(2 February 1806 [or 25 January 1811] - 25 April 1870)
In June, 1795, the regiment of Elgin Fencibles, commanded by the Earl of Elgin, left Perth on its way to be quartered in Ireland. In March, 1797, it arrived in Cork. Serving in its ranks as a private soldier was one Alexander McLeish, and when the regiment left Cork he remained and set up in a small way as a leather-cutter in a little shop in South Main Street. Within a year of his coming to Cork the Scottish soldier had found himself a wife who, from her name, was probably also Scottish or of Scottish descent. His marriage is recorded in the register of the Presbyterian church in Princes Street under date 24th December, 1797: "I married Alex. McLish, soldier, Elgin Fencible Regt., to Rebecca Buchanan daughter of Mrs. Buchanan, Almshouse, with consent of his officers and her friends in the presence of his sergeant and other witnesses. T. D. Hincks." The register further records the baptisms of seven of his children, including that of Daniel, the future artist: "1806, Feb. 2, Daniel McLish son of Alexr. and Rebecca." O'Driscoll, in his Memoir, gives the date of the painter's birth as 25th January, 1811, a date followed by other biographers.
Maclise himself gave this date, or at least tacitly sanctioned it, as indeed he did the misstatements concerning his parentage. The register of the Royal Academy records the entrance as a student on 20th April, 1828, of "Daniel McClise," and his age is put down as 20, which would agree with neither the record of baptism or with O'Driscoll's statement. His brother Alexander is recorded as having been born in August, 1811. Daniel received a good education at a day-school in Cork, and in 1820 was placed in Newenham's Bank; but he soon left it to devote himself to the study of art. As a child he had shown a love and aptitude for drawing, and he now applied himself to studying from the casts in the Cork Institute, and after a time he opened a studio in Patrick Street, where he did small pencil portraits. He also attended the lectures given by Dr. Woodroffe and acquired a good knowledge of anatomy and the structure of the human form. He was encouraged and helped in his endeavours by Richard Sainthill, who allowed him the use of his extensive library and introduced him to Crofton Croker, for whom he did a series of illustrations for the second edition of the Fairy Legends and Traditions of the South of Ireland.
He was first brought prominently into notice by a portrait of Sir Walter Scott, taken during the novelist's visit to Cork in 1825. This was a sketch made while Scott was examining books in Bolster's bookshop. The drawing, which was afterwards lithographed, is now in the Forster collection in the Victoria and Albert Museum. In the same year, 1825, he made a sketching tour in Wicklow, afterwards resuming his practice in portraiture in Cork. His portraits were generally in pencil, about 9 by 7 inches. At first he paid great attention to the backgrounds and accessories which he elaborated and worked out with the most scrupulous care, but he afterwards did his likenesses as simple vignettes. Several of his portraits were exhibited in the Mechanics' Institute in Cork in 1828, after he had gone to London. He was so successful with his little portraits that he was able to save money, and in 1827 found himself in a position to carry out his long-cherished desire to go to London.
He arrived there on 18th July, 1827, and took lodgings in Newman Street. Introductions brought by him gained him the acquaintance of many prominent literary men, which his charm of manner and disposition made into lasting friendship; and soon after his arrival he gave a proof of his talent by a clever sketch of Charles Kean as Norval in Douglas, which was lithographed, and brought him some money. In April, 1828, he entered the schools of the Royal Academy and carried off the silver medals in the life school and painting school and, in 1831, the gold medal for his "Choice of Hercules." During that period he had many commissions for portrait drawings which brought him both reputation and profit.
In 1829, he made his first appearance as an exhibitor in the Academy, with his drawing of
"Malvolio affecting the Count," -- not the picture of the same subject in the Vernon collection at South Kensington, --
and in 1830 he had seven drawings, including portraits of
"Miss L. E. Landon,"
"Thomas Campbell" and
"Mrs. S. C. Hall."
He had six works in 1831, and five in 1832, including his first oil picture
"Puck disenchanting Bottom."
