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All works are signed in pencil unless indicated otherwise.
Frank Rinder. D. Y. Cameron An Illustrated Catalogue of His Etched Work. James Maclehose & Sons, Glasgow, 1912. 26 x 20 cm 259 pp with 434 black & white illustrations. Deluxe edition of 200, #96, printed on are on hand-made paper, with proofs of the illustrations on Japanese vellum. Each of these two hundred copies has, as frontispiece, an original pencil-signed etching, The Lion and the Unicorn. $650.
Castle Moyle. 1932. Drypoint. Rinder 497.iii. 6 7/8 x 10 7/8 (sheet 11 3/8 x 7). Edition 220. A rich impression with plate tone, printed on cream laid paper with deckle edges on two sides. Collector's seal verso of the famous Philadelphia collector, Charles J. Rosenbloom (Lugt 633b). Signed in pencil. $350.
Castle Urquhart. 1929. Drypoint with etching. Rinder 484.v. Edition about 85. 9 1/4 x 16 1/2 (13 x 19 1/8). A fine impression with drypoint burr, printed on cream wove paper. Signed in pencil. $450.
The Clyde at Symington. 1889. Etching. Rinder 32. 4 1/2 x 8 15/16 (sheet 8 5/16 x 13 3/8). A rich impression printed on white laid paper from an old volume. Signed by Cameron AND the printer, Frederick Goulding. Goulding was the master printer in the UK. At the time, his signature was often valued more than the artist's signature. $300.
Glen Orchy. c. 1925. Watercolor, pencil and conte crayon on paper. 9 1/4 x 13 (sheet 10 3/8 x 13 1/4). Ex-collection L.G. Duke,purchased at Sotheby's, London '10.12.70'. Mat line; otherwise good condition. Signed and titled in pencil, lower right. Housed in a French mat within subtle wood and gold leaf 18 5/8 x 22-inch frame. $2,250.
Kincardine. 1914. Etching. Rinder 454.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 Museum; Glasgow; New York. A rich impression with subtle plate tone printed on antique '1807 H SALMON' countermarked laid paper. Signed in pencil. $325.
Robert Lee's Workshop. 1905. Etching and drypoint. Rinder 375.i/iii. 11 7/8 x 8 5/8 (sheet 12 3/8 x 9 ). Illustrated: Salamana, Modern Masters of Etching. Printed on Japanese mulberry paper with small margins with carefully-wiped plate tone and drypoint burr. A superb impression of this extremely rare state. Signed in pencil. $1,500.
The Three Vagrants. 1892. Etching. R 149. 5 x 6 1/8 (sheet 5 3/8 x 6 1/8). Edition 10. Printed on cream laid paper, trimmed to the plate on three sides. Exhibited: Painter-Etchers, 1893. A fine impression of this extremely rare early image. Signed and titled in pencil. $300.
The Workshop (Stirling). 1905. Etching and drypoint. Rinder 369.ii/iv. 8 3/16 x 12 (sheet 8 5/16 x 12).No published edition. A rich impression with drypoint burr printed on very fine laid paper. Trimmed to the plate along three sides, à la Whistler. A rare state of this very scarce work. Signed in pencil. $1,250.
The Admiralty. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #5. Edition of 35 sets, with a few individual proofs apart from the set. A rich impression printed on cream laid paper. Signed in pencil. $350.
Aquamanile. 1913. Etching and drypoint. Rinder 441.iii. 10 5/8 x 9 1/2. Edition about 50. Illustrated: Hind, The Etchings of D.Y. Cameron. An aquamanile is a water vessel. This image is modeled after a fourteenth-century brass said to come from Hereford Cathedral. Signed in pencil. $250.
The Five Sisters, York Minster. 1907. Etching and drypoint. Rinder 397.iii/iv. 15 3/8 x 7 1/8 (sheet 16 x 7 1/2) . Edition 30. A very rich impression printed on fine Japanese mulberry paper. A rich, glowing impression with drypoint burr and plate tone. Signed in pencil. This is Cameron's most famous architectural etching. Rinder writes, ", p.217, "This, perhaps the loveliest of the great English windows, is also more than any other a subject for the etcher, as its beauty is less than that of jewel colour, than of a light-interpenetrated design." An extremely rare work. $9,500.
