,illustration3 ,,tony ,,weller ,,of ,,the ,,belle ,,sauvage ,,frank ,,reynolds1 ,r4 ,i4 ,,by ,a4 ,e4 ,,johnson ,,containing #df ,,examples ,,of ,,the ,,artist',s ,,work ,,in ,,brush1 ,,pen1 ,,and ,,pencil ,,prefactory ,,note ,in presenting under the title of ,brush1 ,pen1 and ,pencil the series of books of which the present volume forms part1 the publishers feel that they are meeting a demand which has long existed but has hitherto not been supplied4 ,it is an unfortunate circumstance of the conditions which affect the modern artist who chooses black and white for his principal medium1 that as a general rule his work--or1 at all events1 the reproduction of it--is ephemeral only4 ,in respect of much that appears in the illustrated ,press this is small matter for regret2 but there is good reason to believe that opportunities of obtaining in permanent form some record of the work of the leading men amongst those artists who work for the ,press would be welcomed4 ,it is to afford such opportunities that the present series is issued2 and it is hoped that in the volumes composing it the public will have pleasure in finding representative examples of the work with brush1 pen1 and pencil of the men whose skill and fancy have from time to time delighted them4 ,for permission to reproduce a very large number of the drawings by ,mr4 ,frank ,reynolds which appear in the present volume the publishers wish to acknowledge the courtesy of the proprietors of the ,sketch1 in the pages of which they first appeared4 ,their thanks are equally due to ,messrs4 ,bradbury1 ,agnew ,co4 ,ltd4 for kind permission to reproduce three drawings from the pages of ,punch4 ,,list ,,of ,,illustrations ,,in ,,colour ,,tony ,,weller ,,of ,,the ,,belle ,,sauvage ,,the ,,introduction ,,frivolity ,,the ,,warrener ,,in ,,black ,,and ,,white ,,study ,,in ,,pencil ,,pen-,,and-,,ink ,,drawing ,,from ,,punch ,,working ,,paris ,,at ,,luncheon ,,the ,,dare-,,devils ,,chacun ,,with ,,his ,,chacune ,,bethnal ,,green ,,the ,,real ,,artist ,,note ,,from ,a ,,paris ,,sketch-,,book ,,the ,,suburbanite ,,first ,,sketch ,,for ,,the ,,suburbanite ,a ,,good ,,study ,,pen-,,and-,,ink ,,drawing ,,from ,,punch ,a ,,tragedy ,,in ,,miniature ,,our ,,club ,,having ,,the ,,time ,,of ,,her ,,life ,,le ',,igh ,,kick ,a ,,speech ,,against ,,the ,,government ,,felix ,,of ,,the ,,lapin ,,agile ,,vive ,l',,arm,e ,,gazed ,,on ,,harold ,,from ,a ,,paris ,,sketch-,,book ,,the ,,des7,s7,,erts ,,of ,,bohemia ,,going ,,it6 ,also ,nineteen smaller illustrations mostly reproduced from sketch-books ,illustration3 ,,study ,,in ,,pencil ,,frank ,,reynolds4 ,i4 ,it has been said of ,tolstoy1 anatomising the grim skeleton of human nature1 that his writings are more like life than life itself4 ,of ,frank ,reynolds1 with gently satirical pen and pencil depicting the superficial humours of modern life1 it might be said that his drawings1 too1 are more humanly natural than real flesh and blood4 ,it is the peculiar faculty of the true observer that his eye pierces straight to the heart of what he sees1 and his mind1 disregarding mere detail1 thereby receives and retains a clear perception of the essential1 which those of less clear and direct vision fail to grasp more than momentarily1 though they hail it with instant recognition when in its naked simplicity it is set before them4 ,the process is unconscious1 or at least but semi-conscious2 for your professed observer has never that keen insight which1 being native1 is not to be acquired by even the most assiduous practice1 and alone permits of truthful analysis4 ,illustration ,in the making of the genuine humorist the faculty of observation is the first necessity4 ,consider the great pictorial humorists1 whether dead or living1 whose names are familiar in the mouth as household words4 ,that they gained acknowledgment by masterly handling of the medium in which they chose to work is not to be denied4 ,it is by the peculiar distinction of his technique1 indeed1 that the work of each1 in a general way1 is called to mind4 ,but this fame was not achieved solely upon purely artistic merits4 ,charles ,keene1 ,george du ,maurier1 ,phil ,may1 ,raven ,hill1 ,bernard ,partridge--it is rather for the happy fidelity of their transcripts from life than for the artistic sureness of their hands that they are and will be remembered4 ,it is the possession of just that subtle power of quiet but comprehensive observation which has obtained for ,frank ,reynolds the unique position which he occupies amongst the humorous artists of to-day4 ,illustration3 ,,little ,,willie3 ,you'll catch it1 ,gerald1 when mother sees you6 ,,gerald3 ,why8 ,is my collar dirty8 ,from ,punch4 ,for unique his position is4 ,other men are as funny as he1 perhaps funnier4 ,for when a determined man sets out with a fixed and unshakeable resolve to tickle your fancy1 there is no limit to the means he may adopt to catch you unawares1 and it shall go hard with him but he extorts from you a laugh1 however tardy4 ,frank ,reynolds makes no such desperate efforts4 ,one might say1 indeed1 that he makes no effort at all4 ,his simple method is to set down--with the most refined and delicate art--just one of those little scenes or incidents which everyone may every day everywhere witness4 ,illustration ,spectators of such a scene in real life1 it is possible--probable1 in fact--that we were in no way edified or amused4 ,not the veriest ghost of a smile1 it is likely1 flickered across our faces4 ,but reproduced by the subtle humour of the artist1 the inherent comedy of the situation