Anne Madden Sold at Auction Prices

λ ANNE MADDEN (BRITISH B. 1932), ICARUS I (DESCENT)

λ ANNE MADDEN (BRITISH B. 1932)ICARUS I (DESCENT)Oil on canvas Signed and dated 1995 to canvas (verso); further signed, titled, inscribed and dated 1995 to stretcher (verso)194 x 118cm (76¼ x 46¼ in.)Unframed Provenance:Julie Le Brocquy, Private Collection Exhibited:Dublin, Hugh Lane Municipal Gallery of Modern Art, Anne Madden: Trajectories 1995-1997, November 1997-January 1998

***Withdrawn***ANNE MADDEN (B.1932) Study of the Flagelleta in the Villa Misterii, Pompeii Mixed media on paper, 60 x 42cm Signed and dated (19)'81 Provenance: Taylor Galleries, Dublin label verso

***Withdrawn***ANNE MADDEN (B.1932) Study of the Flagelleta in the Villa Misterii, Pompeii Mixed media on paper, 60 x 42cm Signed and dated (19)'81 Provenance: Taylor Galleries, Dublin label verso

§ Anne Madden (1932-)

§ Anne Madden (1932-) Untitled landscape signed and dated 75 to the reverse oil on canvas 54 x 32cm

Anne Madden (b.1932) DEEP STREAM, 1990 (DIPTYCH)

Anne Madden (b.1932) DEEP STREAM, 1990 (DIPTYCH) oil on canvas; (unframed) signed, titled and dated on reverse h:102  w:35 in. Provenance: Jonathan Swift Gallery, Carrickfergus; Private collection When Anne Madden delivered the Hermione Lecture at Alexandra College in Dublin in 2001, she spoke about how a "deep stream of consciousness - the creator of myth, of dream, and of God - forms the artist's conscious interpretation of the world and his relationship to it." Published as A Quest: Some Reflections on My Experience of Being a Painter, the lecture continues: "This deep stream has its own source of nourishment, like a river whose surface hides and feeds, through infiltration, the underground water table." Deep Stream was painted towards the end of Madden's Pompeii and Garden series (1980-1990) and is related to the Portal and Window series begun in 1982. Blue is a key colour in diptych, polyptych and triptych works from this time. Streams of light, pathways, and apertures predominate. Madden stopped painting on canvas for a time during the 1980s. A period of darkness followed the sudden death of her brother in 1984. After a visit with Samuel Beckett in Paris in 1987, the poet wrote to her, "Don't be depressed about your dark. It's it nagging to be said". Madden has said "it" referred to her feelings about death. Beckett urged her to "tackle her dark". The paintings she made around 1989 and 1990 record some of that journey. Madden told the 2006 RTE TV Arts Lives documentary which focussed on her work that, "the Garden paintings, the boxes of light, the paths of light are all related in so far as they are all attempts on my part to retrieve the studio, a kind of box of light in itself, after my brother's death. In many ways it was nature...that helped me to return to the studio." Deep Stream, with its intimations of fishpond, foliage, open skies, and watery depths, explores some of that natural threshold between dark and light. Madden lived in Chile until she was four and spent time in London and County Clare before moving to the South of France with her artist husband Louis le Brocquy in 1958. Inspired by the landscape of the Burren, by Les Combes in the foothills of the alps, and influenced by Matisse, her work combines figuration and abstraction with a focus on what she has called "the invisible aspects of the world…psyche, consciousness, feeling". Madden attended the Chelsea School of Arts and Crafts. She exhibited at the Irish Exhibition of Living Arts in 1964 and represented Ireland at the Paris Biennale in 1965. She has exhibited widely including solo exhibitions at the RHA Gallagher Gallery, Dublin in 1991, Chateau de Tours Municipal Art Gallery, France 1997, the Centre Culturel Irlandais, Paris in 2005, and Dublin City Gallery The Hugh Lane in 2017. Her work is in private and public collections and was the subject of a significant retrospective at the Irish Museum of Modern Art in 2007. She is a member of Aosdána and was made Officier des Arts et des Lettres by the French Government in 2008. She has lived and worked in Dublin since 2000. Cristín Leach, November 2021

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden (b.1932) DEEP STREAM, 1990 (DIPTYCH)

