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The Better of William Russell Flint – Delusion, Fable and Fairy Tale art from “The Golden Age of Illustration”
Up to date on Might 3, 2016 Spirit of the Ages moreContact Writer William Russell Flint, his career and works
William Russell Flint (1880-1969) was a Scottish painter who’s related to 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 art on the Royal Institution College of Art in Edinburgh and served an apprenticeship at a printing works earlier than shifting to London on the age of 20. Earlier than turning into a freelance artist in 1907, he worked for “The Illustrated London Information” from 1903.

His illustrations for Restricted Editions of a number of traditional works are extremely collectible.
Some of the most collectible books options illustrations by William Russell Flint embody: The Ideas 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 Table (1910-eleven), Kingsley’s The Heroes; or, Greek Fairy Tales for My Kids (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 additionally took commissions from other business publishers, together with those 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 have been acknowledged by the Royal Academy and throughout the 1920s and 1930s Russell Flint was elected to quite a lot 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 inventive report was recognized by the Crown when he received a knighthood.
Whereas we have now supplied hyperlinks for numerous merchandise available by way of Amazon throughout this Hub, you may additionally like to consider the wider vary out there on the William Russell Flint Assortment shown at 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 mostly upon a translation – undertaken by George Long – of the surviving recorded ideas of the Stoic Philosopher and Roman Emperor, Marcus Aurelius Antoninus.

Lengthy supplies an outline 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, turned a tough scholar, and lived a most laborious, abstemious life, even as far as to injure his well being. Lastly, he abandoned poetry and rhetoric for philosophy, and he attached himself to the sect of the Stoics. However he did not neglect the examine of regulation, which was a helpful preparation for the high place which he was designed to fill. His trainer was L. Volusianus Maecianus, a distinguished jurist. We should suppose that he realized the Roman self-discipline of arms, which was a essential a 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 Thoughts of the Emperor Marcus Aurelius Antoninus” [1909])The illustrations on these Greeting Playing cards are prepared as tipped-on plates – in the manner of prestige illustrated publications produced within the early decades of the twentieth Century. These tipped-on features are applied 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 printed in the Ideas of the Emperor Marcus Aurelius Antoninus (1909) included 12 color designs offered as tipped-in plates.

“From Diogentus [I learned] to not busy myself about trifling issues”;
“Males search retreats from themselves, houses within the country, sea-shores, and mountains”;

“Do not act as if thou wert going to live ten thousand years”;
“Willingly give thyself up to Clotho, allowing her to spin thy thread into whatever she pleases”;

“A prayer of the Athenians”;
“To little youngsters the ball is a positive factor”;

“With food and drink and cunning arts, turning the channel’s course to ‘scape from loss of life”;
“He who pursues pleasure as good, and avoids ache as evil, is guilty of impiety”;

“Certain islands of the Joyful”;
“O Cithaeron!”;

“And virtue they are going to curse, speaking harsh phrases”; and
“Tiberius et Capreae”.

William Russell Flint’s illustrations for “Savoy Operas” (1909)
Savoy Operas (1909), as revealed 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 prepared eight coloration illustrations in order that the mixed 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 each of the works, William Russell Flint prepared eight coloration illustrations so that the combined collection for Iolanthe and Different Operas (1910) comprised 32 photos. 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 Playing cards (forty eight Designs from “The E-book of King Arthur and His Noble Knights of the Round Desk” [1910-eleven])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 twentieth Century. Those tipped-on options are utilized to acid-free Ivory card with an accompanying envelope. Each card measures roughly 7 x 5″.

Purchase Now As published throughout the 4 volumes, William Russell Flint’s suite of illustrations for “Le Morte d’Arthur: The Ebook of King Arthur and his Noble Knights of the Spherical Table” included forty eight shade photographs offered 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. 46; 1912) that follows:

The sooner volumes having already been observed in these pages, it remains for us, now that the fourth and concluding volume has made its appearance, to offer our congratulations to those involved within the production of this splendid edition of a “noble and joyous” book – to the publishers, who could justly level to it as a triumph of typographical artwork, and to the artist, who has added immensely to his popularity 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 Children” (1912)
The text for The Heroes; or, Greek Fairy Tales for My Youngsters (1912) was drawn from the mid-nineteenth Century work of Charles Kingsley of the identical identify.

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

The following evaluation published in “The Worldwide Studio” (Vol. Forty eight, 1913) provides some insight into the reception offered to this lovely Version illustrated by William Russell Flint:

Mr William Russell Flint’s color-books within the Riccardi Press editions have frequently called for reward in these columns, and we now have formerly noted how the artist’s style has with each ebook more completely accommodated itself to decorative colour-illustration. The present work surpasses any of his that we now have already reviewed in its thorough understanding of the problem of e-book-illustration. There is no sameness in Mr William Russell Flint’s pictures, though he rightly retains uniformity of type. He has considerable inventive college, both within the conception of his topic and within the disposition of color, within the latter obtaining a great number of impact.

