné of Cameron’s etchings, the edition size is estimated at “about 50 impressions” (p. 289). 

The impression is richly inked and thoughtfully wiped during printing, creating a poetic luminosity. The sheet has been slightly unevenly trimmed and has replenished corners at upper left and lower right. Aside from remnants of mounting tape verso and minor pale age-toning, the sheet is in good condition—free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 27.6 x 38.1 cm
• Plate: 25 x 35.2 cm

In-Plate Lettering:

• Upper left corner: “DYC”

References:

• Rinder 436 v (Frank Rinder, 1912 [sup.1932], D.Y. Cameron, Glasgow, Wylie & Jackson, p. 249, cat. no. 436)—https://archive.org/details/dycameronillustr00rind/page/248/mode/2up  
• University of San Diego: https://collections.sandiego.edu/objects/4497/arran-peaks
• National Galleries of Scotland: https://www.nationalgalleries.org/art-and-artists/30981/arran-peaks

Price & Shipping:

AU$628 (approximately US$440.15 / €380.86 / £328.71), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this poetically stark and even dramatic depiction of the mountain range in Scotland’s Isle of Arran—a landscape often considered to epitomise the Scottish terrain and known as “Scotland in miniature”—please contact me at oz_jim@printsandprinciples.com. I’m happy to provide a secure PayPal invoice for a smooth, protected transaction.

This print has been sold

Théodore Géricault & Eugène Lami, “Le Giaour”, 1823

Théodore Géricault (also known as Jean Louis André Théodore Géricault) (1791–1824) in collaboration with Eugène Lami (also known as Eugène Louis Lami, Eugène Lamy, and Eugène Lamie) (1800–1890)

“Le Giaour” (The Infidel), 1823

Technical Details & Condition:

Lithograph printed in black on heavy wove paper with wide margins. This print is from the celebrated series “Oeuvres de Lord Byron,” published in Paris by Gihaut Frères (active 1815–1871). This impression is from the third and final state (Delteil 95, III/III), following the erasure of the printer details for Villain (active 1822–1852).

The impression is strong, evenly inked, and well-pressed. The sheet is in pristine condition—entirely free of tears, pinholes, folds, abrasions, stains, or handling marks.

Narrative Subject:

The dramatic scene is based on Lord Byron's famous 1813 narrative Romantic poem, “The Giaour.” The Turkish leader, Hassan, is shown fallen in the foreground with his “back to earth, his face to heaven.” Above him on horseback, the vengeful anti-hero, the Giaour, brands his sabre and looks down upon his dying enemy “with brow / As dark as his that bled below.”

Dimensions:

• Sheet: 28.1 x 38.8 cm
• Image borderline: 15.3 x 21.1 cm

In-Plate / Stone Lettering:

• Above image (centre): “LE GIAOUR”
• Below image (left): “Géricault et Eug. Lami.1823.”
• Below the image (centre): “.... Cet ennemi est là qui le contemple..... son front est aussi sombre que celui qui est couvert / des ombres du trépas.......” (Translation: “...This enemy is there contemplating him... his brow is as dark as that which is covered by the shadows of death...”).
• Below the image (right): “chez Gihaut frères, éditeurs.”

References:

• Deteil 95 (Loÿs Delteil, Le Peintre-Graveur Illustré, Vol. 18 [Géricault], cat. no. 95)
• British Museum: https://www.britishmuseum.org/collection/object/P_1868-1114-313
• Yale University Art Gallery: https://artgallery.yale.edu/collections/objects/89632

Price & Shipping:

AU$363 (approximately US$255.17 / €221.08 / £190.76), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare and important lithograph in pristine condition, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.

Raoul Vion, “Justice and Divine Vengeance Pursuing Crime”, 1914, after Pierre-Paul Prud'hon

Raoul Vion (active 1909–1930)

“Justice and Divine Vengeance Pursuing Crime” (“La Justice et la Vengeance Divine poursuivant le Crime”), 1914 

Technical Details & Condition:

Multi-colour lithograph (pale blue, red, yellow, and black) executed in the “crayon-manner,” printed on heavy buff wove paper with exceptionally wide margins.

