[Illustration]

But though his character studies are so largely the result of memory, it must not be supposed that his drawings are hastily conceived or carried out.  As a discerning critic can guess Frank Reynolds is slow and careful in his method, and though the central idea of a drawing is frequently the inspiration of the moment, its elaboration is a matter which occupies time, and the picture passes through many stages before attaining in the artist’s mind completion.  To lay readers it may be of interest to be initiated into the mystery of the gradual development from germ to finished drawing.  For their benefit is reproduced (p. 24) the initial rough sketch made for the portrait of “The Suburbanite,” to which allusion has been made above.  It will be seen that all the essentials are there in a raw state, and a comparison of this rough sketch with the finished reproduction will give some hint of the patient labour and careful thought which has gone to the making of the latter.

[Illustration]

To mix as an observer in all ranks of society—­especially the lower and more interesting ones—­has always been to Frank Reynolds a matter of reflective amusement.  The comedy of life affords him never-failing entertainment, for the world can never be dull to the man with the saving grace of humour and a quizzical interest in his fellow men.  All is fish that comes to his net, for whether he touches off the foibles of Belgravia or records the broader humours of Bethnal Green he is equally happy.  In the well-remembered series of “Dinners with Shakespeare,” for instance, he illustrated with genial humour in half a dozen cartoons as many mannerisms of the dinner-table.  The drawing which is reproduced opposite to page 56 portrays types that are familiar to all who know the small restaurants of Soho.  The historian of the future, I sometimes think, who may wish to describe society in the early part of the twentieth century, will be fortunate if he contrives to illustrate his volume with a collection of contemporary drawings by Frank Reynolds.  They will speak more eloquently than any narrative which he may compile from the most diligent searching of written records.

[Illustration:  A TRAGEDY IN MINIATURE. From “Paris and Some Parisians”]

[Illustration:  OUR CLUB.  IMPATIENT MEMBER.—­Aren’t there any waiters in the Club?  WAITER (politely).  Yessir.  How many would you like?]

FRANK REYNOLDS. IV.

Of Reynolds’ exquisite refinement in the art of character drawing, his pictures of life in Paris afford excellent examples.  Impressions of Paris through English eyes are familiar enough; but too often they are distortions.  The artist is too concerned with the obtaining of an “effect” to be troubled by a strict adherence to truth.  No such charge can be levelled against “Pictures of Paris and Some Parisians,” as the series of drawings which Frank Reynolds contributed to the Sketch in 1904 was entitled.  He viewed Paris through eyes which magnified, perhaps, but never distorted; and his impressions, as set down on paper, carry that instant conviction, even to those who have never crossed the Channel, which is the hallmark of truth.