Newgate. 1899. Etching. Rinder 300.ii/iii. 6 3/16 x 4 7/8 (sheet 7 9/16 x 5 7/8). Series: London set, #11. Illustrated: Salaman, Modern Masters of Etching. Printed with plate tone on off-white laid paper. Signed in pencil. $450.
Old Bridge, Whitby. 1908. Drypoint. Rinder 403.iii. 7 7/8 x 12 1/2 (sheet 9 x 13 1/2). Edition 21. Printed with rich drypoint burr and plate tone on Japanese mulberry paper. A glowing impression of this extremely rare image. Signed in pencil. $350.
St. George's, Hanover Square. 1899. Etching. Rinder 301. 4 1/2 x 4 3/16 (sheet 5 1/2 x 5 3/16). London set, #12. Edition of 35 sets, with a few individual proofs apart from the set. A rich impression printed on cream laid paper. Signed in pencil. $350.
Souvenir d'Amsterdam. 1915-30. Etching and drypoint. Rinder 460.iv/vi. 14 5/8 x 10 1/4 (sheet 17 3/4 x 11 1/4). Edition 60. Illustrated: Print Collector's Quarterly 11 (1924): 53. A rich, tonal impression with atmospheric plate tone, printed on Japanese mulberry paper. Signed in pencil. Housed in a 21 1/2 x 16 1/2-inch gold leaf and wood frame. $1,250.
Damme. 1907. Etching and drypoint. Rinder 391.iii. 10 1/8 x 7 13/32 (sheet 16 1/4 x 9). Belgian set #5. Edition 63. Illustrated: The Studio Volume 44 (1908): 92; W.P. Robins, The Etching Craft London, Bookman's Journal & Print Collector, 1922. A rich, glowing impression with burr, printed on Japanese mulberry paper on the full sheet with deckle edges. Signed in pencil. $500.
Old La Roche. 1907. Etching and drypoint. Rinder 393.iii. 8 1/2 x 10 (sheet 10 5/16 x 11 1/16). Belgian set #7. Edition 63. A rich, glowing impression with burr, printed on Japanese mulberry paper. Printed on the full sheet with deckle edges.Signed in pencil. $550
Ypres II [Belgium]. c. 1910-1914. Charcoal and watercolor. 9 x 12 (sheet 9 1/16 x 13 3/4). Signed in pencil. $1,950.
The Chimera of Amiens. 1910. Drypoint. Rinder 415.vii. 9 9/16 x 7 3/16. Illustrated: Guichard, British Etchers, 1850-1940; Lumsden, The Art of Etching; Salaman, Modern Masters of Etching: D.Y. Cameron; Hind, The Etchings of D.Y. Cameron; Calloway, English Prints for the Collector, p. 179. Signed in pencil. $1,250.
The Wingless Chimera. 1911. Drypoint. Rinder 416.viii. 7 19/32 x 9 13/32. A rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Exhibited at the Royal Academy in 1911. Signed in pencil. The chimera sits on the neighboring buttress on Amiens Cathedral in Cameron's drypoint, The Chimera of Amiens Rinder 415. $750.
The Doge's Palace. 1902. Etching with drypoint. Rinder 326.ii. 9 7/8 x 15 3/4. A rich impression with burr and plate tone, printed on fine laid paper. Signed in pencil. $2,500.
The Palace Doorway (Palace of Joannis Darius).1895. Etching. Rinder 225. 9 3/8 x 15 (sheet 11 x 14 1/8). North Italian Set, #22. A rich impression with burr and plate tone, printed on off-white laid paper. Signed in pencil. $1,750.
The Turkish Fort. 1909. Etching and drypoint. Rinder 409. 5 1/2 x 10 3/8. The fort is on the Mokaltam Hills, near Cairo. Signed in pencil. $275.
Scottish painter, etcher, and draughtsman, born in Glasgow, the son of a clergyman. He abandoned brief unhappy careers in commerce and law to study at *Glasgow School of Art and the Royal Scottish Academy in Edinburgh. Most of his work consisted of landscapes (especially scenes of mountains) and architectural views, and he is best known for his etchings of buildings, including Gothic churches on the Continent—rich and sombre works with which he established a reputation as one of the outstanding printmakers of the day.
Allinson Gallery Index.
British Fine Prints.
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