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The Best of William Russell Flint – Myth, Fable and Fairy Tale artwork from “The Golden Age of Illustration”
Updated on May 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 associated with the Golden Age of Illustration.
He has been referred to as the best watercolor artist of his time.
William Russell Flint was formally educated in artwork on the Royal Institution School of Artwork in Edinburgh and served an apprenticeship at a printing works earlier than moving to London on the age of 20. Earlier than becoming a freelance artist in 1907, he worked for “The Illustrated London News” from 1903.
His illustrations for Restricted Editions of plenty of basic works are extremely collectible.
Some of essentially the most collectible books options illustrations by William Russell Flint embody: The Thoughts of the Emperor Marcus Aurelius Antoninus (1909), Mallory’s Le Morte D’Arthur: The E-book of King Arthur and his Noble Knights of the Spherical Desk (1910-11), Kingsley’s The Heroes; or, Greek Fairy Tales for My Youngsters (1912) and Chaucer’s “Canterbury Tales” (printed as the Canterbury Tales of Geoffrey Chaucer in 1913).
While preparing illustrations for publications from the Medici Society, Russell Flint also took commissions from different commercial publishers, together with these for The Savoy Operas (1909) and Iolanthe and Other Operas (1910) produced by George Bell and The Odyssey of Homer (1924).
Some decades after his first consolidated suites of illustrations had been revealed, his skills had been recognized by the Royal Academy and throughout the 1920s and nineteen thirties Russell Flint was elected to quite a lot of positions, including: 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 inventive document was recognized by the Crown when he obtained a knighthood.
Whereas we have offered links for numerous products out there by Amazon throughout this Hub, you might also like to consider the wider vary out there on the William Russell Flint Assortment shown on the ‘Spirit of the Ages’ Museum.
William Russell Flint’s illustrations for “The Ideas of the Emperor Marcus Aurelius Antoninus” (1909)
The Thoughts of the Emperor Marcus Aurelius Antoninus (1909) was based upon a translation – undertaken by George stone island shadow project parka Long – of the surviving recorded ideas of the Stoic Philosopher and Roman Emperor, Marcus Aurelius Antoninus.
Long gives a description of the training supplied to Antoninus as follows:
When he was eleven years previous, he assumed the gown of philosophers, one thing plain and coarse, grew to become a hard scholar, and lived a most laborious, abstemious life, even as far as to injure his health. Lastly, he abandoned poetry and rhetoric for philosophy, and he connected himself to the sect of the Stoics. But he did not neglect the study of regulation, which was a helpful preparation for the excessive place which he was designed to fill. His trainer was L. Volusianus Maecianus, a distinguished jurist. We must suppose that he discovered the Roman self-discipline of arms, which was a needed part of the education of a man who afterwards led his troops to battle towards a warlike race.
William Russell Flint Greeting Playing cards (12 Designs from “The Ideas of the Emperor Marcus Aurelius Antoninus” )The illustrations on these Greeting Cards are ready as tipped-on plates – in the way of prestige illustrated publications produced within the early decades of the 20th Century. These tipped-on features are utilized to acid-free Ivory card with an accompanying envelope. Each card measures approximately 7 x 5″.
Purchase Now William Russell Flint’s suite of illustrations published in the Ideas of the Emperor Marcus Aurelius Antoninus (1909) included 12 coloration designs introduced as tipped-in plates.
“From Diogentus [I learned] not to busy myself about trifling issues”;
“Males seek retreats from themselves, homes in the nation, sea-shores, and mountains”;
“Do not act as if thou wert going to reside ten thousand years”;
“Willingly give thyself as much as Clotho, allowing her to spin thy thread into no matter she pleases”;
“A prayer of the Athenians”;
“To little children the ball is a high-quality thing”;
“With meals and drink and cunning arts, turning the channel’s course to ‘scape from dying”;
“He who pursues pleasure as good, and avoids ache as evil, is guilty of impiety”;
“Certain islands of the Happy”;
“And advantage they are going to curse, talking harsh phrases”; and
“Tiberius et Capreae”.
