He spent most of his formative years teaching at the Royal Arts Academy. The Roman Maiden emphasized Frank’s love for portraits and historical paintings. The Roman Maiden - as the name suggests, the painting shows a woman dressed in Roman robes which are associated with aristocrats and royalty. The beauty, ornaments and posture correspond to the wealthy. She has a milky dress and a light green robe. The golden necklace and tiara suggest royalty while her nice kept hair depicts a wealthy background. Her right hand is across her chest while her left-hand tacks her robe in place. She is seen gazing on something on her right, perhaps as a pose or reality.

The painting was a classic oil on canvas which were signature painting tools then. Frank’s attention to colour and contrast are vivid in this piece, with the illustrative characteristics seen on how detailed the painting is. The background is dark brown to amplify the portrait. This painting was done in 1879. Other paintings done in the same format include the Portrait of Dora, Cleopatra, Portrait of Mrs W.K. D'Arcy (1902), Hesperia (1887) and The Magic Crystal (1894). A majority of the 116 paintings are portraits. Although there are many more done for private use, his romantic style geared him to prominence, rising from a mere painter to a tutor and later as the president of the Royal Academy of Art.

His prowess can be traced to the family as his father, uncle and sister were all notable painters in the 19th and 20th Century. His first exhibition was at the London's Graphic Art Society in 1921 which confirmed his prowess in literal, historical drama and portraits. His love for romanticism art saw him earn a fortune by drawing pictures of fashionable women. His painting, The Funeral of the Viking (1893) was used by Bathory as the cover photo for the 1990 album Hammerheart. His contribution to the art industry during the 19th and 20th century saw him being confirmed to knighthood by King George in 1925 and assimilated into the Royal Victorian Order in 1927.