November in Provence (near Vence), 1962
fine art painting
fine art painting
fine art painting
fine art painting
fine art painting
fine art painting
fine art painting

Sir William Russell Flint

Scottish ( b.1880 - d.1969 )

November in Provence (near Vence), 1962

  • Watercolour
  • Signed lower left and signed, dated & titled on the reverse

Image size 13.4 inches x 21.6 inches ( 34cm x 55cm )
Frame size 25.8 inches x 35.2 inches ( 65.5cm x 89.5cm )

Sale Price - £11,985.00   /   £14,895.00

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Available for sale from Big Sky Fine Art; this original painting by Sir William Russell Flint dated 13th November 1962.
The watercolour is presented and supplied in a substantial frame behind glass dating from 1991 (which is shown in these photographs).
The watercolour was previously with Frost and Reed, London (Registered Number D11621) and The Church Hill Gallery, Knutsford, Cheshire (where the re-framing was performed in 1991).
The watercolour is signed lower left and signed again, dated & titled on the reverse

Sir William Russell Flint is widely acknowledged as the greatest water-colour artist of the twentieth century. He had a lifetime spanning almost ninety years during which he enjoyed unprecedented success as an artist, excelling in a variety of media. However, it is as a watercolorist of landscapes, historical subjects and semi-nudes in Spanish settings that he is best remembered.

He has enjoyed almost constant popularity since the 1920s. In recent years, his prints have commanded high prices in auction and his originals are genuinely competed for by top dealers and private collectors. He was given the ultimate accolade by his peers when he had the honour of a one-man exhibition at the Royal Academy in 1962 – the highest distinction an artist can achieve during his lifetime.

William Russell Flint was born in Edinburgh on the 4th April 1880. His father was a commercial artist and so young William was brought up in a creative environment. He studied at Daniel Stewart’s College, Edinburgh until the age of 14 when he became apprenticed to a firm of lithographers. From 1895 he began studying at the Royal Institute School of Art evening classes. This led him to work on line and colour, which progressed later into his own unmistakable watercolour style. He found inspiration when he visited the continent with his brother, and painted watercolours in Dordrecht, Amsterdam and Volendam.

In 1900 he moved to London where he was at first employed to undertake medical drawings, and later joined the staff of the Illustrated London News, 1903-7. This was in the days before photography, and drawings and engravings were the only source of illustration for books and magazines. The Illustrated London News was read across the world, and the name of William Russell Flint accordingly, providing the basis for the international recognition that he was later to receive as a watercolour artist. During this period, he studied at Heatherley’s Art School in the evenings and also furthered his art education by studying independently at the British Museum. His initial ambition was to be a book illustrator and he undertook various commissions, producing illustrations for great classic editions, including Homer’s Odyssey, Thomas a Kempis’ The Song of Solomon, H Rider Haggard's King Solomon's Mines, W. S. Gilbert's Savoy Operas and Chaucer's Canterbury Tales.

In 1905 Russell Flint married an admiral's daughter, Sibylle Sueter. They had a long and happy marriage, until his wife died in 1960.

Russell Flint had illustrated watercolours at the Royal Academy from 1906 and soon achieved recognition for these and his oil paintings. He visited Italy in 1912-13 and around this time also took up etching, which he studied at Hammersmith School of Art in 1914, having already won a silver medal at the Paris Salon in 1913. After exhibiting only 3 oils at the RA he was elected an Associate member. He was elected a full member in 1933.

During the Great War, Russell Flint served as a Lieutenant in the Royal Navy Air Service, working on the development of rigid airships. He transferred to the RAF as a Captain and served from 1918 to 1919 as Admiralty Assistant Overseer Airships. Some years later he painted a watercolour titled ' Hilda's Bonnet' on a small piece of material from HM Airship 24 which had been in his charge.

After the war, Russell Flint returned to his first love – painting, and in doing so travelled all over Europe with his wife, especially in France, Italy, Scotland, Spain and Switzerland, producing and exhibiting many fine works. In his autobiography he wrote “On getting out of uniform in February 1919 I found that so many people wanted my watercolours that I ceased to be an illustrator and became a painter. From 1919 to the present day I have lived by my brush, still in pursuit of my own indefinable ideal.”

Throughout the early 1940s, William and Sybil Russell Flint went to live in Devon on a poultry farm. Having served in the RAF, he was allowed to visit Devonport Dockyard,( of which a limited edition has been published, described as a masterpiece of perspective) and paint, whenever he wished.

After the end of the Second World War, William Russell Flint and his wife Sybil returned from Devon to their home at Peel Cottage, Camden Hill, London. This proved a tremendous success for Russell Flint as the nation was beginning to recover from the years of war, and beginning to enjoy the arts once more. His talent with both the watercolour medium and his skill in depicting the female form created a hallmark style which would later become legendary. In 1947 William Russell Flint was knighted by King George VI for his services to art.

Flint was elected president of Britain's Royal Society of Painters in Watercolours (now the Royal Watercolour Society) in 1936 to 1956. During his career he exhibited a total of one hundred and twenty-three works at the Royal Academy as well as many at the Royal Watercolour Society, Royal Institute of Oil Painters, British Institution and elsewhere.

In his later years, due to his artistic and financial success, Russell Flint was able to travel extensively across Europe, and this era produced some of his finest landscape work.

Although a limited edition of his work works was published in 1924, it was not until Russell Flint was in his seventies that publications of his works really gathered momentum. Between 1951 and his death in 1969 a further 70 titles were released as demand and interest in his work increased. In all 106 signed limited editions were published by five different publishers from 1924 to 1970.

Russell Flint remained active as an artist until his death from leukemia in London on 30 December 1969, aged 89. The Times obituary paid tribute to his remarkable technical skill. He left behind one of the finest and most sought after collections of watercolours in the world. As well as his original work, many of his paintings have been reproduced as limited edition prints.

Today, his works can be found in many important private collections. He is also represented in many public collections, including the art galleries of Aberdeen, Belfast, Birmingham, Brisbane, Brooklyn, Chicago, Dundee, Edinburgh, Glasgow, Indianapolis, Johannesburg, Liverpool (Walker Art Gallery), London (Victoria and Albert Museum), Manchester (Whitworth Art Gallery), Ottawa, Perth, Santa Barbara, Sydney, and Toronto.

The artist Adrian Bury wrote of Flint; “I have always regarded Sir William Russell Flint as a great artist and a great man (the two are not always synonymous), in the sense that he planned life so as to make the most of his many talents, to add more beauty to the world, and give happiness to his dependents, friends, and humanity at large”.

Despite his considerable success, Sir William Russell Flint remained a modest man, who always remained genuinely grateful for the talent he had been born with. He once said "I have always painted for fun. If it ceased to be fun I would stop painting".

This original watercolour by Sir William Russell Flint depicts a view over Provence, near Vence, in south east France. In the foreground are trees and various foliage, retaining the reddish tints of late autumn amongst the pale greens. In the mid-ground we see rural villages, communities nestled into the landscape, the red top roofs typical of the area. The granite face of the mountains that tower along the horizon are shades of blue and grey, reflecting the heavy hues of the skies above. Huge clouds roll overhead, and rain looks likely. This is a stylish and impressive piece from a great artist best known for his figurative work, but whose mastery of landscapes is clear.