Thomas faed (45 risultati)

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

Condizione: New.

No Binding. Condizione: Collectible-Very Good. 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. Faed, Thomas (illustratore).…

Paper. Condizione: 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).…

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.…

No Binding. Condizione: Very Good. A splendid original antique tinted engraving . Mounted matted - and ready to frame . Mount size measures approx 12 x 10 inches, 36 x 30 cms. Very good condition .Shows in some detail . the Scene in the Backwoods of Canada in early 19th century - after the painting of Thomas Faed. Thomas Faed (illustratore).…

Hardcover. Condizione: 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.

Condizione: New.

Soft cover. Condizione: Very Good. 1st Edition. FAED, Thomas (1826-1900). Autograph letter signed inviting the artist Alfred Elmore to dinner. Sussex Villa, Campden Hill, Kensington, Sunday morning, undated. Single sheet, 115 x 180 mm, written on one side. Old fold and mounting residue to the reverse, otherwise about very good. Faed invites Alfred Elmore and his family to dine with him on the following Friday at half past seven. Alfred Elmore (1815-1881) was an Irish-born historical and genre painter who became a Royal Academician in 1877. Thomas Faed was a successful Scottish painter of domestic and rural subjects, elected to the Royal Academy in 1864. A nice artist's association letter. Signed by Author(s).…

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.

Soft cover. Condizione: Very Good. 1st Edition. FAED, Thomas (1826-1900). Autograph letter signed to C. W. Schofield giving the address of the artist Clarkson Stanfield. 1a Cambridge Road, St John's Wood, London, 5 May 1863. Single sheet, 115 x 180 mm, written on one side and backed onto thin card. A few marks, otherwise very good. Faed apologises for having left Schofield's letter of 23 April unanswered and supplies the address of Clarkson Stanfield at The Green Hill, Hampstead. Clarkson Stanfield (1793-1867) was one of the leading British marine painters of the nineteenth century and a Royal Academician. Thomas Faed was a successful Scottish painter of domestic and rural subjects, elected to the Royal Academy in 1864. Signed by Author(s). …

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'.…

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'.…

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.

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) (illustratore). …

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) (illustratore). …

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'.…

Leatherbound. Condizione: 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 ---.…

Hardcover. Condizione: Very Good. 2 volume set. Bound in hand tooled, gilt embossed leather. All edges gilt. A handsome set. Hardcover. Good bindings and covers. Edge wear. Minor staining. This is an oversized or heavy book, which WILL require additional postage for Priority Mail or International delivery outside the US.…

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'. …

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. …

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.…