As soon as he was established at Lamb House again (September 1911) he set to work upon A Small Boy and Others, and for a long time to come he was principally occupied with this book and the sequel to it. He went abroad no more and was never long away from Rye or London; but his power of regular work was not what it had been before his illness, and excepting a few of the papers in Notes on Novelists the two volumes of reminiscences were all that he wrote before the end of 1913. His health was still an anxiety, and his letters show that he began to regard himself as definitely committed to the life of an invalid. Yet it would be easy, perhaps, to gain a wrong impression from them of his state during these years. His physical troubles were certainly sometimes acute, but he kept his remarkable capacity for throwing them off, and in converse with his friends his vigour of life seemed to have suffered little. He had always loved slow and lengthy walks with a single companion, and possibly the most noticeable change was only that these became slower than ever, with more numerous pauses at points of interest or for the development of some picturesque turn of the talk. The grassy stretches between Rye and its sea-shore were exactly suited to long afternoons of this kind, and with a friend, better still a nephew or niece, to walk with him, such was the occupation he preferred to any other. For the winter and spring he continued to return to London, where he still had his club-lodging in Pall Mall. After a sharp and very painful illness at Rye in the autumn of 1912 he moved into a more convenient dwelling--a small flat in Cheyne Walk, overhanging the Chelsea river-side. Here the long level of the embankment gave him opportunities of exercise as agreeable in their way as those at Rye, and he found himself liking to stay on in this "simplified London" until the height of the summer.
April 15, 1913, was his seventieth birthday, and a large company, nearly three hundred in number, of his English circle seized the occasion to make him a united offering of friendship. They asked him to allow his portrait to be painted by one of themselves, Mr. John S. Sargent. Henry James was touched and pleased, and for the next year the fortunes of Mr. Sargent's work are fully recorded in the correspondence--from its happy completion and the private view of it in the artist's studio, to the violence it suffered at the hands of a political agitatress, while it hung in the Royal Academy Exhibition of 1914, and its successful restoration from its injuries. The picture now belongs to the National Portrait Gallery. On Mr. Sargent's commission a bust of Henry James was at the same time modelled by Mr. Derwent Wood.