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News-cutting album kept by the artist Thomas Faed, circa 1850-1885
- 4to. Elaborate multi-coloured leather boards, detached, affected by damp inside and out, backstrip lacking; top outer corners of pages chipped or brittle, but contents generally sound. 30 (out of 72) pages bearing over 200 news-cuttings about or by the artist (some reproductions of his own work), the provenance of many noted in his hand, from newspapers and periodicals including The Academy, The Athenaeum, The Builder, Caledonian Mercury, The Daily News, The Examiner, The Glasgow Daily Herald, Good Words, The Graphic, The Illustrated London News, The Literary Gazette, The Manchester Guardian, The Morning Post, The Scotsman, The Times and The Whitehall Review; also two poems (both by R.P. Scott?) transcribed in Faed's hand; two printed poems on a single sheet (one by "T.F.", the other by "R.P.S."; in duplicate - proofs?) and a single-sheet printed poem by Faed signed at the foot the author (a proof too?); with other cuttings loosely inserted (two sent by the cuttings agency Henry Romeike) and a pencil drawing of a boy (201 x 161mm, some damp-staining). "Faed is, indeed, a second Wilkie." Thus an unattributed press snippet 
on the fourth page of the artist’s album, and Thomas Faed (1826-1900) was perhaps doomed to live in the shadow of his countryman and fellow genre painter, who died a week before Faed's 15th birthday. Wilkie was the son of a Fife manse, Faed born in a mill outside Gatehouse of Fleet in Galloway; both moved to London. Faed was elected ARA in 1861, soon after this album begins, and full RA in 1864. On the same page as "a second Wilkie", the Lord Chancellor (Lord Campbell of St Andrews, another son of a Fife manse) tells the 1861 Royal Academy banquet that "Mr. Faed (loud cheers) . . . already rivals the fame of our immortal Wilkie". Even in death he was compared with Wilkie: his obituary in The Times (obviously not here included) declared, "From the beginning his taste lay in the direction of the 'homely pathetic' – scenes of domestic genre, not without their moral or even their religious lesson. Whereas Wilkie, following the great Dutchmen, had been content to paint the gayer aspects of the life around him, 'The Penny Wedding,' 'The Village Festival,' and what not, Faed appealed to the graver emotions of his countrymen, and his anecdotes dealt with such matters as 'The Mitherless Bairn,' 'The First Break in the Family,' and the like . . ." Although the earliest dated cuttings are from 1860, there are other earlier, undated and unattributed articles from the Scottish newspapers e.g. on the showing (in 1850) of Faed's celebrated work Sir Walter Scott and His Literary Friends "previously to its being placed in the hands of the engraver". As well as accounts of exhibitions or individual pictures and slivers of anecdote, there are examples of Faed's poetic art - cuttings of his "On Visiting the Room in which Burns Died", 28 lines, "A Plea for Coming Years" by "T.F.", 16 lines, "Burns" by "T.F.", 30 lines, "Suggested by Alma Tadema's Painting, 'A Reading from Homer'. Royal Academy Exhibition, 1885", and, on a single printed sheet, signed only in pencil, the 24-line "It ceased when Sappho's song was sung . . ." Prose includes a letter from "T.F." to the Editor of the Galloway Gazette on the death of the irascible James M'Kay, "a man of mark in his humble way . . . familiarly known as 'Jamie Kie'". In addition the artist has transcribed by hand a poem entitled "Sir Walter Scott and his Literary Friends. Painted by Thomas Faed" from Octavia and other poems (Edinburgh, 1852) - published anonymously but by his friend and fellow-countryman Robert Park Scott (presumably the author of the companion piece to Faed's "Burns" above, by "R.P.S.") - and the 16-line "'When the Children are asleep' Thomas Faed R.A." (perhaps also Scott's work). Further details on request. [Attributes: Hard Cover]
      [Bookseller: James Fergusson Books & Manuscripts]
Last Found On: 2014-02-01           Check availability:      AbeBooks    

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