In this year he made an excursion to Oxford and then wandered through the midland counties and Wales to Holyhead, whence he went to Dublin, and with Crofton Croker visited his native city of Cork. The Cork Society of Arts presented him with a gold medal inscribed: Alumno suo Danieli Maclise Egregie in pictura merenti Societatis Artium Corcagiensis Sep. 26, 1832." On his return to London he painted his "Snap-apple Night" which was in the Academy in 1833, a picture which materially enhanced his reputation. The subject was suggested by a scene in the house of Father Horgan at Blarney, and in it the painter introduced portraits of his sisters and of Sir Walter Scott, Croker and Father Horgan. In the exhibition catalogues his name appeared as "D. McClise" down to 1834, then as "D. MacClise," and in 1835, he finally adopted the form "Maclise."
In 1834, he exhibited another picture of an Irish subject,
"The Installation of Captain Rock," and in
1835, his picture of "The Chivalric Vow of the Ladies and the Peacock" -- which made a deep impression and divided artistic admiration with Turner's "Burning of the Houses of Parliament," Landseer's "Favourites" and Etty's "Phoedria and Cymochles" -- secured him his election as an Associate of the Academy. Maclise moved his residence in 1829, to Charles Street, Middlesex Hospital, where he remained until 1837, when he went to 14 Russell Place, Fitzroy Square, his home until he moved to 4 Cheyne Walk a few years before his death.
In 1836, he had two pictures in the Academy, "Macbeth and the Weird Sisters," and "An Interview between Charles I. and Oliver Cromwell." About this period he did a number of drawings for annuals and for books: J. Barrow's Tour round Ireland, published in 1836, contained four illustrations "drawn and etched by D. Maclise, A.R.A.," --
"An outside Jaunting-car in a Storm,"
"Interior of a Cottage,"
"Funeral Procession of an Informer," and
"Patron's Day at Ronogue's Well, Cork."
Hall's Ireland, its Scenery and Character, published in 1841, has two wood-cuts after his drawings, "The Wren Boy" and "Tossing Pan-cakes on Shrove Tuesday"; and etchings by him are in an edition of Carleton's Traits and Stories of the Irish Peasantry. In 1830, he began his celebrated series of character portraits contributed to Fraser's Magazine, under the pseudonym of "Alfred Croquis," which continued until 1838. They were chiefly drawn on stone, but in some instances were etched or engraved. These portraits of many of the celebrated literary personages of the day show an extraordinary insight into character, and give an impression of absolute truthfulness as likenesses, as for instance the portraits of Scott and Coleridge and Croker, the amusing plate of Miss Landon, or the grim and tragic satire of Talleyrand. The series, of which most of the original drawings are in the Forster collection in the Victoria and Albert Museum, was published, with three additional portraits, in book-form as "Gallery of Illustrious Literary Characters," edited by Professor W. Bates, and with biographical and critical sketches by William Maginn. Maclise also illustrated Lord Lytton's Pilgrims of the Rhine, and did 116 designs for an edition of Moore's Melodies, published by Longmans in 1846, which were beautifully engraved by F. Becker. He designed the Swiney Cup for the Society of Arts, the Turner medal for the Royal Academy, and the medal for the International Exhibition of 1862.
Maclise had now become firmly established as a painter and his career was henceforward one of unbroken prosperity; he was welcomed in the best literary and artistic society in London and enjoyed the friendship of many of its leading members and particularly of Dickens and Forster. In 1837, he had seven pictures in the Academy, including his
"Bohemian Gipsies" which was afterwards in the Gillott collection, and five in 1838, including
"Olivia and Sophia fitting out Moses for the Fair," and
"Merry Christmas in the Baron's Hall," now in the National Gallery of Ireland. His
"Scene from the Burletta of Midas" and
"The Second Adventure of Gil Blas," shown in 1839, were both purchased by the Queen.