stands revealed1 and we chuckle4 ,and our enjoyment is the greater for the skill with which the means are concealed by which this magical transformation is effected4 ,we feel that we have discovered the comedy ourselves1 not that it has been shown to us4 ,the characters are so perfectly natural1 so precisely as we know them and have seen them day after day4 ,the secret lies in the artist's power of restraint4 ,he exaggerates1 he caricatures1--he must do so to bring his point home to our dull wits4 ,but he does it with such nicety that the exaggeration and the caricature are unnoticed4 ,indeed1 the terms are misleading4 ,it is better to say that he emphasises4 ,frank ,reynolds reminds me1 if he will forgive my saying so1 of a certain profane 'bus-driver whom ,i have the privilege to number amongst my acquaintance4 ,with this close student of human nature ,i have had the good fortune to enjoy frequent conversations1 and many are the gestures which ,i recall of the whip-hand towards the pavement1 accompanied by the remark 7in effect71 ,lumme1 what funny things a bloke do see6 ,i confess freely that often ,i should entirely miss1 but for the observant jerk of the whip1 the said funny thing2 and it is just that service which the friendly busman renders to me1 as it appears to my mind1 that ,frank ,reynolds performs for the community at large4 ,it is precisely those commonplace funny things1 whether they be persons1 scenes1 incidents1 conversations1 or casual remarks1 that happen under our very noses1 which he excels in depicting2 and it is precisely the commonplace familiarity of them that invests them with their peculiar flavour and charm4 ,illustration3 ,,the ,,introduction4 ,time ,sketch3 ,london ,sketch ,club4 ,of the fine qualities of ,frank ,reynolds' technique the reader can judge for himself from the varied specimens of the artist's work which are reproduced in the present volume4 ,his pencil drawings represent1 perhaps1 his more familiar style1 one reason of the association of his name with this medium in the public mind being the comparative rarity of its use for the purposes of reproduction4 ,certainly it will be conceded that pencil1 soft and amenable1 with its opportunities for delicate manipulation1 is admirably adapted to the interpretation of those refined shades of meaning and expression which constitute the characteristic charm of ,reynolds' drawings1 and of his masterly handling of it there can be no two opinions4 ,illustration ,his early drawings for publication were in line1 and it was not until his work in the illustrated press had appeared for some time that he began to substitute pencil for pen-and-ink4 ,his first experiments in pencil were made at the ,friday evening meetings of the ,london ,sketch ,club1 and it was at the suggestion of a fellow member of that cheery coterie1 his friend ,john ,hassall1 that he adopted the softer medium for the purposes of reproduction4 ,the excellence of his pencil drawings notwithstanding1 it is in pen-and-ink that ,frank ,reynolds appears to me to be at his best4 ,there is a quality about his work in this medium which gives it a peculiar distinction4 ,always instinct with the most subtle and delicate feeling1 there are occasions when his expressive line does more than satisfy4 ,it arrests3 revealing in its simple transcription of pose or expression a significance which had previously escaped our shallow observation1 but of which the truth is forced upon us4 ,by comparison1 one feels that1 despite the fine finish of his pencil work1 in the latter medium he loses1 to a certain extent1 the opportunities for that incisive sureness--so suited to his own unerring vision--which pure line affords him4 ,consider the drawing 7on page #cb7 of the girl singing in a ,paris caf4 ,there is no dependence on aught extraneous for the achievement of the effect sought4 ,yet here1 if ever1 a human soul is laid bare in all its naked tragedy4 ,illustration3 ,,working ,,paris ,,at ,,luncheon4 ,from ,paris and some ,parisians ,for sheer power in the art of drawing1 ,frank ,reynolds has few equals and no betters4 ,as a draughtsman pure and simple1 he seems to me well-nigh perfect1 whether he has pen1 pencil1 or stump of charcoal in his hand4 ,it is the great merit of his work1 as it appears to me1 that it depends for the achievement of its intention solely on its own intrinsic qualities4 ,it has no tricks1 no mannerisms1 no fakements to distract the attention and conceal weaknesses4 ,it is straightforward1 direct in its appeal1 self-reliant in its challenge4 ,illustration ,to quote the words of a critic of discernment1 as he passed from drawing to drawing1 ,frank ,reynolds is right1 right--right every time4 ,this is praise to which one can hardly add4 ,illustration3 ,,the ,,dare-,,devils4 ,from ,social ,pests4 ,,frank ,,reynolds4 ,,ii4 ,frank ,reynolds is yet another in the long list of artists who have arrived at their true vocation by devious routes4 ,there are certain tendencies of mind which1 when a man has them1 refuse to be suppressed4 ,the journalistic instinct is one of them4 ,do what you will with the man in whom it is planted1 he can never keep his fingers from the pen4 ,make him a doctor and you will find him scribbling columns for the press on hygiene in the house and the benefits of breathing through the nose4 ,send him into the army and he will fill his leisure by writing tales of tiger-shoots and essays on the art of pig-sticking4 ,so with the artist4 ,the man born with the gift to draw finds as irresistible a fascination in pencil or brush as