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  • Provenance

    Private collection, Germany

  • Literature

    L. Hartl, T. Niederbühl, B. Schwenk, Wider Das Vergessen, Munich, 2002, n.p (illustrated)

  • Catalogue Essay

    Tracey Emin has done more for public awareness of art, both as a force in its own right and as a necessary part of life, than any other artist. Her capacity to make the personal into the transpersonal lifts it from ordinary lived experience into a place of confrontation and ultimately, of meditation. She can do this at the same time as destroying the remoteness of the artist. Emin lives in the thick of life, but she never mistakes life itself for what she can make of it. It is the making of it that allows the rest of us to look at it – and to look at her, which she allows us to do. If you believe, as I do, that art’s central purpose is to prompt emotion – which is why it must never be merely decorative – then Emin is letting art do its work. Emotion is not sentimentality or artificiality, in fact it is the enemy of both. To feel something deeply is an intellectual and spiritual experience, as well as a visceral one. We were designed to feel, but our present culture is terrified of real feeling; its demands, its wildness, its commitment to truth.
    C.Freedman, R. Fuchs & J. Winterson, Tracey Emin: Works 1963-2006, New York, 2006, pp. 6-7

  • Artist Biography

    Tracey Emin

    British • 1963

    Tracey Emin is a prominent member of the Young British Artists (YBAs), who rose to critical and commercial success in the London art scene of the 1980s and 1990s. Emin is known for the personal, confessional nature of her work, which explores various mediums such as drawing, painting, photography, sculpture, neon text and found objects. Similar to fellow YBA artist Damien Hirst, Emin’s early work was championed by dealer Charles Saatchi, who exhibited Everyone I Have Ever Slept With 1963-1995 in 1997; the piece was comprised of names appliqued onto a small tent. Two years later, Emin was shortlisted for the Turner Prize. Her exhibition My Bed at the Tate Gallery became one of her best-known works, cementing her raw, confrontational style and catapulting her to international fame.

    Born in Croydon, England, Emin currently divides her time between Spitalfields, East London and the south of France. As her career has progressed, she has become increasingly known for creating neon sculptures and editions, which pair neon glass light with her distinctive handwriting.

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Sorry Flowers Die

Neon tubes and Plexiglas.
59 x 59 in. (150 x 150 cm).

£30,000 - 40,000 

Sold for £36,000

Contemporary Art Evening Sale

Evening Sale
13 October 2007, 4pm