Excerpt from The Print Connoisseur: A Quarterly Magazine for the Print Collector; October 1920 If there were any foundation of truth in the sup position that we can hold parley with the dead, nothing would prevent Frederick Reynolds from a brisk interchange of ideas with his great-uncle of pious memory, Sir Joshua Reynolds. That, how ever, being impossible, there is comfort in the thought that a direct lineal descendant of that great painter should have acquired his craft thoroughly in the Old World and have brought to America his youthful enthusiasm, faith and traditions, helping us to learn and appreciate a form of art so little prac tised in this country and so fecbly understood. That such emigrants enter the portals of America, seeking hospitality and citizenship, is a splendid token for the future, and a sure message that the arts and crafts' in this newer civilization will in time arise Phoenix like from the ashes of an illustrious past gaily to burgeon and broadly to grow. It is intended in this article to touch only briefly upon the mezzotint, but more especially in the rela tionship of this art with our subject, its distinguished exponent, Frederick Reynolds, who more than anyother practitioner on this side of the Atlantic is printing mezzotint plates of charm and significance. The preparation necessary to occupy such a posi tion has included many years of unflinching per sistency at the old Polytechnic in Regent St, London, an institution now as defunct as the dodo, still further years of toil and moil with mcqueen the well known art publishers and printers, constant association with different members of the Hester family and Samuel Josey, and the utilization of every spare hour for visiting the British Museum and studying the techni que and eccentricities of that band of engravers who between 1750 and 1830 made English mezzotint famous. It was principally due to his school-friend ship with young Josey and consequent visits to the Josey home that young Reynolds witnessed the process in its fullest development and dedicated his future to the task. This, however was nothing to the work and experimentation performed here in New York during a period of eleven fruitful years. And now at last he can claim that within the limit ations of a mezzotint plate no problem could possibly arise with which he would be unable to grapple. All these years are regarded as merely years of ex periment, including the plates shown here in repro duction. From now on commences for Reynolds his second period. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.