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Amazons on a Breton Beach. 1931. Drypoint. Wright 45.ii. 8 x 13 3/8 (sheet 10 3/4 x 17 1/4). Edition 76, #14. An extremely rich impression printed on cream 'J Whatman Hand Made' paper. Hinge stains in 3 corners, well outside the image. Illustrated: Salaman, Modern Masters of Etching. Signed and numbered in ink. $1,500.
Bagno della Marchesa. 1930. Drypoint. 10 1/2 x 7 5/8 (sheet 13 3/16 x 8 1/2). Trial proof, apart from the edition of 75. An extremely rich impression printed on French 1798 countermarked laid paper. Illustrated: Fine Prints of the Year, 1930; Guichard, British Etchers. Extensively annotated in ink by Flint: 'Trial: entire background was later reworked. Paper: French 1798.' Signed and dedicated 'To Eve H.Sanders with salutations'. An exceptionally rare proof. $1,500.
Celinda's Precaution. 1931. Drypoint. Gardner and Clark 52. 7 1/4 x 4 3/4 (sheet 9 1/4 x 7 1/4). Edition 65, #75. A rich impression with drypoint burr printed on 'J Whatman 1827' paper. Signed, numbered and annotated in ink. $975.
Ceres' Handmaid (2nd plate). 1930. Drypoint. Wright 34. 7 1/2 x 3 1/2 (sheet 10 3/8 x 6 3/4). Edition c. 65, #27. A rich impression in sepia ink printed on 'J Whatman 1823' wove paper. Signed, numbered and annotated in ink. $900.
Eve. 1930. Drypoint. 7 x 10 1/8 (sheet 8 3/4 x 13 1/2). Edition 75, #68. A rich impression in black-brown ink with plate tone and drypoint burr printed on 'Fin de Atelier 1753' laid paper. Signed, numbered and annotated in ink. $2,500.
Phryne. 1929. Drypoint. 7 x 6 (sheet 9 1/4 x 6). Edition 75, #63. Several unobtrusive foxing spots, one visible in a paper flaw in the right-hand margin just outside the image; otherwise fine condition. A rich impression printed in black/brown ink on ''J Whatman 1827' wove paper. Signed, numbered and annotated 'Paper: John Hall 1827' in ink. $850.
Priscilla Alone. c. 1931. Etching and drypoint. 8 13/16 x 6 3/8 (sheet 12 1/2 x 8 7/8). Edition 75, #64. A rich impression printed in black/brown ink on 'WWarren 1837' laid paper. Signed, numbered and annotated in ink. $975.
The Prison Door, Concarneau. 1929. Drypoint. Wright 15. 9 3/4 x 7 5/8 (sheet 13 x 10). Edition 76, #72. A, extremely rich impression printed on cream laid paper from an antique volume. Numbered in ink, but not signed. $375.
A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on blue/green laid paper. Signed and numbered in ink. $875.
Spanish Wheelwrights. 1931. Drypoint. Wright 46. 9 3/16 x 12 7/8 (sheet 10 3/4 x 16 3/8). Edition 75, #24. An extremely rich impression printed on 'J Whatman 1799' laid paper. Signed, numbered and dated '17.11.31' in ink. $1,250.
William Russell Flint studied at the Royal Institution School of Art, Edinburgh. After serving a six year apprenticeship as a lithographic artist and designer at a large printing house, he moved to London in 1900 to work as a medical illustrator. In 1903 he began working as an illustrator for the Illustrated London News. In 1905 he married Sibylle Sueter. In 1907 William became a freelance artist, and, in 1912 moved to Italy for a year, where he etched and painted numerous subjects.
In 1914, William was made an Associate of the Royal Society of Painters in Water Colours. The onset of the First World War saw him join the Royal Navy Air Force where he became Admiralty Assistant Overseer on Airships, returning to his native Scotland. After the war, William Russell Flint stopped working as an illustrator and became a full time painter, travelling to France and Spain.During this period his work became more widely recognised. In 1924 he was elected Associate of the Royal Academy; in 1933 he became a full member in 1933. In 1936 he was made President of the Royal Society of Painters in Watercolours.
After the Second World War, William Russell Flint moved back to London and in 1947 he was knighted. It was this period that would become Flint's greatest and in 1962 his talent was recognised with a retrospective exhibition in the Royal Academy.
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