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The Better of William Russell Flint – Delusion, Fable and Fairy Tale art from “The Golden Age of Illustration”
Updated on Might 3, 2016 Spirit of the Ages moreContact Writer William Russell Flint, his profession and works
William Russell Flint (1880-1969) was a Scottish painter who’s related to the Golden Age of Illustration.

He has been known as the best watercolor artist of his time.

William Russell Flint was formally skilled in artwork at the Royal Institution School of Artwork in Edinburgh and served an apprenticeship at a printing works earlier than transferring to London at the age of 20. Earlier than becoming a freelance artist in 1907, he worked for “The Illustrated London Information” from 1903.

His illustrations for Restricted Editions of a number of classic works are highly collectible.

A few of essentially the most collectible books options illustrations by William Russell Flint include: The Thoughts of the Emperor Marcus Aurelius Antoninus (1909), Mallory’s Le Morte D’Arthur: The Guide of King Arthur and his Noble Knights of the Spherical Table (1910-11), Kingsley’s The Heroes; or, Greek Fairy Tales for My Children (1912) and Chaucer’s “Canterbury Tales” (revealed because the Canterbury Tales of Geoffrey Chaucer in 1913).

Whilst preparing illustrations for publications from the Medici Society, Russell Flint also took commissions from other industrial publishers, including these for The Savoy Operas (1909) and Iolanthe and Different Operas (1910) produced by George Bell and The Odyssey of Homer (1924).

Some decades after his first consolidated suites of illustrations were revealed, his skills have been recognized by the Royal Academy and all through the 1920s and thirties Russell Flint was elected to a wide range of positions, together with: Affiliate of the Royal Academy (1924); Member of the Royal Academy (1933); and President of the Royal Academy of Painters in Watercolor (1936).

In 1962, his creative report was acknowledged by the Crown when he acquired a knighthood.

Whereas we’ve supplied hyperlinks for various merchandise out there via Amazon throughout this Hub, you may additionally like to think about the wider vary available at the William Russell Flint Collection shown at the ‘Spirit of the Ages’ Museum.

William Russell Flint’s illustrations for “The Thoughts of the Emperor Marcus Aurelius Antoninus” (1909)
The Ideas of the Emperor Marcus Aurelius Antoninus (1909) was based mostly upon a translation – undertaken by George Lengthy – of the surviving recorded ideas of the Stoic Philosopher and Roman Emperor, Marcus Aurelius Antoninus.

Lengthy provides a description of the training supplied to Antoninus as follows:

When he was eleven years previous, he assumed the dress of philosophers, something plain and coarse, became a tough scholar, and lived a most laborious, abstemious life, even as far as to injure his health. Finally, he abandoned poetry and rhetoric for philosophy, and he attached himself to the sect of the Stoics. But he didn’t neglect the study of regulation, which was a useful preparation for the excessive place which he was designed to fill. His teacher was L. Volusianus Maecianus, a distinguished jurist. We should suppose that he realized the Roman self-discipline of arms, which was a needed part of the training of a man who afterwards led his troops to battle towards a warlike race.

William Russell Flint Greeting Cards (12 Designs from “The Ideas of the Emperor Marcus Aurelius Antoninus” [1909])The illustrations on these Greeting Cards are prepared as tipped-on plates – in the manner of prestige illustrated publications produced within the early a long time of the twentieth Century. These tipped-on options are utilized to acid-free Ivory card with an accompanying envelope. Every card measures roughly 7 x 5″.

Purchase Now William Russell Flint’s suite of illustrations revealed within the Thoughts of the Emperor Marcus Aurelius Antoninus (1909) included 12 color designs offered as tipped-in plates.

“From Diogentus [I realized] to not busy myself about trifling issues”;

“Males search retreats from themselves, houses in the country, sea-shores, and mountains”;

“Don’t act as if thou wert going to dwell ten thousand years”;

“Willingly give thyself up to Clotho, permitting her to spin thy thread into no matter she pleases”;

“A prayer of the Athenians”;

“To little youngsters the ball is a tremendous factor”;

“With food and drink and cunning arts, turning the channel’s course to ‘scape from death”;

“He who pursues pleasure as good, and avoids ache as evil, is responsible of impiety”;

“Sure islands of the Joyful”;

“O Cithaeron!”;

“And virtue they’ll curse, talking harsh phrases”; and

“Tiberius et Capreae”.