Anne Madden (b.1932) DEEP STREAM, 1990 (DIPTYCH) oil on canvas; (unframed) signed, titled and dated on reverse h:102  w:35 in. Provenance: Jonathan Swift Gallery, Carrickfergus; Private collection When Anne Madden delivered the Hermione Lecture at Alexandra College in Dublin in 2001, she spoke about how a "deep stream of consciousness - the creator of myth, of dream, and of God - forms the artist's conscious interpretation of the world and his relationship to it." Published as A Quest: Some Reflections on My Experience of Being a Painter, the lecture continues: "This deep stream has its own source of nourishment, like a river whose surface hides and feeds, through infiltration, the underground water table." Deep Stream was painted towards the end of Madden's Pompeii and Garden series (1980-1990) and is related to the Portal and Window series begun in 1982. Blue is a key colour in diptych, polyptych and triptych works from this time. Streams of light, pathways, and apertures predominate. Madden stopped painting on canvas for a time during the 1980s. A period of darkness followed the sudden death of her brother in 1984. After a visit with Samuel Beckett in Paris in 1987, the poet wrote to her, "Don't be depressed about your dark. It's it nagging to be said". Madden has said "it" referred to her feelings about death. Beckett urged her to "tackle her dark". The paintings she made around 1989 and 1990 record some of that journey. Madden told the 2006 RTE TV Arts Lives documentary which focussed on her work that, "the Garden paintings, the boxes of light, the paths of light are all related in so far as they are all attempts on my part to retrieve the studio, a kind of box of light in itself, after my brother's death. In many ways it was nature...that helped me to return to the studio." Deep Stream, with its intimations of fishpond, foliage, open skies, and watery depths, explores some of that natural threshold between dark and light. Madden lived in Chile until she was four and spent time in London and County Clare before moving to the South of France with her artist husband Louis le Brocquy in 1958. Inspired by the landscape of the Burren, by Les Combes in the foothills of the alps, and influenced by Matisse, her work combines figuration and abstraction with a focus on what she has called "the invisible aspects of the world…psyche, consciousness, feeling". Madden attended the Chelsea School of Arts and Crafts. She exhibited at the Irish Exhibition of Living Arts in 1964 and represented Ireland at the Paris Biennale in 1965. She has exhibited widely including solo exhibitions at the RHA Gallagher Gallery, Dublin in 1991, Chateau de Tours Municipal Art Gallery, France 1997, the Centre Culturel Irlandais, Paris in 2005, and Dublin City Gallery The Hugh Lane in 2017. Her work is in private and public collections and was the subject of a significant retrospective at the Irish Museum of Modern Art in 2007. She is a member of Aosdána and was made Officier des Arts et des Lettres by the French Government in 2008. She has lived and worked in Dublin since 2000. Cristín Leach, November 2021

Anne Madden (b.1932) Venetian Doorway Oil and graphite on paper, 20.5 x 15cm (8 x 6) Signed and dated (19)'86

Anne Madden (b.1932) Venetian Doorway Oil and graphite on paper, 20.5 x 15cm (8 x 6) Signed and dated (19)'86

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden Irish/English, b. 1932 Blue Stone (Megalith Series), 1971

Anne Madden Irish/English, b. 1932 Blue Stone (Megalith Series), 1971 Signed and dated Anne Madden 1971 on the reverse; signed, dated and inscribed Anne Madden/Blue Stone/Megalith Series/1971 on the stretcher Acrylic on canvas 64 x 44 3/4 inches (162.6 x 113.7 cm) C 

ANNE MADDEN (b.1932) Sight Line II Oil on canvas, 173 x 171cm Signed, inscribed and dated 1995 verso

ANNE MADDEN (b.1932) Sight Line II Oil on canvas, 173 x 171cm Signed, inscribed and dated 1995 verso

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden (b.1932)Chemins Éclairs (1988)Triptych, Oil on canvas, 195 x 339cm (76¾ x 133½)Signed, inscribed and dated 1988 on versoExhibited: Galerie Jeanne Bucher, Paris 1989; Kerlin Gallery, Dublin 1990; RHA Gallagher Gallery, Dublin 1991; L