William Russell Flint’s illustrations for “Savoy Operas” (1909)
Savoy Operas (1909), as published by George Bell or, The Slave of Obligation”; “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 coloration illustrations so that the combined collection for Savoy Operas (1909) comprised 32 pictures. A yr 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 color illustrations so that the mixed collection for Iolanthe and Other Operas (1910) comprised 32 images. The title was revealed 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 (forty eight Designs from “The Ebook of King Arthur and His Noble Knights of the Spherical Desk” [1910-11])The illustrations on these Greeting Cards are prepared as tipped-on plates – in the way of prestige illustrated publications produced within the early a long time of the 20th Century. Those tipped-on options are applied to acid-free Ivory card with an accompanying envelope. Each card measures approximately 7 x 5″.
Buy Now As revealed throughout the 4 volumes, William Russell Flint’s suite of illustrations for “Le Morte d’Arthur: The Book of King Arthur and his Noble Knights of the Round Desk” included forty eight color images presented as tipped-in plates.
That suite of illustrations from William Russell Flint acquired critical praise upon publications, including that commentary in the Worldwide Studio (Vol. Forty six; 1912) that follows:
The sooner volumes having already been seen in these pages, it stays for us, now that the fourth and concluding volume has made its appearance, to supply our congratulations to these concerned in the manufacturing of this splendid version 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 repute by the singularly effective and apposite drawings executed by him to illustrate 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 Youngsters (1912) was drawn from the mid-19th Century work of Charles Kingsley of the same name.
William Russell Flint’s illustrative interpretation of Kingsley’s work is masterful and depicts seminal moments and characters throughout the traditional Greek tales, including: Danae; Perseus; Tritons; Galatea; Cheiron; the Argonauts; Medeia; the Sirens; Theseus; and the Minotaur.
The next assessment revealed in “The International Studio” (Vol. 48, 1913) offers some perception into the reception supplied to this lovely Version illustrated by William Russell Flint:
Mr William Russell Flint’s colour-books within the Riccardi Press editions have often referred to as for praise in these columns, and now we have previously noted how the artist’s style has with every e book extra perfectly accommodated itself to decorative color-illustration. The current work surpasses any of his that we have already reviewed in its thorough understanding of the issue of book-illustration. There is no sameness in Mr William Russell Flint’s photos, though he rightly retains uniformity stone island shadow project parka of type. He has considerable inventive college, each in the conception of his subject and within the disposition of colour, in the latter obtaining a fantastic variety of effect.
William Russell Flint Greeting Playing cards (12 Designs from “The Heroes; or, Greek Fairy Tales for My Children” )The illustrations on these Greeting Cards are ready as tipped-on plates – in the way of prestige illustrated publications produced within the early decades of the 20th Century. These tipped-on features are utilized to acid-free Ivory card with an accompanying envelope. Every card measures approximately 7 x 5″.
Buy Now William Russell Flint’s suite of illustrations printed in “The Heroes; or, Greek Fairy Tales for My Kids” (1912) included 12 colour images presented 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 grey eyes”;
“All evening lengthy the sea-nymphs sang sweetly, and the Tritons blew upon their conchs, as they performed round Galatea their queen”;
“Do not concern me, honest 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 may come home safe and nicely”;
“However Medeia called gently to him, and he stretched out his long noticed 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 of the heroes”;
“Then they leapt throughout the pool, and got here to him”;
“And Theseus seemed up in her honest face and into her deep darkish eyes”; and
“Theseus caught him by the horns, and compelled his head back, and drove the eager 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 Limited (London), includes an adaptation of Chaucer’s Center English assortment of tales dating from the 14th Century.
The tales, while amongst a lot of basic works from Chaucer, are thought of his ‘magnum opus’.
As advised by Chaucer, the work is recognized as a frame tale – tales informed inside a tale – in this case, the tales are recounted as part of a narrative-telling contest conduced amongst pilgrims travelling together from Southwark to the Canterbury – for the needs of endeavor a pilgrimage to the Shrine of Thomas Becket on the Cathedral.
As revealed across three volumes in 1913, William Russell Flint’s suite of illustrations for The Canterbury Tales of Geoffrey Chaucer included 36 color photos offered as tipped-in plates.
William Russell Flint’s illustrations for “Theocritus, Bion and Moschus” (1922)
Theocritus, Bion and Moschus (1922), as printed across two volumes by The Medici Society Restricted (London), includes 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 Cards (20 Designs from “Theocritus Bion and Moschus” )The illustrations on these Greeting Playing cards are prepared as tipped-on plates – in the style of prestige illustrated publications produced in the early decades of the twentieth Century. These tipped-on options are applied to acid-free Ivory card with an accompanying envelope. Every card measures roughly 7 x 5″.