William Russell Flint’s illustrations for “Savoy Operas” (1909)
Savoy Operas (1909), as printed by George Bell or, The Slave of Responsibility”; “Endurance; or, Bunthorne’s Bride”; “Princess Ida; or, Castle Adament”; and “The Yeomen of the Guard; or, The Merryman and his Maid”.

For every of the works, William Russell Flint ready eight shade illustrations so that the mixed collection for Savoy Operas (1909) comprised 32 photographs. A 12 months later, George Bell or, The Peer and the Peri”; “The Mikado; or, The City of Titipu”; “Ruddigore; or, The Witch’s Curse”; and “The Gondoliers; or, The King of Barataria”.

For every of the works, William Russell Flint ready eight colour illustrations in order that the combined collection for Iolanthe and Different Operas (1910) comprised 32 photographs. The title was published by George Bell Morgan le Fay; Merlin; Merlin; King Arthur; Guenever; Sir Launcelot; the Lady of the Lake; Sir Uwain; Sir Pelleas; Sir Gareth (Beaumains); Tristram; La Beale Isoud; King Meliodas; Tramtrist; Segwarides; King Mark; Sir Bors; Sir Percivale; and Galahad.

William Russell Flint Greeting Cards (48 Designs from “The Book of King Arthur and His Noble Knights of the Spherical Desk” [1910-eleven])The illustrations on these Greeting Cards are ready as tipped-on plates – in the style of prestige illustrated publications produced in the early a long time of the twentieth Century. Those tipped-on features are applied to acid-free Ivory card with an accompanying envelope. Each card measures roughly 7 x 5″.

Purchase Now As printed across the four volumes, William Russell Flint’s suite of illustrations for “Le Morte d’Arthur: The Ebook of King Arthur and his Noble Knights of the Round Desk” included 48 colour photographs presented as tipped-in plates.

That suite of illustrations from William Russell Flint acquired essential reward upon publications, together with that commentary in the International Studio (Vol. Forty six; 1912) that follows:

The earlier volumes having already been observed in these pages, it remains for us, now that the fourth and concluding volume has made its look, to offer our congratulations to those concerned within the manufacturing of this splendid edition of a “noble and joyous” book – to the publishers, who may justly level to it as a triumph of typographical art, and to the artist, who has added immensely to his fame by the singularly effective and apposite drawings executed by him as an example this previous romance.

William Russell Flint’s illustrations for “The Heroes; or, Greek Fairy Tales for My Kids” (1912)
The text for The Heroes; or, Greek Fairy Tales for My Kids (1912) was drawn from the mid-19th Century work of Charles Kingsley of the identical title.

William Russell Flint’s illustrative interpretation of Kingsley’s work is masterful and depicts seminal moments and characters inside the traditional Greek tales, together with: Danae; Perseus; Tritons; Galatea; Cheiron; the Argonauts; Medeia; the Sirens; Theseus; and the Minotaur.

The next review published in “The Worldwide Studio” (Vol. Forty eight, 1913) gives some insight into the reception offered to this lovely Edition illustrated by William Russell Flint:

Mr William Russell Flint’s coloration-books in the Riccardi Press editions have steadily called for reward in these columns, and we have formerly noted how the artist’s fashion has with each book more perfectly accommodated itself to decorative color-illustration. Island The current work surpasses any of his that we’ve got already reviewed in its thorough understanding of the issue of e book-illustration. There isn’t any sameness in Mr William Russell Flint’s pictures, though he rightly retains uniformity of model. He has appreciable inventive faculty, both in the conception of his topic and within the disposition of coloration, in the latter obtaining an ideal number of effect.

William Russell Flint Greeting Playing cards (12 Designs from “The Heroes; or, Greek Fairy Tales for My Children” [1912])The illustrations on these Greeting Playing cards are ready as tipped-on plates – in the manner of prestige illustrated publications produced within the early a long time of the twentieth Century. These tipped-on options are applied to acid-free Ivory card with an accompanying envelope. Each card measures approximately 7 x 5″.

Buy Now William Russell Flint’s suite of illustrations revealed in “The Heroes; or, Greek Fairy Tales for My Children” (1912) included 12 color photographs offered as tipped-in plates.