This impression features a dynamic, textured ink-spattering effect in the light blue background. Interestingly, this background treatment varies significantly from the lithograph held by the Yale University Art Museum, which shows a less extensive spread of this light blue stippling (see https://artgallery.yale.edu/collections/objects/309840).

While definitive publisher documentation is absent, the presence of a faint ink offset on the reverse side indicates a rapid, small-batch printing. This technique is highly characteristic of ephemeral wartime posters produced under urgent conditions.

The impression is strong, evenly inked, and well-pressed. The sheet is in pristine condition—entirely free of tears, pinholes, folds, abrasions, stains, or handling marks.

Historical Iconography & Context:

As inscribed in the plate/stone, the lithograph is based on a design by Pierre-Paul Prud'hon (1758–1823), who frequently employed patriotic, highly classical motifs featuring winged victories, Marianne-like figures, and Roman military iconography during the French Revolutionary and Napoleonic eras.

Produced at the immediate outbreak of World War I, Vion repurposes Prud'hon’s classic theme of divine retribution to address the geopolitical crisis of 1914:

• The Allegory: Flying at the upper centre are two winged figures representing Justice and Vengeance. One brandishes a flaming torch while the other wields a dagger.
• Wartime Symbols: The figures carry national banners, most notably the British Union Jack emblazoned with the pivotal date “1914.”
• The Villain: Fleeing beneath them is a caricature of an angst ridden Kaiser Wilhelm II, clutching a bared sabre.
• The Landscape: The composition unfolds across an ominous landscape—flanked by a hopeful rising sun on the far left, contrasted against the red glow of a setting sun illuminating battlefield crosses on the right.

Dimensions:

• Sheet: 57.5 x 47 cm
• Image area (approximately): 36 x 26.5 cm

In-Plate Lettering:

• Upper left (on flag): “1914”
• Lower right: “Raoul Vion 1914 / Inspiré du tableau / de Prud'hon [Inspired by Prud'hon's painting]”

Price & Shipping:
AU$226 (approximately US$159.08 / €137.95 / £119.32), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare and large poster in pristine condition from the World War I, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.

This print has been sold

Samuel Cousins, “Pomona”, 1882, after John Everett Millais

Samuel Cousins (1801–1887)

“Pomona”, 1882, after the painting of the same name by John Everett Millais (1829–1896) (see https://www.wikiart.org/en/john-everett-millais/pomona)

Technical Details & Condition:

This print employs mixed intaglio techniques—mezzotint, etching, engraving, aquatint (?) and stipple engraving—on cream chine collé on wove paper. It is hand-signed in pencil by both John Everett Millais, the artist of the original painting, and Samuel Cousins, the printmaker. Additionally, it bears the dry stamp of the Printsellers’ Association at the lower left. 

Published in London by Arthur Tooth (active 1868–1976) and The Fine Art Society (est. 1876), this impression is a first-state proof, showing the publication details inscribed in tiny lettering above the image border, prior to the second-state lettering—see a previously listed second-state impression that has now sold: https://www.printsandprinciples.com/2017/03/samuel-cousins-etching-with-other.html. 

This is a strong, crisp, and well-printed impression. The sheet has been professionally backed with archival-quality washi paper to support a small, closed tear in the lower left margin. Aside from the tear and some minor marks, the sheet is in good condition with no holes, folds, or significant stains. 

Dimensions:

• Sheet: 55 x 41
• Plate: 54.6 x [51.5?] cm
• Chine collé: 52.6 x 38.8 cm
• Image borderline: 45.5 x 33.2 cm

In-Plate Lettering:

• Above the image borderline at centre: “London, Published Oct, 2^nd, 1882 by Arthur Tooth & Sons. 5 & 6, Haymarket. S. W. & The Fine Art Society New Bond Street, Copyright Registered Entered according to Act of Congress in the Year 1882 by Mess^rs Knoedler & C^o. in the Office of the Librarian of Congress at Washington.”

References:

• Whitman 220 (Alfred Whitman 1904, “Nineteenth Century Mezzotiners: Samuel Cousins”, London, George Bell & Sons)
• British Museum: https://www.britishmuseum.org/collection/object/P_1952-0211-5

Price & Shipping:
AU$688 (approximately US$484.64 / €420.62 / £363.60), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare, pencil-signed masterwork of nineteenth-century printmaking—a first-state proof of exceptional rarity—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.