Daniel McDonald Sold at Auction Prices

Daniel MacDonald (1820-1853) Still Life with Crab, Fish and Vegetables (1843)

Daniel MacDonald (1820-1853) Still Life with Crab, Fish and Vegetables (1843) oil on canvas signed lower right and dated 1843 h:71.50  w:91.50 cm. Provenance: Private Collection Exhibited: Gorry Gallery Dublin; Daniel MacDonald, Pennings and Pencillings, Cork 1843-1844, 28th March-13th April 2019. Painted in the tradition of the great Dutch still lives of the seventeenth century, this oil on canvas by Daniel MacDonald depicts an abundance of food spread out on a table. As with the Dutch paintings, there may be a moral or social message contained within the types of food selected by the artist. Laid out in a rich display are herring and mackerel, turbot, red gurnard, crab, radishes and cabbage. Although they appear enticing, for the most part these were not the preferred diet of the wealthy classes in nineteenth century Ireland. MacDonald has elevated humble foodstuffs into the realm of high art, perhaps as an encouragement to people to eat more fish and inexpensive vegetables. A painting by Nathaniel Grogan in the Crawford Art Gallery collection depicts an eighteenth century festival known as "Whipping the Herring", in which a mock fish was paraded through the streets of Cork, before being expelled at the city gates. Because herrings were regarded as 'famine food', and traditionally eaten only by the poorer classes, this ceremony was intended to keep the spectre of famine at bay. MacDonald's still life also contains a bottle and an earthenware jar, containers of foodstuffs preserved in vinegar or brine. To the left of the fish and vegetables, a silver tankard lies on its side; perhaps again a coded message to avoid alcoholic beverages. Exhibited at the Cork Art Union in 1843, not long before the Great Famine began to wreak havoc on Irish society, particularly in areas such as West Cork, this painting has significance not just as fine example of still life painting, but also as a harbinger of what was to come. Born in Cork, Daniel MacDonald was the son of an artist named James MacDonald (or McDaniel), and like him he became a painter of portraits, genre scenes and caricatures. At the age of thirteen, his etchings were published in The Tribute. The young MacDonald painted local sporting events, faction fights and other entertainments of the Irish countryside. He made delightful sketches of the hedge-school master with his quill pen, the dancing master with his pumps flying, and the red-coated gentlemen of the South Union Hunt on horseback. This painting was exhibited at the Cork Art Union in 1843 (Cat. No. 58). He also painted one of the only canvases depicting the Famine in Ireland, An Irish Peasant Family Discovering the Blight of their Store, exhibited in London in 1847. After exhibiting at the Royal Hibernian Academy between 1842 and 1844, MacDonald moved to London around 1845, where he showed works at the British Institution between 1847 and 1851. As well as oil paintings, he produced many pen and ink drawings, a number of which are in the British Museum. Peter Murray, September 2021

* MacDonald (Daniel, 1821-1853). Officer of the Kings Royal Rifle Corps, 1848, charcoal and chalks

* MacDonald (Daniel, 1821-1853). Portrait on an Officer of the Kings Royal Rifle Corps, 1848, charcoal and chalks, signed and dated lower right, 50 x 34cm (19.75 x 13.25ins), small tear, unframed, applied to a stretcher with contemporary newspaper verso dated 1848 Qty: (1)

DANIEL MACDONALD (1821-1853) - A group of spaniels in an interior

DANIEL MACDONALD (1821-1853) A group of spaniels in an interior signed, inscribed and dated ‘D. MacDonald/Cork 1843’ (lower left) oil on canvas 33 1/2 x 38 1/2in (85 x 98cm)

Daniel MacDonald (1821-1853)The Village Funeral - An Irish Family by a Graveside during the Great FamineOil on canvas, 47.5 x 56cm (18¾ X 22'')Provenance: Anonymous sale, London, Bonham's, 9 June 1966, lot 227, £55, where purchased by Peter Boyde

Daniel MacDonald (1821-1853)The Village Funeral - An Irish Family by a Graveside during the Great FamineOil on canvas, 47.5 x 56cm (18¾ X 22'')Provenance: Anonymous sale, London, Bonham's, 9 June 1966, lot 227, £55, where purchased by Peter Boydell (d. 2001); forming part of the private collection of Peter Boydell and Hannes Havardarson, Westbourne Terrace, London. Thence by descent until acquired by the present owner.This is possibly the only depiction of an Irish burial, certainly contemporaneous to the Great Famine. Attribution confirmed by former Crawford Art Gallery director, and author of 'Whipping the Herring: Survival and Celebration in Irish Art', Peter Murray.