Anne Madden (b.1932)Chemins Éclairs (1988)Triptych, Oil on canvas, 195 x 339cm (76¾ x 133½)Signed, inscribed and dated 1988 on versoExhibited: Galerie Jeanne Bucher, Paris 1989; Kerlin Gallery, Dublin 1990; RHA Gallagher Gallery, Dublin 1991; Limerick City Gallery of Art 1991; Anne Madden - A Retrospective ExhibitionProvenance: Collection of Noeleen and Vincent Ferguson; Private Collection, IrelandLiterature: Anne Madden - A Retrospective Exhibition with Introductory Essay by Aiden Dunne, Dublin 1991, Illustrated p. 63, Catalogue No. 50 The illuminated paths in Anne Madden’s triptych are, figuratively, paths of light, and they are depictions of an actual path, aglow amidst the enveloping shade of the garden: the path to her studio. The studio, which she shared with her partner Louis le Brocquy, was built in 1962 at their home, Les Combes, in the foothills of the Alps above Nice. Les Combes, and specifically the studio, was the centre of their daily life for close on three decades - they returned to settle in Ireland in 2000.In 1984, Madden was devastated by the sudden death of her younger, much loved brother, Jeremy Madden Simpson. Over the following years, she found herself adrift in mourning him. She likened it to being confined in a dark room, and eventually felt that she was in exile from the studio; painting held no appeal. Talking to Samuel Beckett in 1987, she explained her predicament. He later wrote to her saying that she must deal with the darkness, express it, rather than trying to elude it. She took his words to heart, compiling a volume of Jeremy’s writings - and trying to find her way back to the studio.This process engendered a number of paintings partly built around the metaphorical opposition of light and dark. Light was the possibility of life, hope, creativity, and darkness was the state of being cut off from all of those things. The studio is not just an atelier, a workshop, it is the centre of life, a generative space. The illuminated path is a way out of darkness, back to life in all its contingency and promise.Madden was born in Chile. Her father was Irish, her mother Anglo-Chilean, and they moved to England when she was about four. Ireland became important as she visited her father’s relations in Co. Clare with him, discovering and spending time in the Burren, thereafter a landscape of central imaginative importance to her. In 1950, she seriously injured her spine in a riding accident, necessitating serious surgery. When she and Louis le Brocquy (they married late in the decade) moved to France, it was largely because the climate was more amenable to healing her bones.From the 1950s onwards, Madden’s exceptionally ambitious paintings fuse elements of the extraordinary Burren environment, its vast skies, limestone pavement and stone monuments, with the techniques and scale of American abstraction. Gradually her range of reference diversified to encompass the city of Pompeii, some classical mythic narratives, Odyssean voyages and the Aurora borealis. If mortality and mourning have been consistent underlying concerns, so too is a sense of creative possibility and wonder, and a rapt appreciation of beauty.

Anne Madden - Cartel anunciador.

Cartel litográfico original, Maeght editor, Junio de 1985. Papel estucado brillo de 150 gr/m2.

Anne Madden, Untitled

Anne Madden Untitled Watercolour 26" x 20"

Anne Madden (b.1932)Evening SkyAcrylic on paper, 50 x 65cm (19¾ x 25½'')Signed and dated 1974Provenance: With The Dawson Gallery, Dublin (label verso)

Anne Madden (b.1932)Evening SkyAcrylic on paper, 50 x 65cm (19¾ x 25½'')Signed and dated 1974Provenance: With The Dawson Gallery, Dublin (label verso)

ANNE MADDEN

Abstract study of figures, Mixed media

Anne Madden (b.1932) ON THE ROAD FROM LARAGH TO ARDGROOM, 1985

signed, titled and dated at base; with Taylor Gallery exhibition label and handwritten note by the artist preserved on reverse

Anne Madden "Doorway" Mixed Media, 1984

Anne Madden (English, b. 1932) "Doorway" dark abstract work, 1984 Mixed media on paper Signed & dated to lower right Approx. 37" x 28.5" (framed), 29.75" x 21" (sheet size)

Anne Madden (b.1932)Discovered Megalith (Diptych)Oil on canvas, 65 x 39cm overall (25½ x 15¼'')Both panels signed and dated (19)'65 versoProvenance: With the Dawson Gallery; later with Hillsboro Fine Art.

