Faed Thomas (38 results)

Longfellow's heroine, taken from the painting by Thomas Faed. No imprint, bust portrait. Some soiling, Very Good.

No Binding. Condition: Collectible-Very Good. Faed, Thomas (illustrator). Original black-and-white carte de visite (CDV) photograph showing an illustrated portrait of Evangeline Bellefontaine, the eponymous, fictional character of Henry Wadsworth Longfellow's epic poem, Evangeline, A Tale of Acadie. Evangeline is shown in her signature dress and cape as she sits on a wall overlooking a scenic landscape. Photo tipped in on paper card. No date, circa 1873-1880s. 2 1/2" x 4." Title printed in bottom margin on front. Copyright information printed on back which identifies the publisher as George Stinson & Company of Portland, Maine. George Stinson & Co. was active from 1873-1894. CDV is very clean and intact except for light age toning, a few tiny marks on front, slight offsetting on back, and minuscule wear to surfaces and extremities. A Very Good copy. Original carte de visite illustrated portrait photograph of the fictional character, Evangeline Bellefontaine, from Longfellow's epic poem, Evangeline, A Tale of Acadie (1847). The poem is about the steadfast love between Evangeline and her partner, Gabriel Lajeunesse, who were separated during the Expulsion of the Acadians, and Evangeline's search for him. This illustrated portrait of Evangeline was made by Thomas Faed (1825-1900), a Scottish artist. The carte de visite was a small souvenir photograph that often came in the form of an albumen print which consists of a photo mounted on a paper card. CDVs were commonly traded among collectors like trading cards. Louis Dodero (1824-1902) is credited with inventing the CDV in 1851 although Andre Adolphe-Eugene Disderi (1819-1889) was the first to patent the CDV in 1854. CDVs were very popular through the 1860s but were soon overtaken by the larger cabinet card in the early 1870s.

Condition: New. In.

1p., 12mo. In good condition, lightly-aged, with small part of paper mount adhering at head. Accepting a dinner invitation on 20 November.

2pp., 16mo. In fair condition, lightly-aged, with trimmed margins and slight damage at head from removal from album. He asks her to accept a 'Copy of Titian's "Ascension of the Virgin". You seemed to like it and it may fill a corner in your Boudoir.' He apologises if the frame is 'not as it should be but some might prefer he quaint old pattern to a more modern one.' From the papers of Faed's nephew John Francis Faed, son of the Royal Academician Thomas Faed (1826-1900), and so probably addressed to a family member.

Paper. Condition: Very Good. First Edition. An Original Handwritten and Signed Letter by Artist Thomas Faed. Dated 1893. A letter agreeing to a request. Thomas Faed RSA (1826-1900) was a Scottish painter who is said to have done for Scottish art what Robert Burns did for Scottish song. Size is 175mm x 115mm. Condition is good. Light folding creases. More images can be taken upon request. Ref18813. Signed by Author(s).

Hardcover. Condition: Fair. Green cloth. Corners are scuffed, spined is toned a bit, front hinge lightly cracked with title page detached, small amount of staining to bottom edge of first few pages, binding shaken but still decent. Otherwise covers are clean and presentable, pages are clean.

Condition: New.

1p., 12mo. In fair condition, lightly-aged and spotted, with minor traces of glue from mount on reverse. Reads: 'With the Compliments of the Season to all | from | Thomas Faed | 25 Der. 1881'. For information on Faed, see his entry in the Oxford DNB.

1p., 12mo. In good condition, lightly-aged, with small piece of mount adhering at head. Accepting an invitation to dinner.

1p., 12mo. In fair condition, lightly-aged, and laid down on a piece of card. Reads: 'July 26 | My dear Faed, | Would you mind seconding me at the Athenaeum? I believe Tom Hughes has put down my name. | Yours faithfully | William Black.' According to Black's entry in the Oxford DNB, he 'studied landscape painting for a short time in the Glasgow School of Art, but, becoming connected with the Glasgow Citizen, gradually exchanged art for journalism'.

1p., 12mo. In very good condition, with part of gummed label from mount at head. Writing to 'My dear Faed', he accepts an invitation for 20 November, in the hope that 'we shall not be summoned to a Gen. Assembly on that evening if such things are ever again to be resumed!'.

2pp., 16mo. Bifolium with black border. He writes that he had 'looked forward with great interest to seeing your academy pictures for this year', but that he is disappointed not to be able to do so, as a result of a heavy cold. 'I have no doubt they will more than sustain your reputation, and it will be a true pleasure to me to hail them on good places on the line in the R.A.' He ends by sending regards 'to Mrs. Faed & yourself'.