In 1840, he was elected a Member of the Royal Academy and exhibited his
"Banquet Scene in Macbeth,"
"A Scene from Gil Blas" and "A Scene from Twelfth Night, Malvolio in Olivia's Garden," now in the Vernon collection in the Victoria and Albert Museum, and a
"Portrait of Charles Dickens."
Between 1840 and 1859, some of his best works were seen on the Academy walls:
"The Play Scene in Hamlet" in 1842,
"Noah's Sacrifice" in 1847,
"Caxton's Printing Office" in 1851,
"Alfred in the camp of Guthrum the Dane" in 1852,
"The Marriage of Strongbow and Eva" in 1854, a picture now in the National Gallery of Ireland; and
"Peter the Great in Deptford Dockyard" in 1857.
"Waterfall at St. Nighton's Keive, near Tintagel," exhibited in 1843, and now in the Forster collection at South Kensington, was the result of a tour in Cornwall with Dickens, Forster and Stanfield.
In 1844, Maclise was a competitor in the exhibition in Westminster Hall for the decoration of the Houses of Parliament, and was one of the six artists selected for the work. He commenced his designs for "The Meeting of Wellington and Blucher" and "The Death of Nelson" in 1858, and began the work in fresco; but he found so many difficulties in carrying out the undertaking that he resigned the task. At the request of Prince Albert he went to Berlin in 1859, to inquire into the water-glass process, and then took up the work in that method. He completed the "Wellington and Blucher" in December, 1859, and the "Death of Nelson" in 1864. For each of these he received £3,500. He also painted the "Spirit of Chivalry" and "The Spirit of Justice," which are both in an obscure position behind the Strangers' Gallery in the Throne Room of the House of Lords. During the period he was engaged upon these works he toiled unremittingly in "that gloomy Hall," as he termed it, in Westminster Palace, throwing himself with unresting energy into carrying out the ideas he had conceived, but discouraged and plagued by official interference, delay and apathy, and his sensitive nature wrung by petty slights. His health suffered, and he was depressed by the little fame these great works brought him -- the finest historical pictures painted in England -- and the little appreciation they received. The death, too, in 1865, or his sister Isabella, who had lived with him, was a blow from which he never recovered, and he gradually contracted habits of seclusion, withdrawing himself from the society in which he had shone, and living in solitude. When the Presidency of the Academy was offered to him on the death of Eastlake in 1866, he refused it, as he did also the offer of a knighthood.
In 1866, he again began to exhibit, sending to the Academy "Here Nelson Fell," a small version of the fresco, and a "Portrait of Dr. Quain." Other pictures were "The Sleep of Duncan" and "Madeleine" in 1868, and "King Cophetua and the Beggar Maid," the last two purchased by Mr. John Wardell of Dublin. In 1870 he made his last contribution with his picture of "The Earls of Desmond and Ormond." Besides exhibiting in the Royal Academy Maclise sent works to the British Institution, and a few of his pictures were seen in the Royal Hibernian Academy which gave him its membership, which he held until 1864 when he resigned.
Maclise died at his residence 4 Cheyne Walk, Chelsea, from an attack of acute pneumonia, on 25th April, 1870, and was buried at Kensal Green. He was never married, but lived with his sister Isabella. He had also had living with him until their deaths his father and mother. He had three brothers, Joseph, who practised as a surgeon in London; William, a surgeon in the Army, and Alexander; and two sisters, Anna, who married Percival Weldon Banks, and Isabella who died unmarried. After the artist's death a sale of his sketches and drawings and of the other contents of his studio was held at Christie's.