the man with the power of narrative discovers in ink and paper4 ,whether he serves before the mast as an ,a4,b41 or cattle-ranches out west1 sooner or later he is certain to drift into his proper sphere of activity4 ,it may take long to get there1 but eventually he is bound to arrive4 ,in the case of ,frank ,reynolds the period of bondage was comparatively brief4 ,entering at first upon a business career1 he had originally no prospect1 nor intention1 of developing his artistic impulses4 ,he had scarcely1 indeed1 a suspicion of his own powers--certainly no proper knowledge of their latent possibilities4 ,but commerce had little interest for him1 and circumstances which offered an opportunity of escape combining with a happy chance which suggested a higher artistic 7and monetary7 value for that faculty for drawing which previously he had regarded in the light of a mere hobby1 caused him to throw up his earlier plans and devote himself entirely to black-and-white illustration4 ,illustration ,there had been preparation for this1 however4 ,the son of an artist1 ,frank ,reynolds inherited his native talent1 and this was developed in no small measure during boyhood under his father's guidance4 ,it was the chief delight of ,reynolds junior to mess about 7as he himself succinctly puts it7 with the palette and tools of ,reynolds senior1 and the licence thus permitted enabled him to discover for himself much of the rudiments of the craft of the draughtsman and painter4 ,more was learned from long and absorbed contemplation of his father at work4 ,illustration3 ,,chacun ,,with ,,his ,,chacune4 ,from ,paris and some ,parisians ,if early inclinations were of more lasting duration than is their wont1 it is likely that ,frank ,reynolds would now be known to fame as a painter of martial types and gory battlefields4 ,with him the fascination which soldiers and all things military have for the boyish mind took the form of an intense eagerness to reproduce in colour and line the gay pageant of the march4 ,the skirl of the fife and the tattoo of the drum inspired him with a desire1 not to shoulder a gun1 but to seize a pencil4 ,there was a shop in ,piccadilly where water-colour sketches of military types might frequently be seen displayed to view1 and to ,reynolds junior a tramp thither of several miles from the far west of ,london was as nothing1 could he but have the ecstatic joy of gazing1 with nose flattened against the window-pane1 upon these transcendent works of art1 for an hour or more on end4 ,illustration ,this early training1 to be regarded as the sure foundation upon which the artist's later education was to rest1 owed not a little1 perhaps1 of its effectiveness to its casual and desultory nature4 ,the natural bent was allowed to reveal itself3 development was gradual1 and 7as it were7 automatic4 ,individuality was neither crushed nor cramped4 ,on the contrary1 it was given full play1 and that the work of ,frank ,reynolds is invested with so definite a quality of personality is due in no small degree to the special circumstances of his youthful training4 ,heatherley's1 in ,newman ,street1 ,london1 was his only school4 ,here1 for some time after his final abandonment of commerce for art as the serious business of his life1 ,reynolds was a close and persistent student4 ,that conscientious care which presents itself to those who are cognisant of his method of work 7and1 indeed1 to any intelligent critic of his finished drawings7 as one of his most salient characteristics was a feature of his days of apprenticeship at ,heatherley's4 ,delight at emancipation from uncongenial occupation was balanced by a sober ambition and a steady purpose4 ,he lived laborious days1 laying to heart the lessons of his craft1 but he laboured always con amore4 ,illustration3 ,,bethnal ,,green4 ,from ,sunday ,clothes ,in his student days at ,heatherley's ,frank ,reynolds received much valuable help from ,professor ,john ,crompton4 ,on the vital importance of drawing1 the latter was especially insistent3 this was the dominant note of his teaching1 markedly made manifest in the work of his pupil4 ,in the matter of draughtsmanship1 few men have so sure a hand1 an instinct so unerring4 ,illustration ,leaving ,heatherley's1 ,frank ,reynolds set out1 armed with a sharp pencil1 and a yet sharper sense of humour1 to make a living out of black-and-white illustration4 ,his work quickly obtained recognition1 and his drawings were soon appearing with regularity in the illustrated press4 ,it would have been strange if ,pick-,me-,up1 then in its sunniest and most audacious days1 had not opened its arms to so keen an observer of life's little comedies1 and ,frank ,reynolds speedily became one of that clever band which1 including at different times such artists in jest as ,raven ,hill1 ,s4 ,h4 ,sime1 ,dudley ,hardy1 ,j4 ,w4 ,t4 ,manuel1 ,eckhardt1 and others1 succeeded in making1 for a brief but brilliant period1 the satirical little sheet in the blue wrapper the most talked of periodical1 perhaps1 of its day4 ,one recalls with relish many of the quaint conceits that were illustrated in its pages by ,reynolds' mirth-provoking line1 and thinks1 with regrets for opportunities lost1 how admirable a successor he would have been to ,raven ,hill and the man ,sime as collaborator with ,arnold ,goldsworthy in those shrewdly flippant theatrical critiques which the latter contributed over the familiar signature of ,jingle4 ,illustration3 ,,the ,,real ,,artist4 ,from ,paris and ,some ,parisians ,it is by his work for the ,sketch1 however1 that ,frank ,reynolds is best known to the public4 ,credit is due to that enterprising journal not only for the discrimination which has caused prominence to be given to his drawings in its pages1 but for the nice appreciation of the artist's peculiar vein of humour which has given him a free hand to produce those exquisitely subtle studies of character which are his especial province4 ,as examples of what a humorous drawing should be they are well-nigh perfect4 ,to ,reynolds it is not enough merely to depict a laughable situation or superficially comic types4 ,the humour of his drawings is inherent1 not extraneous2 his pictorial jests are self-contained1 so to speak1 and the printed legend beneath them is incidental only4 ,frank ,reynolds produces a comedy where other men succeed only in perpetrating a farce4 ,illustration3 ,,koshy ,illustration3 ,,note ,,from ,a ,,paris ,,sketch-,,book ,illustration3 ,,first ,,sketch ,,for ,,the ,,suburbanite ,illustration3 ,,the ,,suburbanite4 ,a ,sunday ,morning ,study4 ,from ,social ,pests ,illustration3 ,a ,,good ,,study4 ,from ,paris and ,some ,parisians ,,frank ,,reynolds4 ,,iii4 ,how does one portray a type8 ,what are the rules that govern the selection of those separate distinctive features which are to form1 when blended together1 one harmoniously characteristic whole8 ,frank ,reynolds1 surely1 of all people should be able to answer4 ,but if the question be asked him1 he will reply that he does not know4 ,the process is unconscious1 or almost so4 ,the portrait comes of its own accord4 ,reflection shows that this must be so4 ,if the artist were to try deliberately to copy this or that feature from concrete personalities1 the result would fail to carry conviction4 ,the portrait of a type must be the presentment of an abstract personality--a print1 as it were1 from a composite negative comprising the likenesses of many individuals1 so welded together as to reproduce only that which is common to all3 a collective portrait which is like all but resembles none4 ,illustration3 ,there's no 'olding 'im now1 sir1 since 'e's gone into knickers--e's' that pomptious6 ,from ,punch ,it is related of ,charles ,dickens that the creation of many of his famous characters was inspired by a chance remark overheard in the street4 ,a single telling sentence1 uttering some quaint sentiment1 perhaps in quaint idiom1 would set up a train of ideas ultimately resulting1 after much meditative elaboration1 in a ,mrs4 ,gamp or a ,dick ,swiveller4 ,the process is not dissimilar1 one imagines1 from that by which the artist evolves a character sketch3 with this difference1 that whereas a solitary trait1 accidentally revealed1 was to ,dickens sufficient foundation upon which to construct his fanciful portrait1 such studies of types as ,frank ,reynolds excels in must be the outcome1 not of one thing seen1 but of reiterated observation of the same thing in identical or closely similar guise4 ,the results in either case vary as the method employed4 ,mrs4 ,gamp1 the outcome of a single observation1 is a type certainly1 but exaggerated and founded on fact rather than true to life4 ,the ,suburbanite 7see p4 #bd71 though an equally imaginary portrait1 is the real thing--the absolute personification of a type or class4 ,illustration ,in the case of ,reynolds1 his studies of types are the result of an exceptional power of observation coupled with a very retentive memory4 ,his keen eye notes--often unconsciously1 as he admits--the small eccentricities by which character is revealed2 his sense of humour emphasises them1 and his memory retains them4 ,as a result1 when he essays to portray a type1 there rises before his mental vision1 not the figure of this individual or that1 but a hazy recollection of all its representatives that he has ever come into contact with4 ,the misty impression materialises as he works1 and there grows under his hand a portrait which draws from us an instant smile of recognition1 broadening as we perceive the veiled humour and satire that lurk beneath the skilful emphasis which has been laid upon the subject's salient characteristics4 ,illustration ,but though his character studies are so largely the result of memory1 it must not be supposed that his drawings are hastily conceived or carried out4 ,as a discerning critic can guess ,frank ,reynolds is slow and careful in his method1 and though the central idea of a drawing is frequently the inspiration of the moment1 its elaboration is a matter which occupies time1 and the picture passes through many stages before attaining in the artist's mind completion4 ,to lay readers it may be of interest to be initiated into the mystery of the gradual development from germ to finished drawing4 ,for their benefit is reproduced 7p4 #bd7 the initial rough sketch made for the portrait of ,the ,suburbanite1 to which allusion has been made above4 ,it will be seen that all the essentials are there in a raw state1 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 latter4 ,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 amusement4 ,the comedy of life affords him never-failing entertainment1 for the world can never be dull to the man with the saving grace of humour and a quizzical interest in his fellow men4 ,all is fish that comes to his net1 for whether he touches off the foibles of ,belgravia or records the broader humours of ,bethnal ,green he is equally happy4 ,in the well-remembered series of ,dinners with ,shakespeare1 for instance1 he illustrated with genial humour in half a dozen cartoons as many mannerisms of the dinner-table4 ,the drawing which is reproduced opposite to page #ef portrays types that are familiar to all who know the small restaurants of ,soho4 ,the historian of the future1 ,i sometimes think1 who may wish to describe society in the early part of the twentieth century1 will be fortunate if he contrives to illustrate his volume with a collection of contemporary drawings by ,frank ,reynolds4 ,they will speak more eloquently than any narrative which he may compile from the most diligent searching of written records4 ,illustration3 ,a ,,tragedy ,,in ,,miniature4 ,from ,paris and ,some ,parisians ,illustration3 ,,our ,,club4 ,,impatient ,,member4--,aren't there any waiters in the ,club8 ,,waiter 7politely74 ,yessir4 ,how many would you like8 ,,frank ,,reynolds4 ,,iv4 ,of ,reynolds' exquisite refinement in the art of character drawing1 his pictures of life in ,paris afford excellent examples4 ,impressions of ,paris through ,english eyes are familiar enough2 but too often they are distortions4 ,the artist is too concerned with the obtaining of an effect to be troubled by a strict adherence to truth4 ,no such charge can be levelled against ,pictures of ,paris and ,some ,parisians1 as the series of drawings which ,frank ,reynolds contributed to the ,sketch in #aijd was entitled4 ,he viewed ,paris through eyes which magnified1 perhaps1 but never distorted2 and his impressions1 as set down on paper1 carry that instant conviction1 even to those who have never crossed the ,channel1 which is the hallmark of truth4 ,illustration ,in some cases these ,paris drawings1 many of which are reproduced in the present volume1 are literal portraits from life4 ,but for the most part they are the result of that close and absorbent observation which has been mentioned as characteristic of the artist's method4 ,the ,pictures of ,paris were no hurried impressions received during a flying visit1 but the outcome of a long stay in the ,french capital1 which gave opportunities for a close study of manners1 and a sympathetic insight into men4 ,accompanied by two brother artists1 ,reynolds1 commissioned by his editor to depict ,paris1 betook himself thither1 and established himself for a considerable period in a studio1 whence he could watch and record4 ,under the guidance of ,mr4 ,john ,n4 ,raphael1 well known amongst ,paris correspondents1 who contributed the clever literary sketches which the drawings by ,reynolds nominally illustrated1 explorations were made not only to those familiar haunts of which the names are known to the veriest tripper1 but into the heart of that ,paris which is terra incognita to the casual stranger4 ,illustration3 ,,frivolity4 ,time ,sketch3 ,london ,sketch ,club4 ,thus we have in these drawings a true ,paris and the true ,parisian--not the traditional caricature which1 though founded possibly on fundamental facts1 has been so elaborated as to bear no more resemblance to the real thing than the libellous figure with lantern jaws1 protruding front teeth1 and side whiskers1 generally beloved of the ,french artist1 bears to the typical ,englishman4 ,take1 for example1 the drawing of ,french workpeople at dinner 7page #h71 made from a sketch in a ,belleville caf4 ,there is no exaggeration here1 but a literal transcript from life1 which reveals1 as it were1 in one flash1 a whole epitome of town life in working ,france4 ,illustration ,consider again his drawings of ,parisian types4 ,no portrait could more nicely hit off the characteristic slouch of the piou-piou 7as ,tommy ,atkins is called in ,france71 nor catch with more delicate charm the personality of the ,french grisette of a certain type1 than the pencil drawing ,vive l',arme 7page #di74 ,not less clever are the pen-and-ink sketches of familiar types which surround the larger figures on this last-named page--like them1 the result of humorous observation of many individuals4 ,reynolds tells quaint stories of his adventures with the sketch-book in the pages of which are to be found the hurried notes--often but a few strokes and scratches intended to serve as a mnemonic--upon which his finished drawings and sketches were based4 ,frequently he would stalk an imposing ,sergent de ,ville1 or ,cuirassier with resplendent helmet and flowing horse-hair plume1 for miles along the boulevards1 making furtive notes1 when opportunities presented themselves and conditions were favourable1 of the details of epaulettes1 buttons1 cuffs1 and all the other paraphernalia4 ,in the same way his many sketches of the ,paris cocher necessitated frequent drives in an open carriage1 during which careful studies could be made of the ample back of the typical ,french cabman1 and of the flowing folds of his usually voluminous neck4 ,illustration3 ,,having ,,the ,,time ,,of ,,her ,,life4 ,sketched in a ,paris ,caf ,allusion has already been made to the progressive method by which ,frank ,reynolds evolves a finished drawing1 step by step1 from an initial idea roughly jotted down with a few strokes of the pencil4 ,his draughtsmanship depends1 as must of course all draughtsmanship1 very largely upon memory4 ,but it is his practice1 whenever possible1 to obtain notes on the spot for later use4 ,this was especially the case with his work in ,paris1 where a pocket sketch-book was his inseparable companion4 ,a few pages of the latter are reproduced here1 illustrating the artist's quick perception and the instant sureness with which1 notwithstanding the leisurely pace of his work under normal conditions1 he conveys the spirit of his subject by means of a few lines4 ,an excellent example