“He took Danae and her babe all the way down to the seashore, and put them into an ideal chest and thrust them out to sea”;

“She stood and checked out him with her clear gray eyes”;

“All night time long the sea-nymphs sang sweetly, and the Tritons blew upon their conchs, as they played spherical Galatea their queen”;

“Don’t worry me, fair one; I am a Hellen, and no barbarian”;

“Cheiron stood by him and watched him, for he knew that the time was come”;

“They took the bough and got here to Iolcos, and nailed it to the beak-head of the ship”;

“He went to a cliff, and prayed for them, that they might come home protected and properly”;

“But Medeia known as gently to him, and he stretched out his lengthy spotted neck, and licked her hand”;

“Slowly they sung and sleepily, with silver voices, mild and clear, which stole over the golden waters, and into the hearts of all the heroes”;

“Then they leapt throughout the pool, and got here to him”;

“And Theseus appeared up in her fair face and into her deep darkish eyes”; and

“Theseus caught him by the horns, and compelled his head again, and drove the keen sword through his throat”.

William Russell Flint’s illustrations for “The Canterbury Tales of Geoffrey Chaucer” (1913)
The Canterbury Tales of Geoffrey Chaucer (1913) as printed by The Medici Society Restricted (London), includes an adaptation of Chaucer’s Center English assortment of tales courting from the 14th Century.

The tales, while among a lot of basic works from Chaucer, are considered his ‘magnum opus’.

As instructed by Chaucer, the work is recognized as a body tale – tales informed inside a tale – in this case, the tales are recounted as part of a story-telling contest conduced among pilgrims travelling together from Southwark to the Canterbury – for the needs of enterprise a pilgrimage to the Shrine of Thomas Becket on the Cathedral.

As printed across three volumes in 1913, William Russell Flint’s suite of illustrations for The Canterbury Tales of Geoffrey Chaucer included 36 shade images presented as tipped-in plates.

William Russell Flint’s illustrations for “Theocritus, Bion and Moschus” (1922)
Theocritus, Bion and Moschus (1922), as published throughout two volumes by The Medici Society Restricted (London), contains an adaptation of works attributed to the Greek Bucolic poets that had been translated by Andrew Lang from the texts of Wordsworth (in the case of Theocritus) and Ziegler (in respect of Bion and Moschus).

William Russell Flint Greeting Playing cards (20 Designs from “Theocritus Bion and Moschus” [1922])The illustrations on these Greeting Cards are ready as tipped-on plates – in the way of prestige illustrated publications produced in the early a long time of the 20th Century. These tipped-on features are utilized to acid-free Ivory card with an accompanying envelope. Every card measures roughly 7 x 5″.

Purchase Now William Russell Flint’s suite of illustrations revealed in Theocritus, Bion and Moschus (1922) included 20 color photos introduced as tipped-in plates. Ready prior to World Warfare I, the effects of The nice Struggle prompted a delay of almost a decade to the publication.

“Candy, meseems, is the whispering sound of yonder pine tree, goatherd, that murmureth by the wells of water”;

“She too got here, the sweetly smiling Cypris, craftily smiling she came, but holding her heavy anger”:

“Ah, lovely Amaryllus, why no extra, as of previous, dost thou look through this cavern after me, nor callest me, thy sweetheart, to thy side”;

“Clearista, too, pelts the goatherd with apples as he drives past his she-goats, and a candy word she murmurs”;

“To listen to this makes her jealous of me, by Paean, and she wastes with pain, and springs madly from the sea”;

“They all call thee a ‘gipsy,’ gracious Bombyca, and ‘lean,’ and ‘sunburnt,’ ’tis only I that call thee ‘honey-pale'”;

“The nymphs all clung to his hand, for love of the Argive lad had fluttered the mushy hearts of all of them”;

“Hiero, just like the mighty men of old, girds himself for struggle, and the horse-hair crest is shadowing his helmet”;

“Then sang they all in harmony, beating time with woven paces, and the house rang spherical with the bridal track”;

“Taunting me, thus she spoke: ‘Get thee gone from me! Wouldst thou kiss me, thou – a neatherd?'”;

“Love stood on a pedestal of stone above the waters. And lo, that statue leapt and killed that cruel one”;

“Then marvelled the king himself, and his son, the warlike Phyleus, … when they beheld the exceeding strength of the son of Amphitryon”;

“Now Pentheus from a lofty cliff was watching all … Autonoe first beheld him, … and, dashing instantly, with her feet dashed all confused the mystic issues of Bacchus the wild”;

“‘Tis for thee to caress thy kine, not a maiden unwed”;

“‘Woe, woe for Cypris,’ the mountains are all saying, and the oak-trees answer, ‘Woe for Adonis'”;

“The herdsman bore off Helen, upon a time, and carried her to Ida, sore sorrow to Œnoe”;

“Hesperus, golden lamp of the lovely daughter of the foam, … hail, friend, and as I lead the revel to the shepherd’s hut, rather than the moonlight lend me thine”;

“Come, pricey playmates, maidens of like age with me, allow us to mount the bull here and take our pastime, … how mild he is, and expensive, and gentle to behold, and no whit like other bulls”; and

“And she too is Sicilian, and on the shores by Aetna she was wont to play”.