William Russell Flint Greeting Playing cards (12 Designs from “The Heroes; or, Greek Fairy Tales for My Kids” [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 20th Century. Those tipped-on features are utilized 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 revealed in “The Heroes; or, Greek Fairy Tales for My Children” (1912) included 12 colour pictures introduced as tipped-in plates.

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

“She stood and looked at him along with her clear grey eyes”;
“All night time long the sea-nymphs sang sweetly, and the Tritons blew upon their conchs, as they played round Galatea their queen”;

“Do not fear me, fair one; I’m 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 could come house protected and well”;

“However Medeia referred to as gently to him, and he stretched out his lengthy 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 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 pressured his head again, 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 published by The Medici Society Limited (London), contains an adaptation of Chaucer’s Middle English assortment of tales dating from the 14th Century.

The tales, whilst among a number of classic works from Chaucer, are thought of his ‘magnum opus’.
As told by Chaucer, the work is recognized as a frame tale – tales informed within a tale – in this case, the tales are recounted as a part of a story-telling contest conduced among pilgrims travelling together from Southwark to the Canterbury – for the needs of undertaking a pilgrimage to the Shrine of Thomas Becket at the Cathedral.

As revealed throughout three volumes in 1913, William Russell Flint’s suite of illustrations for The Canterbury Tales of Geoffrey Chaucer included 36 colour images offered as tipped-in plates.

William Russell Flint’s illustrations for “Theocritus, Bion and Moschus” (1922)
Theocritus, Bion and Moschus (1922), as revealed across 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 Cards (20 Designs from “Theocritus stone island sweat Bion and Moschus” [1922])The illustrations on these Greeting Cards are prepared 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 printed in Theocritus, Bion and Moschus (1922) included 20 colour photos presented as tipped-in plates. Prepared prior to World Warfare I, the results of The good Battle 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 came, the sweetly smiling Cypris, craftily smiling she got here, but protecting her heavy anger”:
“Ah, lovely Amaryllus, why no more, as of previous, dost thou glance by this cavern after me, nor callest me, thy sweetheart, to thy aspect”;

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

“To hear this makes her jealous of me, by Paean, and she wastes with ache, 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 smooth hearts of all of them”;

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

“Then sang all of them in harmony, beating time with woven paces, and the home rang spherical with the bridal tune”;

“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 strength of the son of Amphitryon”;

“Now Pentheus from a lofty cliff was watching all … Autonoe first beheld him, … and, dashing all of the sudden, together with her toes 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-timber reply, ‘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, pal, and as I lead the revel to the shepherd’s hut, in place of the moonlight lend me thine”;

“Come, pricey playmates, maidens of like age with me, allow us to mount the bull right 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 revealed by The Medici Society Restricted (London), includes an adaptation of “Homer’s Odyssey” – one in all two major historic Greek epic poems attributed to Homer (the opposite 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 classic Greek tale, together with: the goddess Athena; Odysseus; Helen of Troy; Telemachus; Circe; Calypso; and Alcinous.

William Russell Flint Greeting Playing cards (20 Designs from “The Odyssey of Homer” [1924])The illustrations on these Greeting Playing cards are ready as tipped-on plates – in the style of prestige illustrated publications produced within the early decades of the 20th Century. These tipped-on options are utilized to acid-free Ivory card with an accompanying envelope. Each card measures roughly 7 x 5″.

Purchase Now As published in 1924, William Russell Flint’s suite of illustrations for The Odyssey of Homer included 20 shade photographs presented as tipped-in plates.

Those illustrations by William Russell Flint embrace:
“My coronary heart is rent for sensible Odysseus, the hapless one, who far from his friends this lengthy whereas suffereth affliction in a seagirt Isle”;

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

“Then in amaze she went again to her chamber, for she laid up the wise 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 accomplished all. And lo, on the fifth, the fair Calypso sent him on his means from the island”;

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

“Circe in the meantime had gone her way and made fast a ram and a black ewe by the dark 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 women 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 conflict and sea, but Odysseus only, 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 robe in her hands and spake and hailed him”;

“All her joints have 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 things and reckless, the wooers got here and trapped me, and chid me loudly”;

“The joy and anguish got here on her in a single second, and each 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 girl”;
“Others once more go for water to the properly”;

“She set forth to go to the hall to the corporate of the proud wooers, with the back-bent bow in her fingers, and the quiver for the arrows”;

“The Killing of the Wooers”; and
“So he spake, and directly her knees had been loosened, and her heart melted inside her, as she knew the same tokens that Odysseus showed her”.

Is there a hottest 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 Book of King Arthur and his Noble Knights of the Spherical Desk” (1910-11)

“The Heroes; or, Greek Fairy Tales for My Kids” (1912)
“The Canterbury Tales of Geoffrey Chaucer” (1913)

“Theocritus, Bion and Moschus” (1922)
“The Odyssey of Homer” (1924)
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