of this faculty is the sketch of the fat priest 7page #ec7 and his hirsute companion1 admirable in the spontaneity of expression with which the fleeting impression of a moment has been set down on paper4 ,equally vivid is the impression conveyed by the hurried sketch of an old woman 7page #bb7 made at the stage door of a theatre4 ,the boulevards of ,paris are excellent places from which to study the comedy of life3 and as an example of the peculiar flavour of ,frank ,reynolds' humour1 it would be hardly possible to better the irresistible sketch from life1 furtively made whilst sitting amongst the audience at a caf chantant1 which1 with a nice sense of the absurd1 is labelled in the sketch-book ,having the ,time of her ,life4 ,illustration ,montmartre1 as might be expected1 yielded excellent copy1 to employ a journalistic phrase4 ,in the cafs and cabarets artistiques were made some of the portraits from life already referred to4 ,but though portraits of actual individuals1 the models from which they were made are in every case so characteristic1 so closely in keeping with their surroundings1 that they serve nevertheless as types1 and the drawings in consequence make as direct an appeal to the stranger as to one who might happen to be familiar with the originals of them4 ,in the famous ,cabaret des ,quat'-z-,arts was drawn the exquisite pen-and-ink portrait on page #cb1 previously alluded to1 of ,georgette de ,bertigny3 under which name1 for the purposes of the sketch1 the identity of a figure at one time very familiar to habitus of the ,quat'-z-,arts is concealed4 ,as comment upon the depth of feeling which the drawing reveals1 one may read the pen picture which accompanied it3 ,then ,georgette de ,bertigny steps out through the haze1 and stands1 a tragic little figure1 on the platform by the piano4 ,her hair and eyes are ebon black2 her face1 thin lipped and pale1 is like a mask of ivory4 ,there is no life whatever in it4 ,she stands there like a tragedy in miniature1 her hands behind her back1 unseeing1 motionless4 ,then1 to a low1 monotonously modulated melody1 she sings a song of utter misery and passion1 and1 as she sings1 her eyes and face light up4 ,the mask of ivory gleams as though there were living light behind it1 and the sweet1 low voice stirs us as but few singers can4 ,the music ceases4 ,and the light behind the ivory goes out again as ,georgette bows her thanks for our enthusiasm4 ,illustration3 ,,le ',,igh ,,kick4 ,at the ,moulin ,rouge4 ,from ,paris and ,some ,parisians ,it is trite to remark that comedy is akin to tragedy1 and it is in the natural order of things that an artist of so keen a perception of the comedy of life should be able to strike with such truth and precision the note of pathos or of tragedy4 ,illustration3 ,a ,,speech ,,against ,,the ,,government4 ,from ,paris and ,some ,parisians ,the ,lapin ,agile1 a strange little caf in that other ,montmartre which the tourist knoweth not1 yielded abundance of material to ,frank ,reynolds' pencil4 ,needless to say1 the curious may search all ,paris and find no such sign as that of ,the ,sprightly ,rabbit1 but it is not impossible that some may recognise1 under his disguise1 ,felix1 the ruffianly but accomplished host1 who was the model for the sketch upon page #dc1 one of the happiest examples in the present volume of the artist's skill in portraiture1 as well as of his rare technique in pen-and-ink4 ,equally happy is the sketch which depicts ',chacun' with his ',chacune' at the ,moulin de la ,galette 7page #ac71 in which the pose of the figures and the expression upon their faces exhibit1 if one may put it so1 the very perfection of naturalness4 ,for a study of expression1 again1 it would be difficult1 or indeed impossible1 to better the further of the two figures in the drawing of ,le ',igh ,kick1 made one night at the ,moulin ,rouge4 ,as to pose1 could there be anything more exactly right than the attitude of the gentleman with bright-blue goggle eyes1 and a dress-shirt front in accordion pleats1 who1 on the occasion when his portrait was made1 had been to the races and backed a winner1 and was delivering a long and extremely incoherent speech4 ,illustration3 ,,felix ,,of ,,the ,,lapin ,,agile4 ,from ,paris and ,some ,parisians ,illustration3 ,,pictures ,,of ,,paris ,,and ,,some ,,parisians ,,frank ,,reynolds4 ,v4 ,looking through these inimitable sketches of ,paris and ,parisians1 one indulges a fond hope that some day ,frank ,reynolds will produce a companion set of drawings illustrative of ,london life4 ,it is answered1 perhaps1 that ,paris affords a unique opportunity such as the artist would hardly find at home2 but the supposition is due1 of course1 only to the familiarity of our immediate surroundings and the difficulty which invariably arises1 in consequence1 of focussing them to their true proportions4 ,needless to say1 ,frank ,reynolds has already worked the rich vein of ,cockney life to a considerable extent1 but his essays in this direction only increase the desire to see an exhaustive pictorial commentary from his pencil and pen upon the men and manners of our own city4 ,such quaint humour as is contained in his study of ,sunday ,clothes at ,bethnal ,green 7page #ag71 suggests what possibilities the subject presents4 ,incidentally1 it may be remarked1 apropos of this drawing1 that the ,london coster 7whom he knows and loves7 has provided some of his most admirable studies from life4 ,to that class belongs the sympathetic study which faces page #a in the present volume4 ,the broad humours of ,whitechapel could scarcely fail to appeal irresistibly to an artist of ,reynolds' peculiar temperament1 and few men have depicted them with such relish or--thanks to his rare gift of restraint--with such fidelity and truth4 ,to a certain extent1 ,frank ,reynolds has already recorded contemporary manners in ,england1 and especially in ,london1 in his well-known series of ,social ,pests1 though it would perhaps be more correct to say that he has pilloried therein the more extravagant of our social freaks4 ,probably the delighted recognition with which these ruthless analyses of character were hailed was due to the satisfaction which attends the exhibition of a proper object of satire meeting with its just deserts4 ,illustration3 ,,the ,,warrener4 ,exhibited at the ,royal ,institute of ,painters in ,water ,colours1 #aijg4 ,no ridicule could be more serene1 nor yet more biting1 than that with which the artist touches off the desperate efforts to attract attention of the rowdy group of callow youths whom he names1 with a flash of inspiration1 ,the ,dare-,devils 7page #aj74 ,of ,the ,suburbanite1 to the writer's mind perhaps the most subtly accurate character-study of all1 the artist speaks in terms of apology4 ,it is hardly fair1 he contends1 to include in a gallery of pests the bulwark of the nation6 ,a particular aspect of ,london life which provides a rich fund of material for humorous treatment was dealt with by ,frank ,reynolds in his series of drawings entitled ,the ',halls' from the ,stalls4 ,as every frequenter of the variety theatre is aware1 the programme at such places of entertainment is arranged on certain well-defined lines4 ,the music-hall performer may be divided into certain very distinct classes1 each with its orthodox methods and mannerisms2 and it was on the little peculiarities of these different branches of the profession that the artist seized with characteristic glee4 ,illustration ,how little his efforts1 unfortunately1 were taken in the spirit in which they were meant1 may be gleaned from the annoyance expressed by one gentleman who considered himself1 quite erroneously1 to have been singled out for individual ridicule4 ,a certain drawing in the series depicts ,the ,equilibrist--an individual with an anxious eye1 who is poised upon a slack wire above the head of an admiring assistant1 balancing sundry cigar-boxes and wine-glasses on one toe1 while supporting on his head a lighted lamp1 and discoursing sweet music from a mandoline4 ,the publication of this skit drew from a wrathful professional an indignant letter1 in which he declared that insomuch as he was the one and only exponent of the equilibristic art who could balance a lighted lamp upon his head1 the picture which illustrated this piece of business must be intended as a portrait of himself1 though he considered it very badly done1 and a libellous production4 ,from one point of view1 it was surprising that the impression of the ,lion ,comique1 as seen by ,frank ,reynolds1 elicited no similar response from the gentlemen of the boards1 for indisputably the picture was a portrait1 and a perfect one1 of each individually and of all combined4 ,on second thoughts1 however1 and upon consideration of the drawing in question 7which many readers will remember71 it is1 perhaps1 not so very surprising that no claim to identity with it was forthcoming6 ,other drawings in the same series1 depicting other examples of the strange freaks of humanity by whom the ,british public delights to be entertained1 afford good examples of the innate humour of ,frank ,reynolds' art4 ,there is often little that is actually comic in the situations depicted1 yet each is instinct with humour4 ,it is the triumph of ,reynolds' comic art that he can snare1 on the wing as it were1 humour that is too elusive and nimble for one of slower perception and heavier hand4 ,illustration3 ,,vive ,l',,arm,e ,from ,paris and ,some ,parisians ,art and the ,man was a series of drawings in the vein of farce rather than of comedy4 ,the intention was to depict various types of artists rather as fancy might paint them than as they really are4 ,the ,marine ,artist1 for example1 with his canvas slung from davits and the entire furniture of his studio of extremely nautical design1 was a purely fanciful conception4 ,the ,pot-,boiler1 spending his days in painting one solitary subject over and over again ad infinitum1 comes nearer to life1 though his portrait again is an exaggerated fancy rather than a study from life4 ,one feels1 nevertheless1 that if there be indeed such an individual as the pot-boiler in existence1 this1 and no other1 must be his outward guise4 ,the drawings entitled ,dinners with ,shakespeare1 to which allusion has already been made1 gave scope for a very varied range of character studies4 ,meal-time is a happy moment at which to catch human nature unawares1 and the artist made the most of his opportunities4 ,they add to the debt which the historians of contemporary manners will owe to ,reynolds in the future1 for as a sidelight on social habits of the present day these pictures of the dinner-table will be instructive4 ,the very triteness of their theme gives them their interest4 ,illustration3 ,,gazed ,,on ,,harold ,from ,paris and ,some ,parisians ,illustration3 ,,from ,a ,,paris ,,sketch-,,book ,of late years ,reynolds' pen-and-ink drawings have been a familiar feature of the pages of ,punch4 ,his gentle satires therein have been at the expense of all classes of the community4 ,but his most successful and best remembered jokes have perhaps been