David Young Cameron Art

Medium: original etching and drypoint. Executed in 1899. This impression is printed on cream laid paper. Plate size: 7 7/8 x 3 3/8 inches (200 x 85 mm). Signed in the plate (not hand...

This striking etching depicts Jacobite troupes gathering in the courtyard of Holyrood House ahead of the Battle of Culloden in 1745. The palace played a significant part in Bonnie prince Charlie's attempt to restore his family's line to the British throne...

A wonderful oil on canvas circa 1915 by Scottish academic painter Sir David Young Cameron RA. The work depicts a view Ben Ledi, in The Trossachs National Park...

A magnificent large oil on canvas circa 1915 by Scottish academic painter Sir David Young Cameron RA. The work depicts a view if Loch Chon in the Trossachs, Scotland. The vast hills in the landscape reflect in the still water below as the sun sets with light bouncing off the clouds in the blue sky. Signature: Signed lower right Dimensions: Framed: 28"x46" Unframed: 19"x37" Provenance: William Scott & Sons - Montreal, Canada (original labels verso) David Cameron was the son of a Protestant minister. He studied at evening classes in Glasgow and at the Royal Institution in Edinburgh in 1885. Cameron began engraving at the age of 18. He first exhibited in Glasgow and achieved success at a young age. He exhibited at the 'Secession' exhibition in Berlin and in Munich. In 1893 he was awarded medals in Antwerp and Chicago, in 1895 a silver medal in Brussels, in 1897 a gold medal in Dresden, in 1900 a gold medal at the Paris Exposition Universelle and in 1905 a gold medal in Munich. In 1919 he taught at the British School in Rome. Cameron was knighted in 1924. He became an associate member of the Royal Scottish Academy and a member of the Society of Watercolourists of England and of Scotland. He contributed to several publications and magazines and also illustrated literary works including An Elegy by Robert Louis Stevenson in 1896 and the Story of the Tweed by H. Maxwell in 1905. Cameron became one of the most influential artists of the Glasgow School, who, like their French counterparts, promoted the custom of open-air painting. His paintings and engravings were preceded by numerous preparatory drawings. By 1890, Cameron was at his best and proved this in two etchings entitled Kitchen in the Highlands; Greenock. He drew, painted and engraved subjects that he encountered on his travels and was particularly attracted by architectural landscapes. In 1892 Cameron published Views of Holland, which includes the well-known plate Stormy Sunset. It was the following series of views that made his reputation: the 1896 Views of North Italy and the 1900 Views of London which includes the plates The Admiralty, The Customs and Newgate acclaimed by the art critic Frederick Wedmore who drew up the catalogue of Cameron's work in 1903 when the artist was still only 38 years old. After the publication of the catalogue other works followed: the 1907 Views of Belgium and the 1909 Views of Paris. Cameron is often compared with Meryon and considered to be his successor in the engraving of Romantic architecture, often depicted under dramatic lighting effects such as storms and sunsets. He is also seen as revealing a Post-Impressionist style which allies him to Whistler. In Cameron's landscape paintings the Post-Impressionist influence is even more marked. He was directly inspired by Gauguin and worked in flat tints of clear colour in the manner of the Nabis. Museum and Gallery Holdings Dundee (University Fine Art Collection): Lunan Bay...

Rinder catalog 467 state .iii. 6 7/8 x 12 1/4 (sheet 8 3/16 x 13 1/16). Edition about 6. Of these, 36 were sent to New York, the gross proceeds being a gift from the artist to the A...

Kincardine. 1914. Etching. Rinder catalog 454 state vii. 6 7/8 x 12 1/2 (sheet 6 9/16 x 13 7/8). Edition about 60. Exhibited: Society of Twelve, 1916, No. 90; Victoria and Albert Mus...