* MacDonald (Daniel, 1821-1853). The Sunset, 1849,

pen and ink with gouache, showing a girl with dog looking out towards a sunset, signed and dated lower right, 23 x 33.5cm (9 x 13.25ins), mount aperture, framed and glazed - Quantity (1)

D. MACDONALD (BRITISH, 20TH CENTURY), EUROPEAN STREET SCENE, OIL ON ARTIST BOARD; SIGNED LOWER RIGHT, 13.5" x 9.5" — 34.3 x 24.1 cm.

D. MACDONALD (BRITISH, 20TH CENTURY) EUROPEAN STREET SCENEOIL ON ARTIST BOARD; SIGNED LOWER RIGHT13.5" x 9.5" — 34.3 x 24.1 cm.Estimate: $100—150

DANIEL MACDONALD (1821-1853)Boy in a LandscapePen and ink, 30 x 33cmSigned and dated 1844

DANIEL MACDONALD (1821-1853)Boy in a LandscapePen and ink, 30 x 33cmSigned and dated 1844

DANIEL MACDONALD (1821-1853) The Eagle's Nest,

DANIEL MACDONALD (1821-1853) The Eagle's Nest, Killarney Oil on canvas, 67 x 62.5cm Signed and inscribed ''Cork 1841'' The Eagle's Nest: The lakes of Killarney were identified in the 18th century by the followers of the 'picaresque' as a desired destination to experience the sublime and a tourist industry flourished. Among the attractions were the remarkable echoes that could be got by the firing of the cannon. A guidebook of 1852 described the effect ''The report produced a discordant crash, as if the whole pile of rocks were rent asunder, and the succeeding echoes resemble a tremendous peal of thunder. Twelve reverberations, and sometimes more, may be distinctly counted and what appears extraordinary, after the sound has been totally lost, it occasionally revives, becomes louder and louder and then dies away''. Arthur Young in, A Tour in Ireland 1780, wrote ''At that noble rock (The Eagle's Nest), fired three cannon for the echo which indeed is prodigious; the report does not consist of direct reverberation from one rock to another with a pause between, but has an exact resemblance to a peal of thunder rattling behind the rock as if travelling the whole scenery we had viewed, and lost in the immensity of MacGillicuddy's Reeks''. A variation of a cannon discharge, the bugle call, was immortalised by Alfred Tennyson ''Blow, bugle, blow, set the wild echoes flying // Blow, bugle: answer, echoes, dying, dying, dying!'' Other artists depicted this scene, in particular, Jonathan Fisher (N.G.I.), thomas Walmsley and Bartholomew Colles Watkins.

STYLE OF DANIEL MACDONALD (1821-1853) Drinking

STYLE OF DANIEL MACDONALD (1821-1853) Drinking Poitín in a Cavernous Hut, mountains in the distance Oil on canvas, 36 x 46cm

D. MACDONALD (BRITISH, 20TH CENTURY)

D. MACDONALD (BRITISH, 20TH CENTURY) FISHERFOLK ON BEACH; WATERCOLOUR; SIGNED LOWER RIGHT Sight 6.8" x 9.8" - 17.3 x 24.9 cm.

Attributed to Daniel MacDonald (or McDaniel) (1821-1853) TASTING THE POITÍN IN IRELAND

Daniel MacDonald (1821-1853) A Night in Bristol,

Daniel MacDonald (1821-1853) A Night in Bristol, Mr. Mark Antony Wiggins, Pitching into the Bugs; Tom Bearing Important Despatches to Ballydrisheen; Spectators of Punch and two other smaller works Pen and ink, various sizes Some signed and dated 1850 (5)

McDonald, Daniel (1821 Cork 1853). "Mr. Mike

McDonald, Daniel (1821 Cork 1853). "Mr. Mike Seanlows School". Tuschfederzeichnung, 1851. 18 x 17 cm. Blgr. 28,4 x 20 cm. Sign., dat. u. betit. Unter der Karikatur eigenhändig bez. "Childre tote to rede rite & sifer 2D Per Week, Them as Larns manners 2D Per week more. By Mr. Mick Seanlow". - Etw. angestaubt.

Attributed to Daniel MacDonald (1821-1853) The

Attributed to Daniel MacDonald (1821-1853) The Eviction c.1850 Oil on canvas, 63 x 75cm, (24.75 x 29.5") Exhibited: Whipping the Herring Exhibition, Crawford Gallery, Cork, May-August 2003 Provenance: Important Irish Art Auction, Adams, 28th May 2003, Lot 4 where purchased by the current owner

Attributed to Daniel McDonald (1821-1853)

Group portrait of Lady Olivia-Charlotte White, Lady Elizabeth-Mary White and William, 4th Earl of Bantry, with a dog, in an extensive wooded landscape oil on canvas 52 1/2 x 64 in. (133.4 x 162.6 cm.)