Buy Now William Russell Flint’s suite of illustrations printed in Theocritus, Bion and Moschus (1922) included 20 colour photos presented as tipped-in plates. Ready prior to World Conflict I, the consequences of The good Conflict prompted a delay of nearly a decade to the publication.
“Sweet, 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, yet preserving her heavy anger”:
“Ah, lovely Amaryllus, why no extra, as of outdated, dost thou look by this cavern after me, nor callest me, thy sweetheart, to thy facet”;
“Clearista, too, pelts the goatherd with apples as he drives past his she-goats, and a sweet word she murmurs”;
“To hear this makes her jealous of me, by Paean, and she wastes with pain, and springs madly from the sea”;
“They all name thee a ‘gipsy,’ gracious Bombyca, and ‘lean,’ and ‘sunburnt,’ ’tis solely I that call thee ‘honey-pale'”;
“The nymphs all clung to his hand, for love of the Argive lad had fluttered the smooth hearts of all of them”;
“Hiero, like the mighty males of outdated, girds himself for fight, and the horse-hair crest is shadowing his helmet”;
“Then sang they all in harmony, beating time with woven paces, and the house rang round with the bridal music”;
“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 merciless one”;
“Then marvelled the king himself, and his son, the warlike Phyleus, … after they beheld the exceeding energy of the son of Amphitryon”;
“Now Pentheus from a lofty cliff was watching all … Autonoe first beheld him, … and, speeding all of a sudden, together with her toes dashed all confused the mystic things 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-timber 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, buddy, 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, let us mount the bull here and take our pastime, … how mild he is, and pricey, 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 printed by The Medici Society Restricted (London), consists of an adaptation of “Homer’s Odyssey” – one in every of two major 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 inside the basic Greek tale, including: the goddess Athena; Odysseus; Helen of Troy; Telemachus; Circe; Calypso; and Alcinous.
William Russell Flint Greeting Cards (20 Designs from “The Odyssey of Homer” )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. Those tipped-on options are applied to acid-free Ivory card with an accompanying envelope. Every card measures roughly 7 x 5″.
Buy Now As published in 1924, William Russell Flint’s suite of illustrations for The Odyssey of Homer included 20 shade images introduced as tipped-in plates.
These illustrations by William Russell Flint embody:
“My coronary heart is rent for smart Odysseus, the hapless one, who far from his buddies this lengthy while 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 things, even of the track and dance: for these are the crown of the feast”;
“Then in amaze she went back to her chamber, for she laid up the smart saying of her son in her coronary heart”;
“Helen got here forth from her fragrant vaulted chamber, like Artemis of the golden arrows”;
“It was the fourth day when he had completed all. And lo, on the fifth, the fair Calypso sent him on his means 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 in the meantime had gone her means and made fast 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 desperate to slay her”;
“And lo, the girls came up, for the excessive goddess Persephone despatched them forth, all they that had been the wives and daughters of mighty men”;
“Now all the rest, as many as fled from sheer destruction, were at house, and had escaped each war and sea, but Odysseus solely, craving for his spouse and for his homeward path, the lady nymph Calypso held, that honest goddess, in her hollow caves, longing to have him for her lord”;
“Therewith the goddess plunged into a shadowy cave”;
“And Helen got here up, lovely Helen, with the robe in her arms and spake and hailed him”;
“All her joints were loosened as she lay in the chair, and the fair goddess the whereas was giving her gifts immortal”;
“By help of the handmaids, shameless things and reckless, the wooers came and trapped me, and chid me loudly”;
“The joy and anguish got here on her in a single second, and both her eyes filled up with tears, and the voice of her utterance was stayed”;
“Then down from heaven got here Athena and drew nigh him, long-established in the likeness of a woman”;
“Others once more go for water to the nicely”;
“She set forth to go to the hall to the corporate of the proud wooers, with the again-bent bow in her fingers, and the quiver for the arrows”;
“The Killing of the Wooers”; and
“So he spake, and without delay her knees had been loosened, and her coronary heart melted within her, as she knew the same tokens that Odysseus showed her”.
Is there a most popular suite of illustrations by William Russell flint
Which suite of illustrations by William Russell Flint is your favorite
“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 Round Table” (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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