Faed Thomas 1826 1900 (15 results)

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.…

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'.…

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

Original 19th-century steel engraving titled "Going Home", with a peasant family returning from work along a road at evening. Engraved by F. A. Heath after the painting by the Scottish artist Thomas Faed, R.A., known for his scenes of Scottish rural life. Medium: Steel engraving. Artist / after: Thomas Faed, R.A. Engraver / lithographer: F. A. Heath. Date: 19th century. Dimensions: 12.6 x 9.1 in (32 x 23.2 cm). Condition: Good condition; clean paper, with slight toning at the edges and an isolated damp spot in the right margin. Español Grabado original en talla dulce del siglo XIX titulado «Going Home» (la vuelta a casa), con una familia campesina regresando del trabajo por un camino al atardecer. Grabado por F. A. Heath sobre el cuadro del pintor escocés Thomas Faed, R.A., conocido por sus escenas de la vida rural escocesa. Técnica: Grabado calcográfico (talla dulce). Autor / pintor: Thomas Faed, R.A. Grabador: F. A. Heath. Medidas: 32 x 23,2 cm. Estado de conservación: buen estado; papel limpio, con leve amarilleo en los bordes y alguna manchita de humedad aislada en el margen derecho. Antigüedades y coleccionables > Arte. Heath, Frederick Augustus (1810-1878) (illustrator). …

Original antique steel engraving, The Orphan, after the painting by Thomas Faed that belonged to John W. Leather of Newton Green (Leeds): the barefoot boy comes in with his cap in his hand to the kitchen of a country house, before the family gathered by the hearth. Lettered at the foot, T. Faed, A.R.A. pinxt. and P. Lightfoot sculpt. Medium: Steel engraving. Artist / after: after Thomas Faed (1826-1900). Engraver: Peter Lightfoot (1805-1885). Date: 1866. Dimensions: 12.6 x 8.9 in (32 x 22.5 cm). Condition: Good. Scattered oxidation spots in the margins, outside the image. Español Grabado antiguo original «The Orphan» (El huérfano), según el cuadro de Thomas Faed que perteneció a John W. Leather, de Newton Green (Leeds): el niño descalzo entra con la gorra en la mano en la cocina de una casa de campo, ante la familia reunida junto al hogar. Al pie, «T. Faed, A.R.A. pinxt.» y «P. Lightfoot sculpt.». Técnica: Grabado calcográfico sobre acero. Autor / dibujante: según Thomas Faed (1826-1900). Grabador: Peter Lightfoot (1805-1885). Fecha: 1866. Medidas: 32 x 22,5 cm. Estado de conservación: buen estado; manchitas de oxidación dispersas en los márgenes, fuera de la imagen. Antigüedades y coleccionables > Arte. Lightfoot, Peter (1805-1885) (illustrator). …

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.…

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. …