Maclise was tall and handsome in person; he had a great fascination and charm of manner which with his kindly, generous nature and lovable disposition made him a universal favourite. On the occasion of the Academy Banquet which took place on the day of his funeral his old friend Charles Dickens delivered a feeling and impressive eulogy upon him: "Of his genius in his chosen art I will venture to say nothing here; but of his prodigious fertility of mind and wonderful wealth of intellect I may confidently assert that they would have made him, if he had so minded, at least as great a writer as a painter. The gentlest and most modest of men, the freest as to his generous approbation of young aspirants, and the frankest and largest-hearted as to his peers, incapable of a sordid or ignoble thought, gallantly maintaining the true dignity of his vocation, without a grain of self assertion, wholesomely natural at the last as at the first, in art a man, in simplicity a child, no artist of whatsoever denomination, I make bold to say, ever went to his rest leaving a golden memory more free from dross or having devoted himself with a truer chivalry to the art-goddess he served."
As an artist Maclise rose to the front rank of his contemporaries and long enjoyed a great popularity. But even during his life the estimation of his works had begun to wane, and his reputation now rests upon his portraits and his two great historical pictures in the House of Lords. He excelled as a draughtsman, though he wanted freedom of hand, and his expression of form and line was cold and academic. His pictures were cleverly composed and grouped but showed an extravagance, an exaggerated mannerism and false sentiment, with the attitudes of his figures forced and strained, and an unreality and often an almost repulsive ugliness and vulgarity, which his ingenuity of invention and the care with which he painted the details and accessories of his pictures could not redeem. He had little real sense of colour, his pictures show a leathery texture and a hard and metallic smoothness, and they are wanting in breadth and in atmospheric effect. This last defect and his insistency on details in the distance arose probably from his extraordinarily acute and long sight which made him see distant objects with great minuteness. His merits and his defects may be seen in the two pictures in the National Gallery of Ireland. He was careful and conscientious, but his art came easy to him, he had never to plod at his work, and he took life merrily and easily.
His portrait of himself, drawn in 1829, is in the National Gallery of Ireland, where is also the drawing by Thomas Bridgford which was reproduced in the Dublin University Magazine in 1847, Vol. XXIX. The National Portrait Gallery has his portrait by E. M. Ward.
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Portrait of Himself. Sketch in pencil and water-colour. [National Gallery of Ireland.] Presented to the Gallery in 1875 by William Justin O'Driscoll, barrister, of Belcourt, Bray, the author of A Memoir of Maclise written in 1871. On the back is written, "To William J. O'Driscoll, Esq., from his loving friend and companion Daniel McClise. Drawn in October, 1829, London." An engraving of the drawing forms the frontispiece to O'Driscoll's Memoir.
Portrait of Himself. Sketch. [Victoria and Albert Museum.]
W. Harrison Ainsworth. [Walker Art Gallery, Liverpool.] R.A., 1844. Engraved in line by W. C. Edwards, and in stipple by S. Freeman.
Michael Balfe. Pencil and Indian ink wash. [National Gallery of Ireland.]
Mrs. Bellasis. R.A., 1832.
S. Laman Blanchard. Pencil. [Victoria and Albert Museum.] Engraved in stipple by S. Freeman as frontispiece to his "Sketches from Life."
J. Baldwin Buckstone. Ex. Grafton Gallery, 1897, by H. J. Murcott.
Sir A. Burnes. Lent to Victorian Ex., 1891, by John Murray.
Thomas Campbell, poet. Drawing. [Victoria and Albert Museum.] R.A., 1830. Engraved in stipple by J. Jenkin for Jerdan's National Portrait Gallery, 1844.
Viscount Castlereagh. Drawing. R.A., 1831.
John Constable, R.A. Pencil, tinted. [National Portrait Gallery.] Drawn in the Life School in Somerset House. Reproduced in C. R. Leslie's Life and Letters of Constable, where is also given a letter from Maclise detailing the circumstances under which the portrait was taken.
Eyre Evans Crowe. Drawing. [Victoria and Albert Museum.]
Thomas, 1st Lord Denman. Lent to Victorian Exhibition, 1891, by Sir H. Croft.
Charles Dickens. [National Portrait Gallery.] R.A., 1840. Presented to Dickens by his publishers, Messrs. Chapman and Hall on the completion of Nicholas Nickleby, to which an engraving of it formed the frontispiece. Sold at his sale in 1870 for £693 to Rev. Sir E. Joddrell. "We have here," said Thackeray, "the real identical man, Dickens, the inward as well as the outward of him."
