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

He has been known as the greatest watercolor artist of his time.
William Russell Flint was formally educated in art on the Royal Institution Faculty of Artwork in Edinburgh and served an apprenticeship at a printing works before shifting to London on the age of 20. Before turning into a contract artist in 1907, he worked for “The Illustrated London Information” from 1903.

His illustrations for Limited Editions of a lot of basic works are highly collectible.
Some of probably the most collectible books features illustrations by William Russell Flint embrace: The Ideas of the Emperor Marcus Aurelius Antoninus (1909), Mallory’s Le Morte D’Arthur: The Guide of King Arthur and his Noble Knights of the Round Desk (1910-11), Kingsley’s The Heroes; or, Greek Fairy Tales for My Youngsters (1912) and Chaucer’s “Canterbury Tales” (published because the Canterbury Tales of Geoffrey Chaucer in 1913).

Whilst making ready illustrations for publications from the Medici Society, Russell Flint also took commissions from different business publishers, including those 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 expertise had been recognized by the Royal Academy and throughout the 1920s and nineteen thirties Russell Flint was elected to a variety 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 record was recognized by the Crown when he received a knighthood.
Whereas we now have provided hyperlinks for varied merchandise obtainable by Amazon all through this Hub, you may also like to think about the wider vary accessible at the William Russell Flint Collection proven 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 primarily based upon a translation – undertaken by George Long – of the surviving recorded ideas of the Stoic Philosopher and Roman Emperor, Marcus Aurelius Antoninus.

Lengthy provides an outline of the schooling provided to Antoninus as follows:
When he was eleven years outdated, he assumed the dress of philosophers, something plain and coarse, became a hard student, 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. However he did not neglect the research of legislation, which was a useful preparation for the high place which he was designed to fill. His instructor was L. Volusianus Maecianus, a distinguished jurist. We should suppose that he discovered the Roman discipline of arms, which was a vital part of the education of a man who afterwards led his troops to battle against 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 Cards are prepared as tipped-on plates – in the way of prestige illustrated publications produced within the early many years of the twentieth Century. Those 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 Thoughts of the Emperor Marcus Aurelius Antoninus (1909) included 12 coloration designs introduced as tipped-in plates.

“From Diogentus [I discovered] not to busy myself about trifling issues”;
“Men search retreats from themselves, homes in the country, sea-shores, and mountains”;

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

“A prayer of the Athenians”;
“To little kids the ball is a advantageous thing”;

“With meals and drink and cunning arts, turning the channel’s course to ‘scape from death”;
“He who pursues pleasure pretty much as good, and avoids ache as evil, is responsible of impiety”;

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

“And virtue they may curse, speaking harsh words”; 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 Duty”; “Patience; 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 colour illustrations in order that the combined assortment for Savoy Operas (1909) comprised 32 photographs. A year later, George Bell or, The Peer and the Peri”; “The Mikado; or, The Town 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 colour illustrations in order that the combined assortment for Iolanthe and Different Operas (1910) comprised 32 pictures. 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 Playing cards (48 Designs from “The E book of King Arthur and His Noble Knights of the Spherical Table” [1910-eleven])The illustrations on these Greeting Playing cards are prepared as tipped-on plates – in the manner of prestige illustrated publications produced in the early a long time of the twentieth 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 printed throughout the four volumes, William Russell Flint’s suite of illustrations for “Le Morte d’Arthur: The Guide of King Arthur and his Noble Knights of the Round Table” included 48 colour photos presented as tipped-in plates.

That suite of illustrations from William Russell Flint obtained important reward upon publications, together with that commentary within the International Studio (Vol. Forty six; 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 supply our congratulations to these involved within the production of this splendid edition of a “noble and joyous” ebook – to the publishers, who may justly level to it as a triumph of typographical artwork, and to the artist, who has added immensely to his repute by the singularly efficient and apposite drawings executed by him as an example this outdated 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 identify.