William Russell Flint’s illustrations for “The Odyssey of Homer” (1924)
The Odyssey of Homer (1924), as published by The Medici Society Restricted (London), consists of an adaptation of “Homer’s Odyssey” – one in all two main historic Greek epic poems attributed to Homer (the other being the “Iliad”) – undertaken by Professor S H Butcher and Andrew Lang.

William Russell Flint’s illustrative interpretation of Homer’s epic work is masterful and depicts seminal moments and characters within the basic Greek tale, together with: the goddess Athena; Odysseus; Helen of Troy; Telemachus; Circe; Calypso; and Alcinous.

William Russell Flint Greeting Cards (20 Designs from “The Odyssey of Homer” [1924])The illustrations on these Greeting Cards are prepared as tipped-on plates – in the manner of prestige illustrated publications produced in the early decades of the 20th Century. Those tipped-on options are applied to acid-free Ivory card with an accompanying envelope. Every card measures approximately 7 x 5″.

Buy Now As revealed in 1924, William Russell Flint’s suite of illustrations for The Odyssey of Homer included 20 coloration photos offered as tipped-in plates.

Those illustrations by William Russell Flint embrace:

“My coronary heart is rent for wise Odysseus, the hapless one, who far from his mates this long whereas suffereth affliction in a seagirt Isle”;

“Now when the wooers had put from them the want of meat and drink they minded them of different issues, even of the tune and dance: for these are the crown of the feast”;

“Then in amaze she went again to her chamber, for she laid up the sensible saying of her son in her heart”;

“Helen came forth from her fragrant vaulted chamber, like Artemis of the golden arrows”;

“It was the fourth day when he had achieved all. And lo, on the fifth, the truthful Calypso sent him on his approach from the island”;

“And the daughter of Alcinous alone stood firm, for Athene gave her courage of heart, and took all trembling from her limbs”;

“Circe meanwhile had gone her manner and made quick a ram and a black ewe by the darkish ship”;

“So spake she, however I drew my sharp sword from my thigh and sprang upon Circe, as one eager to slay her”;

“And lo, the girls got here up, for the high goddess Persephone despatched them forth, all they that had been the wives and daughters of mighty males”;

“Now all the remaining, as many as fled from sheer destruction, had been at house, and had escaped each conflict and sea, however Odysseus solely, craving for his spouse and for his homeward path, the lady nymph Calypso held, that truthful goddess, in her hollow caves, longing to have him for her lord”;

“Therewith the goddess plunged right into a shadowy cave”;

“And Helen came up, beautiful Helen, with the gown in her palms and spake and hailed him”;

“All her joints had been loosened as she lay within the chair, and the truthful goddess the while was giving her gifts immortal”;

“By help of the handmaids, shameless issues and reckless, the wooers got here and trapped me, and chid me loudly”;

“The joy and anguish came on her in a single second, and both her eyes crammed up with tears, and the voice of her utterance was stayed”;

“Then down from heaven came Athena and drew nigh him, fashioned within the likeness of a lady”;

“Others again go for water to the properly”;

“She set forth to go to the corridor to the company of the proud wooers, with the again-bent bow in her arms, and the quiver for the arrows”;

“The Killing of the Wooers”; and

“So he spake, and directly her knees have been loosened, and her heart melted inside her, as she knew the same tokens that Odysseus confirmed her”.

Is there a most popular suite of illustrations by William Russell flint?
Which suite of illustrations by William Russell Flint is your favourite?

“The Thoughts of the Emperor Marcus Aurelius Antoninus” (1909)

“Savoy Operas” (1909)

“Iolanthe and Different Operas” (1910)

“Le Morte d’Arthur: The E book of King Arthur and his Noble Knights of the Spherical Desk” (1910-11)

“The Heroes; or, Greek Fairy Tales for My Children” (1912)

“The Canterbury Tales of Geoffrey Chaucer” (1913)

“Theocritus, Bion and Moschus” (1922)

“The Odyssey of Homer” (1924)
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