Anne Madden (b.1932)Discovered Megalith (Diptych)Oil on canvas, 65 x 39cm overall (25½ x 15¼'')Both panels signed and dated (19)'65 versoProvenance: With the Dawson Gallery; later with Hillsboro Fine Art.

Anne Madden - Aurora Borealis

Carborundum print, from an edition of 75

Anne Madden - Aurora Borealis

Anne Madden Aurora Borealis Carborundum print, from an edition of 75 27" x 19"

Anne Madden (b.1932) Abstract

Anne Madden (b.1932) Abstract batik signed lower centre right h:102  w:50 cm. Provenance: Private Collection

ANNE MADDEN

ANNE MADDEN(Wife of Louis le Brocquy)The garden of Love A triptych, Oil on canvas, Dated 2002 Direct all shipping enquiries to shipping@sheppards.ie

ANNE MADDEN (NEE EN 1932)

401. ANNE MADDEN (NEE EN 1932) SANS TITRE, 1985 Pastel et fusain sur papier Signé et daté en bas à droite 65 x 50 cm Provenance : - Galerie Joachim Becker, Cannes - Collection particulière, Besançon

ANNE MADDEN (NEE EN 1932)

399. ANNE MADDEN (NEE EN 1932) SANS TITRE, 1985 Pastel et fusain sur papier Signé et daté en bas à droite 65 x 50 cm Provenance : - Galerie Joachim Becker, Cannes - Collection particulière, Besançon

Anne Madden (b.1932) LAND STUDY, 1977

Anne Madden (b.1932) LAND STUDY, 1977 oil on paper signed and dated lower left; titled and numbered [72] on Dawson Gallery exhibition label on reverse; bears Dawson Gallery framing label also on reverse h:9.40  w:12 in. Provenance: Dawson Gallery, Dublin; Private collection

Anne Madden (b.1932) AURORA BOREALIS II, 2005

signed in the margin lower right; inscribed [A/P] lower left

Anne Madden (b.1932) AURORA BOREALIS I, 2005

signed in the margin lower right; inscribed [A/P] lower left

Anne Madden (b.1932) THE GARDEN OF LOVE, 2002 (TRIPTYCH)

signed, titled and dated on reverse

Anne Madden (b.1932) AURORA BOREALIS I, II, III, 2005

each signed in the margin in pencil lower right; numbered lower left

Anne Madden (b.1932) Untitled coloured print

signed by the artist

Anne Madden (b.1932) Antigone & Polynices Oil and

Anne Madden (b.1932) Antigone & Polynices Oil and graphite on paper mounted on canvas, 220 x 150cm (86.25 x 58.75'') Exhibited: ''Anne Madden - Recent Works'' Exhibition, July 1987, Catalogue No. 4 where purchased by current owner. In the introduction in the catalogue, Madden talks of her inspiration for the current work: ''These paintings evolved from the 'Megalith' series through the introduction of a horizontal onto the vertical form, thus making an 'opening'-an opening for me in my work as well as a way out of the vertical paintings. An 'opening' as a metaphor for interior/exterior space; a reconciliation of opposites: light/dark, life/death, day/night, male/female. I see these openings as thresholds, windows of the mind, metaphors of the artist's vision. Openings into a possible space, both psychic and physical, of the mind and of matter.'' ''I am very aware of the contradictory nature of things, that everything is itself and its opposite: the void and fullness, absence and appearance, existence and non-existence, of the hair-line between them on which we balance: that Art itself is contradictory, its history both a continuum and a series of ruptures with the reappearance of ancient art forms occurring in the cracks of rupture. There is a recurring reference to the past in painting whereby it works itself through its own history, looks back at itself to go forward''. ''A fusion of inner and outer worlds, the figure of Antigone burying Polynices appears in my latest paintings (inspired by a 5th century b.c. Greek pietà). Perhaps she is a metaphor of the creative process. She gathers the fragmented body to make it whole, to bury and thus ensure its rebirth. As Nietzsche said, ''There is no burial without resurrection''. In the back of my mind there is her relationship with Power and Death. Totalitarian power claims rights over the body, alive or dead. Antigone stood against the repressive edicts of Creon and the City, against old men who send youth to be slaughtered. She stands as a figure of human justice outside the law. There are many Antigones in our world. For me she is essentially a means to bring about a painting, which in turn is the only way I can ask myself the question 'What is painting'?''