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

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

Mr William Russell Flint’s color-books in the Riccardi Press editions have ceaselessly known as for praise in these columns, and we’ve formerly famous how the artist’s style has with every ebook extra completely accommodated itself to decorative color-illustration. The present work surpasses any of his that now we have already reviewed in its thorough understanding of the problem of ebook-illustration. There isn’t a sameness in Mr William Russell Flint’s photos, although he rightly retains uniformity of style. He has considerable inventive college, each in the conception of his topic and in the disposition of coloration, in the latter obtaining a great variety of effect.

William Russell Flint Greeting Cards (12 Designs from “The Heroes; or, Greek Fairy Tales for My Children” [1912])The illustrations on these Greeting Playing cards are prepared as tipped-on plates – in the way of prestige illustrated publications produced in the early many years 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 William Russell Flint’s suite of illustrations published in “The Heroes; or, Greek Fairy Tales for My Youngsters” (1912) included 12 colour photos offered as tipped-in plates.

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

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

“Do not fear me, truthful 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 came 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 dwelling protected and nicely”;

“However Medeia called 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 came to him”;
“And Theseus seemed up in her honest face and into her deep dark eyes”; and

“Theseus caught him by the horns, and forced his head again, and drove the eager sword by his throat”.

William Russell Flint’s illustrations for “The Canterbury Tales of Geoffrey Chaucer” (1913)
The Canterbury Tales of Geoffrey Chaucer (1913) as revealed by The Medici Society Limited (London), contains an adaptation of Chaucer’s Middle English collection of stories dating from the 14th Century.

The tales, whilst amongst a variety of basic works from Chaucer, are considered his ‘magnum opus’.
As informed by Chaucer, the work is identified as a body tale – tales informed within a tale – in this case, the tales are recounted as part of a narrative-telling contest conduced amongst pilgrims travelling collectively from Southwark to the Canterbury – for the purposes of endeavor a pilgrimage to the Shrine of Thomas Becket on the Cathedral.

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

William Russell Flint’s illustrations for “Theocritus, Bion and Moschus” (1922)
Theocritus, football casuals stone island Bion and Moschus (1922), as published throughout two volumes by The Medici Society Limited (London), includes an adaptation of works attributed to the Greek Bucolic poets that had been translated by Andrew Lang from the texts of Wordsworth (within 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 style of prestige illustrated publications produced within the early many years 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″.

Purchase Now William Russell Flint’s suite of illustrations printed in Theocritus, Bion and Moschus (1922) included 20 colour photographs presented as tipped-in plates. Ready previous to World War I, the effects of The nice Struggle brought about a delay of almost 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, but maintaining her heavy anger”:
“Ah, lovely Amaryllus, why no extra, as of old, dost thou look via 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 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 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 mushy hearts of all of them”;

“Hiero, just like the mighty males of outdated, girds himself for battle, 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 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 strength of the son of Amphitryon”;

“Now Pentheus from a lofty cliff was watching all … Autonoe first beheld him, … and, speeding out of the blue, 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 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, good 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 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 Limited (London), contains an adaptation of “Homer’s Odyssey” – one among two main 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 inside the basic 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 way of prestige illustrated publications produced within the early a long time of the 20th Century. These tipped-on options are utilized to acid-free Ivory card with an accompanying envelope. Every card measures approximately 7 x 5″.

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

Those illustrations by William Russell Flint embrace:
“My coronary heart is rent for clever Odysseus, the hapless one, who removed from his buddies this long while suffereth affliction in a seagirt Isle”;

“Now when the wooers had put from them the need 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 coronary 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 despatched him on his manner from the island”;

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

“Circe in the meantime had gone her method 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 wanting to slay her”;

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

“Now all the remaining, as many as fled from sheer destruction, have been at dwelling, and had escaped each warfare and sea, however Odysseus solely, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair 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, stunning Helen, with the robe in her arms and spake and hailed him”;

“All her joints have been loosened as she lay within the chair, and the truthful goddess the whereas 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 got here 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, common within the likeness of a woman”;
“Others once more go for water to the nicely”;

“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 at once her knees were loosened, and her heart melted within her, as she knew the same tokens that Odysseus confirmed her”.

Is there a hottest suite of illustrations by William Russell flint
Which suite of illustrations by William Russell Flint is your favorite

“The Ideas 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 Table” (1910-eleven)

“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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