Charles Dickens. R.A., 1848.
Charles Dickens. Drawing, done in 1844. [Victoria and Albert Museum.]
Charles Dickens, his wife and sister. Pencil, 1842. [Victoria and Albert Museum.] Engraved in Forster's "Life of Dickens."
Charles Dickens reading "The Chimes" to his friends in Forster's chambers. Drawing, 1844. [Victoria and Albert Museum.] Engraved in Forster's "Life of Dickens."
Children of Charles Dickens. Drawing. Reproduced in Magazine of Art, 1903.
John Forster in the character of Kitely in Ben Johnson's Every Man in his Humour. [Victoria and Albert Museum.] R.A., 1848.
Sir Andrew Fountaine. Pencil. [National Gallery of Ireland.]
Mrs. Green. Drawing. Ex. Cork, 1828.
Mrs. S. C. Hall. Drawing. R.A., 1830.
Mrs. Hardwicke. Drawing. R.A., 1830.
Mrs. Hardwicke and child. Drawing. Soc. B.A., 1832.
Fanny Kemble as Euphemia. Drawing. Ex. Cork, 1852.
Miss L. E. Landon. Drawing. R.A., 1830. Engraved by Finden as frontispiece to her Poetical Works, 1835, and by T. Thomson.
Miss L. E. Landon. Whole length, riding. Lithograph by Maclise.
Charles Landseer. Drawing. [Victoria and Albert Museum.]
Edmond Lodge, Norroy King of Arms. Pencil and Indian ink wash, signed and dated 1828. [British Museum.]
Mr. and Mrs. MacGregor and child. R.A., 1832.
W. C. Macready, as Werner. [Victoria and Albert Museum.] R.A., 1851.
Rev. F. Mahony -- "Father Prout." Drawing. [Victoria and Albert Museum.]
Children of J. Nicholls. R.A., 1832.
James Northcote, R.A. A sketch made in his bedchamber a short time before his death. Soc. B.A., 1832.
Mrs. Norton as a Muse.
Nicolo Paganini. Pencil. [Victoria and Albert Museum.]
Dr. Quain. R.A., 1866.
Rev. R. H. Ryland, Chancellor of Waterford Cathedral. Pencil and Indian ink wash. [British Museum.]
Olympia Mary Ryland, niece of above. Pencil and water-colour. Signed and dated 1827. [British Museum.]
Mrs. Sainthill. Drawing. Ex. Cork, 1828.
Captain Sainthill, R.N. Drawing. Ex. Cork, 1828.
Sir Walter Scott. [Victoria and Albert Museum.] Drawn in Cork in 1825.
Princess Sophia. Drawing. R.A., 1830.
Sir Francis and Lady Sykes and children. R.A., 1837.
Lady Sykes. R.A., 1837.
T. Taylor, of Dublin Castle. Drawing. Ex. Cork, 1828.
Tita, a favourite Valet of Lord Byron. R.A., 1837.
Miss Trant. Drawing. R.A., 1831.
Mrs. Wood. Drawing. R.A., 1832.
Malvolio affecting the Count. Drawing. R.A., 1829.
The Trysting Place. Drawing. R.A., 1830.
A First Sitting. Drawing. R.A., 1830.
Isabella's Favourite. Drawing. R.A., 1830.
The Sleeping Page. Drawing. R.A., 1831.
Puck disenchanting Bottom. R.A., 1832; B.I., 1833.
Snap-apple Night, or All-Hallow Eve in Ireland. R.A., 1833; B.I., 1834.
Mokanna revealing his features to Zuleika. B.I., 1833.
The Installation of Captain Rock. R.A., 1834. Christie's, collection of J. Gillott, 1872, for £385; 1878, £220 13s.; Drew collection, 1884, bought in for £157 10s.
The Hypochondriac. B.I., 1834.
