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

David Young Cameron, “Isles, Loch Maree”, 1923

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

“Isles, Loch Maree” (as titled in pencil by the artist in margin) (aka “Isles of Loch Maree”), 1923.

Drypoint and etching with plate tone on laid paper watermarked (crown, horn in shield and lettered “GR” [see WA Churchill p. CCLVIII]), with small margins around the platemark, pencil-signed by the artist and signed in the plate.

Size: (sheet) 21.4 x 36.8 cm; (plate/image borderline) 17.4 x 35.2 cm.

Inscribed in plate: (lower right) “D. Y. Cameron.”; inscribed in pencil with the artist’s signature below the image borderline at right.

Sate iv (of v)

Rinder 469 (Frank Rinder 1912 [sup.1932], “D.Y. Cameron”, Glasgow, Jackson, Wylie & Company, cat. no. 469.IV).

In the catalogue raisonné of Cameron’s etchings, Frank Rinder (1932) advises that the edition size of this print is “about 50 impressions” (p. 289). Based on the richness of the drypoint burr and the clarity of details portrayed in the left foreground, I believe that this is an early impression—compare this impression with the reproduced copy of the same state offered by Rinder (1932), p. 288 (see https://archive.org/details/dycameronillustr00rind/page/288/mode/2up]).

Condition: a richly inked, strong and near faultless impression in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this drypoint and etching of great elegance and vision showing strips of islands in the world heritage protected Loch Maree in the Northwest Highlands of Scotland, for AU$628 (approximately US$408.35, EUR 258.24 or GBP 302.87), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this rare drypoint by key artist in the Etching Revival—an important movement in printmaking where the influence of Rembrandt reached its zenith with such attributes (as seen here) with the use of plate tone, retroussage and expressive line, but ended six years after the execution of this print (1923) with the Wall Street crash (1929) when the market for collecting of pints came to an abrupt close—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

David Young Cameron, “Lake of Menteith No. 2”, 1929

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

“Lake of Menteith No. 2”, 1929, published in Stirling in 1930 by Eneas Mackay (fl.c.1899–1940) as the frontispiece to Robert Bontine Cunninghame Graham’s (1852–1936) “The District of Menteith” in the “Edition de Luxe” of 250 signed impressions. I understand that the plate was cancelled after this edition.

Etching and drypoint with pale plate-tone on fine buff-coloured laid paper with Charles I watermark, signed in pencil by the artist.

Size: (sheet) 19.6 x 22.5 cm; (platemark) 11.2 x 17.4 cm.

Inscribed in plate at lower left corner: “DYC”.

State iii (of iii)

Rinder 482 (Frank Rinder 1912 [sup.1932], “D.Y. Cameron: An Illustrated Catalogue of His Etched Work”, Glasgow, Jackson, Wylie & Company, p. 302, cat. no. 482, state III [https://archive.org/details/dycameronillustr00rind/page/302/mode/2up]).

Frank Rinder (1932) offers the following poetic comment from Cunninghame Graham regarding the portrayed scene: “The Isle of Rest still seems to float upon the Lake.... The monks who built the long grey church sleep all forgotten, unconscious that they wove the spell that still enchants the Island and the Lake” (p. 302).

See also the description of this print offered by the National Galleries of Scotland: https://www.nationalgalleries.org/art-and-artists/148343/lake-menteith-no-ii.  

Condition: a strong and near faultless impression. Beyond pale spot glue marks verso the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or signs of handling.

I am selling this small and exquisitely luminous etching—a print that I would describe as a true “printmaker’s print” as the subtlety of the craftsmanship and sense of aesthetic beauty is (to my eyes) superb—for AU556 in total (currently US$358.06/EUR336.97/GBP287.82 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this insightfully considered etching by key artist in the Etching Revival, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

David Young Cameron’s etching, “The Towers of Charterhouse Godalming”, 1895

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

“The Towers of Charterhouse Godalming”, 1895, from the series of four plates published in 1895 in E.P. Eardley Wilmot and E.C. Streatfeild’s “Charterhouse Old and New”, printed in London by Frederick Goulding (1842–1909). This impression is from this initial edition, mindful that there is also a later edition published in Stirling by Eneas Mackay (fl.1899–c.1940) in 1910 (see https://www.britishmuseum.org/collection/object/P_1923-1023-1-1-4).

Etching printed in a warm black ink on fine wove buff-coloured Japanese paper.

Size: (sheet) 21.6 x 13 cm; (plate, soft impression approximation) 16.3 x 11.3 cm; (image borderline) 13 x 8.3 cm.

Lettered in plate below the image borderline: "THE^.TOWERS^.OF^.CHARTERHOUSE^.GODALMING  D.Y.C."

State i (of ii) “Before considerable darkening of foreground” of state ii (Rinder 1912).

Rinder 243 (Frank Rinder 1912 [sup.1932], “D.Y. Cameron: An Illustrated Catalogue of His Etched Work”, Glasgow, Jackson, Wylie & Company, p. 110, cat. no. 243, state 1 [https://archive.org/details/dycameronillustr00rind/page/110/mode/2up]).

The Metropolitan Museum of Art offers the following description of this print: “An exterior view of the Towers of Charterhouse in the historic market town of Godalming in Surrey, England with trees and foliage in the foreground” (https://www.metmuseum.org/art/collection/search/708036).

Condition: a strong and near faultless impression in pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this small and very beautiful etching—a print that I would describe as a true “printmaker’s print” as the subtlety of the craftsmanship and sense of aesthetic beauty is (to my eyes) superb—for AU256 in total (currently US$171.61/EUR156.37/GBP134.69 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this sensitively executed and insightfully considered etching by key artist in the Etching Revival, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold