# William Russell Flint artist context and auction value notes Canonical page: https://appraisily.com/artist/william-russell-flint/ Profile generated: 2026-04-29T18:36:28.408Z Quality: high confidence, strong sources ## Artist identity - Birth date: 1880-04-04 - Death date: 1969-12-27 - Nationality: Scottish, British - Movements: British traditional / academic figurative painting, early-to-mid 20th century - Common media: watercolour, oil painting, tempera, printmaking (drypoint, lithograph), drawing, book illustration ## About William Russell Flint Sir William Russell Flint (1880–1969) was a Scottish painter, watercolourist, printmaker, and illustrator celebrated for his accomplished watercolours of the female figure. Born in Edinburgh on 4 April 1880, Flint trained as a draughtsman before establishing a prolific career in London that spanned seven decades. He was elected president of the Royal Society of Painters in Water Colours and held that post for twenty years. Knighted for his contributions to British art, Flint also produced illustrations for major literary editions. He worked across watercolour, oil, tempera, and print media, earning particular recognition for his technical mastery of watercolour technique. His paintings combine academic draughtsmanship with a distinctive sensitivity to light and texture. Flint died in London on 27 December 1969. ## Common works and media Flint's output spans watercolours, oil paintings, tempera works, drypoint prints, lithographs, and book illustrations. His most recognised pieces are watercolours depicting female figures, often in classical or pastoral settings. He illustrated literary editions, including limited-run books with original prints. Drawings and preparatory studies appear alongside finished paintings at auction. Signed drypoint prints and editioned lithographs are commonly encountered and represent an accessible entry point for collectors. ## Market and appraisal context William Russell Flint maintains a liquid and well-documented secondary market. Appraisily auction records index 438 lots with 300 priced results spanning March 2002 through April 2026, indicating sustained and ongoing trade. Fourteen lots appeared in the most recent twelve-month period (ending April 2026), roughly consistent with fifteen in the prior twelve months, showing stable market activity without significant expansion or contraction. Price dispersion is wide. The recorded minimum is £8 and the maximum is £88,900, with a median of approximately £240 and a 75th percentile near £1,874. This range reflects the broad spectrum of Flint's output: unsigned edition prints and reproductions cluster below £200, pencil-signed etchings and lithographs typically realise £100–£500, original watercolours command £1,000–£5,000 at mid-tier houses, and major watercolour or oil compositions have exceeded £35,000 at Sotheby's. The distribution is heavily right-skewed, meaning most lots trade at accessible price points while a smaller number of important original works reach premium levels. Major auction houses actively handle Flint material, including Christie's, Sotheby's, and Bonhams, alongside a strong network of UK regional firms (Mallams, Ewbank's, Dreweatts 1759, John Nicholson's, Golding Young & Mawer, Canterbury Auction Galleries, Adam's, Crow's Auction Gallery). Australian houses (Leonard Joel, Gibson's, Aalders, Leski, Lawsons) and North American firms (DuMouchelles, Turner Auctions, Millea Bros) also appear, confirming genuinely international demand across the UK, Australia, and North America. ## Auction-house-backed market evidence William Russell Flint maintains a liquid and well-documented secondary market. Appraisily auction records index 438 lots with 300 priced results spanning March 2002 through April 2026, indicating sustained and ongoing trade. Fourteen lots appeared in the most recent twelve-month period (ending April 2026), roughly consistent with fifteen in the prior twelve months, showing stable market activity without significant expansion or contraction. Price dispersion is wide. The recorded minimum is £8 and the maximum is £88,900, with a median of approximately £240 and a 75th percentile near £1,874. This range reflects the broad spectrum of Flint's output: unsigned edition prints and reproductions cluster below £200, pencil-signed etchings and lithographs typically realise £100–£500, original watercolours command £1,000–£5,000 at mid-tier houses, and major watercolour or oil compositions have exceeded £35,000 at Sotheby's. The distribution is heavily right-skewed, meaning most lots trade at accessible price points while a smaller number of important original works reach premium levels. Major auction houses actively handle Flint material, including Christie's, Sotheby's, and Bonhams, alongside a strong network of UK regional firms (Mallams, Ewbank's, Dreweatts 1759, John Nicholson's, Golding Young & Mawer, Canterbury Auction Galleries, Adam's, Crow's Auction Gallery). Australian houses (Leonard Joel, Gibson's, Aalders, Leski, Lawsons) and North American firms (DuMouchelles, Turner Auctions, Millea Bros) also appear, confirming genuinely international demand across the UK, Australia, and North America. ### Appraisal notes Appraisily uses auction-record data as one input alongside physical examination. For a William Russell Flint appraisal, the following are assessed together: (1) photographs of the work, including recto, verso, signature area, and frame; (2) dimensions and medium confirmation—distinguishing between original watercolour, oil, tempera, drypoint etching, lithograph, photogravure, or later reproduction; (3) signature presence and form (pencil-signed to margin versus plate signature); (4) condition report (foxing, fading, mounting, frame integrity); (5) provenance documentation and exhibition history; (6) edition details for prints (edition number, total size, publisher such as Frost and Reed); (7) comparable realised lots matched by medium, size, subject, and period. The auction signals show that medium is the single most significant value differentiator: original watercolours routinely achieve multiples of ten to one hundred times the prices of edition prints, so correct medium identification is critical to a defensible appraisal. ### Valuation factors - Medium is the primary value driver: original watercolours and oils command substantially more than edition prints, photogravures, and book illustrations - Signature status matters: pencil-signed etchings and lithographs typically realise more than unsigned or plate-signed editions - Edition details affect print values: low edition numbers (e.g., LXVIII of 100) and limited runs (e.g., 850) are documented in lot titles and influence price - Subject matter plays a role: figurative compositions, nudes, and Venetian or Provençal scenes are recurrently traded and well-recognised - Size correlates with price within each medium category - Provenance and exhibition history, especially works linked to his presidency of the Royal Society of Painters in Water Colours, may add significance - Condition is critical for watercolours: foxing, fading, acidic mounting, and prior restoration materially affect value - Publisher attribution for prints (e.g., Frost and Reed) and presence of original gallery labels contribute to authentication confidence - Auction-house tier correlates with realised price: major houses (Sotheby's, Christie's, Bonhams) tend to handle higher-value Flint works and achieve premium results ### Collector notes - Flint's market offers entry points across a wide price spectrum. Unsigned limited-edition prints (editions of 850 are common) can be acquired for under £200, making them accessible to new collectors. Pencil-signed etchings and drypoints in the £100–£500 range represent a middle tier with clearer attribution. Original watercolours start around £400–£1,000 at regional UK and Australian houses but can reach £5,000–£35,000+ for significant compositions at major London salerooms. Before purchasing, confirm whether a work is an original watercolour, a signed limited-edition print, or a later photogravure reproduction—the price difference can be orders of magnitude. Check for pencil signatures to the margin, edition numbers, and publisher details (Frost and Reed is frequently cited). For prints, verify the edition size and position. For watercolours, request a condition report noting any foxing, fading, or Mount issues. The market is liquid: with 14–15 lots appearing annually in recent years, resale opportunity is reasonable, but realistic pricing depends heavily on correctly identifying the medium and edition status. ### Market caveats - Auction prices recorded in the source pack span multiple currencies (GBP, USD, AUD, CAD); direct comparison requires currency normalisation. Price distribution figures are in the currencies as recorded and have not been converted to a single base currency. - Of 438 indexed lots, 300 have recorded prices (69%). The remaining 138 lots either did not sell, had prices not yet reported, or were unsold reserves. The distribution may be biased toward successfully sold lots. - Lot titles in the source pack describe works variably—some specify medium precisely (e.g., 'etching', 'watercolour on paper', 'lithograph print'), while others are generic (e.g., 'William Russell Flint, drawing on paper'). Medium attribution in lot titles may not always be authoritative. - The source pack does not include condition reports, catalogue notes, or provenance details for individual lots. Prices realised reflect the intersection of quality, condition, provenance, and market timing at the point of sale. - Reproductions, photogravures, and later printings of Flint compositions circulate widely and may be listed under his name at auction. Not all lots represent works by Flint's own hand; some are after or attributed to Flint. - The existing profile notes over 4,000 auction lots across broader databases; the Appraisily source pack captures 438 lots, which is a meaningful but not exhaustive sample of his total auction history. - Market conditions, buyer preferences, and estimates can shift; past auction results are indicative, not predictive of future values. ### Market evidence sources - Appraisily: https://appraisily.com/api/scraper-search/artists/william-russell-flint/seo-profile?recentLimit=24&relatedLimit=0 ## Appraisily data basis Appraisily artist pages combine identity research from authority files, museum records, and published sources with auction-house records, sale dates, realised prices, and comparable lots when available. This page draws on the Library of Congress Name Authority File, VIAF, RKD, and Wikidata. ## Sources - Library of Congress: https://id.loc.gov/authorities/names/n81079953 - VIAF: https://viaf.org/viaf/5217388/ - RKD – Netherlands Institute for Art History: https://rkd.nl/en/explore/artists/28337 - Wikidata: https://www.wikidata.org/wiki/Q8017860 - Wikipedia: https://en.wikipedia.org/wiki/William_Russell_Flint