Francis the First. B.I., 1834.
The Chivalric Vow of the Ladies and the Peacock. R.A., 1835; B.I., 1836.
The Rocking Horse. B.I., 1835.
Pas de Deux. B.I., 1835.
Macbeth and the Weird Sisters; Macready as Macbeth. R.A., 1836; B.I., 1837. Sold at the artist's sale in 1870 for 11 guineas.
An Interview between Charles I and Oliver Cromwell. R.A., 1836; B.I., 1837.
Henry the Eighth's first interview with Anne Boleyn. B.I. 1836.
Bohemian Gipsies. R.A., 1837; B.I., 1838. Christie's, collection of H. Wallis, 1860, sold to Messrs. Agnew for £670; 1872, collection of J. Gillott, sold for £934 10s.
A Lady at a Casement. R.A., 1837.
A Lady at her Embroidery. R.A., 1837.
Conversazione. R.A., 1837.
Salvator Rosa painting his friend Massaniello. R.A., 1838.
Salvator Rosa and his Patron. B.I., 1835.
Olivia and Sophia fitting out Moses for the Fair. R.A., 1838; B.I., 1839. Ex. Manchester, 1857, by J. Chapman. Engraved by Lumb Stocks.
The Gross of Green Spectacles. R.A., 1850. Ex. Manchester, 1857, by J. Chapman.
The Wood Ranger, with a brace of capercailzie. [Royal Academy, Diploma Gallery.] R.A., 1838.
The Page, with a brace of pheasants. R.A., 1838.
Merry Christmas in the Baron's Hall. [National Gallery of Ireland.] R.A., 1838. This picture was the subject of a long description in verse in Fraser's Magazine for May, 1838, written by Maclise himself; also in the Dublin University Magazine, 1847 (Vol. XXIX).
Scene from the Burletta of Midas. [Royal Collection.] R.A., 1839. Engraved by S. Sangster in Art Journal, 1857.
The Second Adventure of Gil Blas. [Royal Collection.] R.A., 1839. Engraved by J. C. Armytage in Art Journal, 1858.
Scene from Gil Blas, Gil Blas dresses as a Cavalier. R.A., 1840.
Robin Hood and Richard Coeur de Lion. R.A., 1839; B.I., 1840. Sold at Lord Northwick's sale in 1856.
Banquet Scene in Macbeth. [Guildhall, London.] R.A., 1840. Belonged successively to the Earl of Chesterfield, F. W. Cosens, and Henry Clarke who presented it to the Guildhall in 1904. Engraved by C. W. Sharpe in Art Journal, 1879. A small replica belonged to T. Williams, Elm Tree Road, St. John's Wood.
Scene from "Twelfth Night"; Malvolio in Olivia's Garden. [National Gallery of British Art.] R.A., 1840. Engraved in Art Journal, in 1849.
Farewell. B.I., 1840.
Irish Girl; Burning the Nuts. R.A., 1841. Engraved by Richard Golding in 1842 for the Royal Irish Art Union under the title of "A Peep into Futurity."
The Sleeping Beauty. R.A., 1841. Christie's, Knowles' collection, 1865; sold to Messrs. Agnew for £939 15s.
A Lady in a Hindoo Dress. The dress and jewellery furnished by Captain Meadows Taylor. R.A., 1842.
Hunt the Slipper at neighbour Flamborough's. R.A., 1841.
The Play Scene in Hamlet. [National Gallery of British Art.] R.A, 1842. Engraved by C. W. Sharpe. A small version, 19 ¾ by 35 ½ inches, was in the collection of John Dickinson, Park House, Sunderland, sold at Christie's, 4th December, 1909, to Messrs. Gooden and Fox for £157 10s.
The Return of the Knight. R.A., 1842.
The Origin of the Harp. R.A., 1842. Belonged to Allan Potter, Liverpool, in 1871; sold at Christie's in 1907. Engraved by Robert Graves in Art Journal, 1862.