those which depicted the unconscious humours of ,cockney low life4 ,his illustration of ,precedence at ,battersea1 in which one small gutter-snipe struggles with another for a cricket bat1 indignantly declaring that ,the ,treasurer goes in before the bloomin' ,seketery1 is by way of becoming a classic4 ,equally clever is the study of a small boy1 7reproduced on page #bg7 whose pomptiousness on attaining the dignity of knickers forms the subject of admiring comment from his mother to a friendly curate3 the mother herself being a wonderful study of low life4 ,in ,going ,it 7page #ei7 the artist harks back to the theme of freak-study1 if such a term is permissible1 the expressions on the faces of the two figures exhibiting well his acute powers of observation4 ,illustration ,as an illustrator of stories of a certain type1 ,frank ,reynolds is without an equal4 ,on a tale of mere incident his talent is wasted3 but into the spirit of a writer who takes human nature for his text1 the artist enters with the keenest sympathy4 ,one is tempted to think that the author who is so fortunate as to have ,frank ,reynolds for a collaborator1 must on occasion be startled at the clear vision with which the artist materialises the private conceptions of his mind4 ,it would hardly be possible to find a more sympathetic series of illustrations than those which ,frank ,reynolds drew for ,keble ,howard's idyll of ,suburbia1 entitled ,the ,smiths of ,surbiton4 ,the author constructed out of the petty doings and humdrum habits of suburban life a charming little story of simple people1 and with equal cleverness the artist built up1 out of these slight materials1 a series of exquisitely natural pictures1 which revealed the almost incredible fact that semi-detached villadom is not all dulness4 ,illustrators of ,charles ,dickens are legion1 but when one thinks of the opportunities for character-study1 without that exaggeration into which previous illustrators have been too prone to indulge1 which the works of the great novelist afford1 one is inclined to think that until we see that wonderful gallery of fanciful personalities which began with ,mr4 ,pickwick and his companions portrayed by the pencil of ,frank ,reynolds1 we shall have to wait still for the perfect edition of ,dickens4 ,one niche in that gallery has already been filled1 and a study of the water-colour drawing of ,tony ,weller at the ,belle ,sauvage1 which is reproduced in the present volume1 only increases our desire1 like the immortal ,oliver1 to ask for more4 ,illustration3 ,,the ,,des7,s7,,erts ,,of ,,bohemia4 ,from ,dinners with ,shakespeare ,frank ,reynolds as a colourist is less known to the general public than ,frank ,reynolds the black-and-white artist4 ,it is only of recent years1 indeed1 that he has turned his attention to painting4 ,but his work1 as seen at the ,royal ,institute of ,painters in ,water ,colours 7of which body he was elected a member in #aijc7 and elsewhere1 proves that his skill with the brush is no less than with pen or pencil4 ,the present volume includes1 besides the drawing of ,tony ,weller just referred to1 his picture of ,the ,warrener1 another fine character-study1 exhibited at the ,royal ,institute in #aijg4 ,the ,introduction1 an example of a time sketch done at the ,london ,sketch ,club1 illustrates the quick readiness with which the artist nimbly catches the spirit of his subject1 and the subtle touch which invests his drawing with the evasive quality of atmosphere4 ,another ,sketch ,club study is that of the curate at the play1 which bears the title ,frivolity4 ,as a study in expression it is amazingly clever3 and it must be a painful and melancholy respect for the cloth which can suppress the smile which it summons4 ,even an ,archbishop will scarce forbear to snigger6 ,illustration ,it is not uncommon to hear modern black-and-white art in this country decried by some persons--mostly of that shallow critical class which can praise nothing in the present1 and has encomiums only for that which is past4 ,but while ,english art can point to such work in black-and-white as ,frank ,reynolds 7to say nothing of others1 with whom this volume is not concerned7 produces1 he must have dull senses who deplores the present and must hark back to the days1 let us say1 of ,charles ,keene to find satisfaction for his artistic cravings4 ,illustration3 ,,going ,,it6 ,,she3 ,after this1 what do you say to a jaunt on one of the new tubes8 ,if it be a merit to add to the gaiety of nations1 then ,frank ,reynolds1 on that count alone1 deserves of his fellow men more than a passing approbation4 ,he is something more than a mere jester1 however3 his humour but flavours1 as it were1 a serious study of human nature4 ,ignoring1 for a moment1 the skill and charm of his technique1 one feels it to be an accident only that his vehicle of expression is pictorial and not literary4 ,he occupies amongst artists the place which the novelist holds amongst men of letters4 ,when to the recognition of this distinction is added a consideration of his artistic ability1 per se1 his title to the appreciation of men of taste and sensibility must be conceded4 ,frank ,reynolds is fortunately a young man4 ,long may we continue to suffer the good-natured pricks with which his gentle shafts of satire1 piercing the cracks in our self-complacent armour1 stimulate us2 long may we continue1 secure in our own self-esteem1 rapturously to gloat over the spectacle of our dear friends and neighbours held up1 by his whimsical humour1 to keen but harmless ridicule4 ,illustration3