Railway Poster, LMS Stirling by David Young Cameron (1865-1945) is a coloured print showing a countryside view of Stirling Castle. The dark mountains in the background contrast the lightness of the castle and the green fields below, creating a stark atmosphere that draws in the eye. A suitable technique given this print served as an advertisement for the London, Midland & Scottish Railway, which was in operation from 1923 until 1947 and had grouped a multitude of railway companies into four major ones. During its time, it was the world's largest transport organisation until it was absorbed into British Railways. Cameron's water colourist influence is visible in this print with the light washes of green and brown over much of the landscape, creating a picturesque snapshot that depicts a possible view from a railway. 

Stirling Castle is another common subject in much of Cameron's works across his etchings and paintings, often combining the emphasis on the architecture with the softness of the surrounding landscape. Cameron rose to prominence through his etching skills, with his work being reflective of his strong skills in printmaking through the use of light and dark contrast. Through the 'Etching Revival' spanning 1880-1930, Cameron produced and sold many of his prints through the support of art dealers in Glasgow and Edinburgh. Cameron's development of watercolour skills was largely influenced by his mother, an amateur watercolourist and his sister, Katherine Cameron, also a well-known Scottish artist. While his printmaking first gained Cameron attention, here he combines both his skillsets to create an atmospheric piece that can be reproduced. 

Sir David Young Cameron RA RSA RWS RSW, 1865-1945

Cameron was a man of considerable importance and influence in British art circles in the 1920s and 1930s. His paintings attracted great critical acclaim and were acquired by many public art galleries in Britain and abroad. Sadly, the majority are today hidden in storerooms. Cameron's commitment to art extended well beyond the boundaries of the studio. During the second half of the First World War Cameron served as a war artist for the Canadian Government; he supervised the decoration of St. Stephen's Hall in the Houses of Parliament and of the rebuilt bank of England; he was associated with the British School in Rome for over twenty-five years; he was Trustee of the Tate Gallery and of the National Galleries of Scotland; and in 1933 he was appointed King's Painter and Limner in Scotland, an office previously held by Raeburn and Wilkie. Cameron was a son of the manse who’s deeply held religious faith was an important element throughout his life and imbued much of his work, particularly his landscapes. He devoted considerable time and energy to the Church of Scotland, advising many congregations on the redecoration of the churches.
Born in Glasgow, Cameron probably inherited his artistic ability from his mother, a talented amateur watercolourist, as did his sister, the watercolourist and etcher Katharine Cameron. While working in a Glasgow office he attended classes at Glasgow School of Art, and in 1884 he gave up office work -which he hated - in favour of painting, enrolling at Edinburgh School of Art, where fellow artists included W.M. Frazer and James Pryde.
However, it was as an etcher that Cameron first came to prominence. Like Rembrandt, who was a profound influence, Cameron was a master of light and shade, whether in a landscape, a street scene or one of his atmospheric church interiors. Over a period of some forty-five years he produced about 520 etchings and drypoints, becoming, with fellow Scots Muirhead Bone and James McBey, one of the foremost British etchers of the Etching Revival of 1880-1930.
Today Cameron is remembered as a painter of the Scottish landscape. However, his oevre included figure subjects and portraits, townscapes and architectural subjects as well as landscapes. He travelled widely throughout a long working life. His oils and watercolours show a remarkable ability to convey the character and spirit of a place.