A Serenade. B.I., 1842. This picture inspired Browning's verses "In a Gondola." See Academy, 15th Oct., 1881, and 31st July, 1886.
The Actor's reception of the Author, R.A., 1843; B.I., 1844; R.H.A., 1845. Christie's, collection of J. Gillott, 1872, bought by Cox, dealer, for £787 10s.
Waterfall at St. Nighton's Keive, near Tintagel, Cornwall. [Victoria and Albert Museum.] R.A., 1843. Signed and dated 1842. A figure of a girl said to represent Miss Georgina Hogarth, sister-in-law of Charles Dickens. Belonged to Dickens, and was bought at his sale in 1870 by John Forster. Engraved by F. Bacon in Art Union Journal, 1848.
Scene from Comus. R.A., 1844.
Scene from Comus. Fresco in Pavilion, Buckingham Palace.
Scene from Comus. Painted for the King of the Belgians.
Girl with Parrot. R.A., 1844.
Scene from Undine. [Royal collection.] R.A., 1844. Painted for Queen Victoria. Engraved by C. W. Sharpe in "Art Journal," 1855.
Ordeal by Touch. R.A., 1846. Christie's, 1864, £241.
"Her smile when beauty granted, I hung with gaze enchanted," etc., from Moore. R.A., 1847.
"Come rest in this bosom my own stricken deer," etc., from Moore. R.A., 1847.
Noah's Sacrifice. [Leeds Gallery.] R.A., 1847.
Chivalry in the time of Henry VIII. R.A., 1848.
Shakespeare's Seven Ages, -- a design to form the border of a plateau to be executed in porcelain. R.A.. 1848.
The Spirit of Justice. [Houses of Parliament.] The cartoon sold at Christie's in 1881, for £220 10s. 0d. Cartoon in R.A., 1850.
The Spirit of Chivalry. [Houses of Parliament.] The cartoon bought by John Wardell, of Dublin. Purchased at his sale at Christie's, 29 May, 1880, by Mr. Permain, for 200 guineas. The first sketch, in pencil, is in British Museum.
Caxton's Printing Office in the Almonry at Westminster.
Alfred, the Saxon King, disguised as a minstrel, in the tent of Guthrum the Dane. R.A., 1852. A cartoon for a single figure was in the artist's sale in 1870. Christie's, collection of E. Bullock, 1870; collection of T. Walker, 1888, and of Mrs. Lewis Hill, April, 1907.
The Marriage of Strongbow and Eva. [National Gallery of Ireland.] R.A., 1854. The artist declined to produce this as a fresco in the Houses of Parliament owing to the inadequate price offered. Bought by Lord Northcote for £4,000; sold at his sale in 1859, £1,795. Purchased at Christie's in 1879, by Sir Richard Wallace, who presented it to the Gallery. A water-colour drawing of the same subject, 20 inches by 31 ¼ inches, was exhibited in Manchester in 1887, by J. Broughton Dugdale, and at the Guildhall, London, in 1896.
Orlando and the Wrestler. R.A., 1855. Engraved by C. W. Sharpe in Art Journal, 1868, Christie's, E. L. Betts' collection, 1868, sold to Vokins, dealer, for £588; Coleman collection, 1874, bought by Permain for £798.
Peter the Great in Deptford Dockyard visited by William III. [Holloway College.] R.A., 1857.
The Story of the Conquest. A series of 42 subjects. R.A., 1857. Engraved on wood by Gruner and published by the Art Union of London in 1866, oblong folio.
The Poet to his wife. R.A., 1859. Christie's; collection of John Guest, 1863, bought by Agnew for £525.
Othello, Desdemona and Emilia. R.A., 1867. Christie's, Octavius E. Coope's collection, 6th May, 1910. Another rendering of the same subject belongs to Lord Glenconner.
A Winter Night's Tale, R.A., 1867.
The Sleep of Duncan. R.A., 1868. Sold at the artist's sale in 1870 to Cox, dealer, for 191 guineas. Afterwards in collection of J. Gillott, and sold at his sale in 1872 for £393 15s.