Anne Madden (b.1932)

Anne Madden (b.1932). AURORA BOREALIS, I, II & III, 2005. carborundum print; (all artist's proofs). each signed in pencil in the margin lower right; inscribed [A/P] lower left; with typed Taylor Galleries label on reverse. 67 by 47cm., 26.5 by 18.5in.

Anne Madden (b.1932)

AURORA BOREALIS I, II, III

Anne Madden (b.1932) "Window" (1975) Acrylic on

Anne Madden (b.1932) "Window" (1975) Acrylic on canvas, (Triptych), 16" x 28 1/4" (40.5 x 72cm), signed, inscribed & dated 1975 verso. Exhibited: Taylor Galleries, 1975 (label verso).

Anne Madden (Irish, b. 1932)

Anne Madden (Irish, b. 1932) No I Atlantic Sky Sequence; and a companion work each signed and dated 'Anne Madden 79' (lower right) each oil on paper overall 18 x 8¼ in. (45.7 x 21 cm.) Each executed in 1979. (2)

Anne Madden (b.1932) After "The Passage of Mont

Anne Madden (b.1932) After "The Passage of Mont Cenis" by Turner Graphite on paper, 28 x 32.5cm (11 x 12.75") Signed and dated '92 Exhibited: "Anne Madden Exhibition", The Kerlin Gallery, April 1992, catalogue no. 30

Anne Madden (b.1932) On the Road from Laragh to

Anne Madden (b.1932) On the Road from Laragh to Ardgroom Watercolour and crayon, 22 x 26cm (8.5 x 10.25") Signed, inscribed and dated 1985

Anne Madden (b.1932) Towards Scarriff, Kenmare

Anne Madden (b.1932) Towards Scarriff, Kenmare Estuary Watercolour, 13.5 x 20.5cm (5.5 x 8.25") Signed and dated 1975

Anne Madden (b.1932) TRIPTYCH: ROAD INTERVALS III,

Anne Madden (b.1932) TRIPTYCH: ROAD INTERVALS III, 1967 signed and dated lower left; titled on reverse polymer acrylic and pencil on hardboard 48 by 22cm., 19 by 8.5in> Exhibited: 'Anne Madden: Exhibition of Paintings and Silver-Plated Bronzes', Dawson Gallery, Dublin, 7-28 February 1968, catalogue no. 17 This work was a study for a large triptych of the same title which was shown at the 'Irish Living Art Exhibition' of 1968 (catalogue no. 45)>

Anne Madden (b.1932) Small Sea Change (1989) Oil

Anne Madden (b.1932) Small Sea Change (1989) Oil on paper, diptych, 30.5 x 46cm, (12 x 18.2") Signed and dated '89

Anne MADDEN (née en 1932) TROIS POEMES ECRITS (TRYPTIQUE), 1979 Mine de plomb sur trois ...

Anne Madden Le Brocquy (b.1932) Louis le Brocquy:

Anne Madden Le Brocquy (b.1932) Louis le Brocquy: A Painter Seeing His Way. Dublin 1994, illustrated, first edition, white cloth in wrapper, fine copy. Very scarce.

Anne Madden (b. 1958) Simpson Rock Landscape Oil

Anne Madden (b. 1958) Simpson Rock Landscape Oil on canvas, 20.2 x 25.5 cm. (8 x 10") Signed and inscribed with title on the frame verso Provenance: Private Collection, U.K.

Anne Madden (b.1932) Syncline and Anticline:

Anne Madden (b.1932) Syncline and Anticline: Burren Triptych Oil on canvas, stretched as three and framed as one, Collectively 35.5 x 81.25cm, (14 x 32") Each canvas signed, inscribed with title and dated Jan 1964 on the reverse, with further inscriptions on various stretchers Provenance: The Dawson Gallery, Dublin where purchased by Dr & Mrs J.B. Kearney. Exhibited: Paintings and Sculpture (1945-65) from Private Collections in Ireland, The Municipal Gallery Art, Dublin, July 1965, Cat. No. 49