Nuffield Terrace, Kensington, undated. Thomas Faed (1826-1900), Scottish painter. He received his art education in the school of design, Edinburgh and was elected an associate of the Royal Scottish Academy in 1849. He went to London three years later, was elected an associate of the Royal Academy in 1861, and academician in 1864, and retired in 1893. He had much success as a painter of domestic genre, and had considerable executive capacity.

48 Kings Road, undated. Thomas Faed (1826-1900), Scottish painter.

Hard back binding in publisher's original royal blue cloth covered boards, blocked and lettered gilt back and front, all page edges gilt. Quarto. 10'' x 8''. Contains (viii), 163 pp + catalogue dated March 1875. Front end papers missing, having 19 (of 20 - with frontispiece missing) full-page single-sided plates on thick card stock, three of these are loose, old dripping wax candle marks to the front and rear boards. Member of the P.B.F.A. ILLUSTRATED (Picture Book).

Woodbury Process photograph, mounted, from "Men of Mark", c.1880,

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 178. A perfect gift for your loved ones. Reprinted from 1878 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Volume --- Language: English Pages: 178 Volume ---.

2pp., 12mo. On a bifolium, the blank second leaf of which is laid down on a leaf removed from an album. In good condition, on lightly aged paper. He apologises for 'seeming indfferent' to the 'kind invitation - For the last 3 days I have been very unwell[.] I am now well enough to say yes - with the hope of being still better by the 25th. of Feby'.

3pp., 12mo. Bifolium. Watermarked 'JOYNSON | 1876'. Fair, on lightly-aged paper, with minor staining from mount at foot of second leaf. Written in a hasty, untidy hand. The recipient appears to be 'My dear Hornby', 'Horley' or 'Howley'. Faed writes that he is 'slaving away chopping and changing sometimes worse and sometimes better (I hope) on Saturday, Sunday, and Monday. 7th. 8th & 9th.', and on those days he will have 'all my pictures at the mercy of my friends - if you are in my way do look in and see them - I like to see my friends pictures in their studios and like them to see mine under the same conditions for heaven knows how they may get massacred [last word underlined] wrongly spelt I fear, is there only one S.? never mind, in the hanging -'. He signs the letter 'in Hurricane Haste'.

12mo, 2 pp. Twenty lines. Text clear and complete. In bifolium. On aged and discoloured paper, with small closed tears along central fold lines of both leaves. A reference, 'bearing testimony to your perfect efficiency as a teacher of landscape painting possessing, as you do, the first and greatest requisite, namely a power to sketch beautifully from nature, your success should not be short of great. [last word underlined]' Apologises for not answering sooner, caused by 'the loss of your card'. From a small archive of Walter F. Stocks's correspondence.

4pp., 12mo. Bifolium. In good condition, on aged paper. tipped in onto a leaf from an album. The letter begins: 'As a great admirer of your works - (& I have long wished to tell you in person all I think of them) - I am about to take the great liberty of begging for your autograph for Mrs. Kingsley.' Kingsley's wife already has Faed's photograph, 'in a collection w. she is making, of originnal letters combined with photographs of the writers, from Royalty downwards, w. will one day be invaluable as well as interesting. She wishes much for the honour of your autograph'. Faed will be in 'good company', and will 'gratify much two people who regard your paintings with affection, as well as delight'.

1p., 12mo. Nicely printed on one side of a piece of laid watermarked paper. In good condition, lightly aged and worn, with slight loss to one corner caused by removal from an album. Sixteen-line poem in four four-line stanzas. Signed in type at foot 'TOM FAED.' The poem is a lament by the betrothed of a sailor drowned in the Firth of Forth. The first stanza reads: 'Oh wae is me! - I sit alane, | And never mair maun hear | The honied words o' love that fell, | Upon my listening ear.' Last stanza: 'For better far mid tanlged weed | On wild Balcarras shore, | I then had been my Willie's "Bride | O' Death" for ever more.' The item was found in a collection of the papers of Faed's son Johh Francis ('Jack'). No other copy traced, either on OCLC WorldCat or on COPAC, and no reference found to it anywhere. For information on Faed, see his entry in the Oxford Dictionary of National Biography. He is said to be the artist equivalent of Burns.