Madeline after Prayer. R.A., 1868. Bought by John Wardell of Dublin.
King Cophetua and the Beggar Maid. R.A., 1869. Bought by John Wardell of Dublin.
The Earls of Desmond and Ormond. R.A., 1870. Sold at the artist's sale in 1870, to M'Clean for 500 guineas.
The Eve of St. Agnes. Ex. Manchester, 1887, by C. H. F. Bolckow. Engraved by M. Blanchard. By mistake the name of Holman Hunt was put on the early artist's proof of the plate, and before the mistake was discovered a few impressions of the engraving were distributed.
Love's Messenger. Christie's, collection of John Heugh, May, 1878.
Oberon and Titania. Christie's, Albert Grant collection, 1877, for £367 10s.
Imogen in the Cave. Christie's, John Swainson's collection, 1867.
The Lady Margaret's Page.
The Magic Dial. Christie's, 1866.
News from the Goldfields. Christie's, 1872, £97.
Hubert and Madge. Christie's, collection of J. Knowles, 1862.
The Babes in the Wood. Christie's, 1864, £241.
The Meeting of Wellington and Blucher. Wall painting, 42 feet long, in the Houses of Parliament. The cartoon was bought by the Royal Academy at the artist's sale for 300 guineas. Engraved for the Art Union of London, 1866, by Lumb Stocks.
The Death of Nelson. Wall painting in Houses of Parliament. A finished oil study was exhibited under the title of "Here Nelson Fell" in R.A., 1866, and is presumably that now in The Walker Art Gallery, Liverpool. Engraved for the Art Union of London by C. Sharpe.
The Departure of Bayard for the Wars. Belonged to S. Mendel, Manly Hall, Manchester. Sold 23rd April, 1875, for 425 guineas.
The Trial of Sir William Wallace at Westminster. [Guildhall Gallery, London.] Formerly belonged to E. J. Brett, who bequeathed it to the Gallery.
The Ballad Singer. Engraved by J. Stephenson in Art Journal, 1865.
The Wild Huntsman.
Girl bearing Peaches.
Lady singing to a Guitar.
A Pensive Thought.
The Spanish Donna. Painted in 1852.
Group of Indian Lovers. Painted for Lady Blessington.
Girl with a Carrier Pigeon; afterwards in collection of F. Gillott, sold in 1872.
Combat of two Knights. Painted for Lord Lytton.
Sardanapalus and Myrrha. Painted for Lord Lansdowne.
The Parting -- a Knight in full armour and a Lady.
Boy studying Music.
Virgin and Child in a niche.
The Bathers, Christie's, 17th May, 1879, £43; 1885, £30 9s.
Lear and Cordelia.
Prospero and Miranda. Artist's sale, 1879, for £43.
Prospero and Miranda. Artist's sale, 1870, for £21.
Phoebe and Silvius. Artist's sale, 1870.
A Youth and a Girl with Hawks. Artist's sale, 1870.
Ariadne. Christie's, 1864; £210.
Claude Sketching. Gillott collection, Christie's, 1872, for £168.
A Scotch Girl. Gillott collection, Christie's, 1872.
Maid Marian. Gillott collection, Christie's, 1872.
A Connemara Girl.
The Loving Cup.
Rosalind and Celia. [Preston Gallery.]
Paul Veronese and the Cognoscenti.
The Falconer. Christie's, R. S. Collinge's collection, 4th Feb., 1911.
The Warrior's Cradle. Engraved by J. Franck in Art Journal, 1869.
Fifty-nine drawings illustrating Moore's Melodies. Sold at Christie's in 1862, for £252.
A large number of drawings and sketches are in the Victoria and Albert Museum. They include six landscapes done by Maclise in Ireland, one of "The Dargle," is signed and dated July 1826.
A Dictionary of Irish Artists, 1913
View artist's work: Daniel Maclise (1806-1870)
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