3pp., 12mo. Bifolium. In good condition, on lightly-aged paper, but with a corner of the first leaf torn away, resulting in some loss of text, including the year. The reverse of the second leaf laid down on a leaf removed from an album. The image of the 'design', 8 x 6.5 cm, is on the second leaf, which also carries Tayler's signature. It is a crude but pleasing sketch of an intended painting, done with the sureness of a watercolour artist. Tayler begins the letter by writing that he hopes that he is not trespassing far on your goodnature' by asking if Faed can 'help me to a Cottage Door. I am painting a Girl carrying a Basket of Puppies, the anxious Mother following, it is on a large scale for Water Colour, and I have nothing sufficiently real to work upon.' He adds: 'I dwell still th grateful recollection on ne or two Cottage Interiors you lent me many years ago'. He had wished that Faed had 'made some use of me in return in the Horse or Dog or Animal line'. Beneath the sketch Tayler writes: 'This is my design. If you should have anything of a Doorway you could lend me send me a line and I will send a messenger for it at your own time.' From an album of letters received by Thomas Faed.

1½ SS. auf Doppelblatt. 8vo. An den Maler, Kunstautor und späteren Sekretär der Society of Graphic Arts Frank L. Emmanuel (18651948): I find that I am unable to see your pictures before they go to whom they are destined for []". Faed erfuhr seine Ausbildung am Edinburgh College of Art, wurde 1849 Mitglied der Royal Scottish Academy und ging drei Jahre später nach London, wo er 1861 Mitglied der Royal Academy of Arts und im Jahre darauf Akademiemitglied wurde; 1875 wurde er Ehremitglied der Wiener Akademie. Das bevorzugte Sujet seiner zahlreichen Bilder waren Szenen aus dem Volksleben der schottischen Hochlande und der Arbeiterklasse; seine treffend gezeichneten Charaktere brachten ihm Popularität beim Publikum ein, die Kritik hingegen bemängelte seinen zu zahmen und gleichmäßigen Stil wie seine Farbgebung. Auf Briefpapier mit gepr. Adresse.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1878 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 178 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 178 Faed, Thomas, 1825-1900.

Non-Book. Condition: Very Good. Dust Jacket Condition: No Dust Jacket. On offer is a manuscript letter by Scottish multi-genre painter, Thomas Faed. Measures 5-1/4 x 3-1/2 inches. Autograph letter signed. One page. Undated. To the editor of The Athenaeum, William Hepworth Dixon a friend, and English historian and traveler. Noting a change in the title of a work. Black border frame on note, old paper clip marking on top left, otherwise good condition. Thomas Faed was a Scottish painter in oils and water colour of genre, portraits, interiors and domestic scenes. It is said Faed had done for Scottish art what Robert Burns did for Scottish song. Pathos being the staple of his success. He received his art education in the school of design, Edinburgh and was elected an associate of the Royal Scottish Academy in 1849. He went to London three years later, was elected an associate of the Royal Academy in 1861, and academician in 1864, and retired in 1893. He had much success as a painter of domestic genre, and had considerable executive capacity.; Manuscripts; 24mo 5" - 6" tall; Signed by Author.

Non-Book. Condition: Very Good. Dust Jacket Condition: No Dust Jacket. On offer is an interesting signed letter by Scottish painter Thomas Faed (1826-1900). Letter measures 7 x 8-7/8 inches flat folded to 7 x 4-1/2 inches. Very good condition. Autograph letter signed. Two pages (blind embossed Dobus London letterhead). Dated Royal Seahouse Hotel, Worthing. Sunday [1863] to the editor of The Athenaeum. William Hepworth Dixon a friend, and English historian and traveler. Noting a change in the title of his 1864 Academy work Bajth Fajther and Mither, and hoping it can be correctly noted, as "the Athenaeum is likely to be the first article on the exhibition . " Noting his joyous time by the sea. Baith Faither and Mither was shown by Faed in the 1864 Royal Academy exhibition, and extensively reviewed. Thomas Faed was a Scottish painter in oils and water colour of genre, portraits, interiors and domestic scenes. It is said Faed had done for Scottish art what Robert Burns did for Scottish song. Pathos being the staple of his success. He received his art education in the school of design, Edinburgh and was elected an associate of the Royal Scottish Academy in 1849. He went to London three years later, was elected an associate of the Royal Academy in 1861, and academician in 1864, and retired in 1893. He had much success as a painter of domestic genre, and had considerable executive capacity.; Manuscripts; 8vo 8" - 9" tall; 2 pages; Signed by Author.

Hardcover. rückseitig mit Auktionsaufkleber - differenzbesteuert, daher kein Ausweis der Mehrwertsteuer.

Condition: New. Print on Demand pp. 334.