My Heart is With You Always

View Similar Items

Cara De Angelis - "It Gives and It Takes" Mixed Media Fiber Art, Embroidery Thread, Acrylic Paint

Louise Bourgeois - I Have Been to Hell and Back, Limited Edition Handkerchief (Red) Tate Gallery

Natalie Ciccoricco - Sprinkled Star - Framed Film Noir Collage of German Movie Star (Yellow+Blue)

Peg Grady - Shelter In Space

Sara Brennan - Journey Trees IV, Sara Brennan, hand-woven textile wall sculpture

Richard Saja - HONOR AN OFFER

Richard Saja - IDYLL

Sara Brennan - Journey Trees III, Sara Brennan, hand-woven textile wall sculpture

Denise Yaghmourian - Aqua Field

Denise Yaghmourian - Red Sky Field

Stephen Wilson - GIVENCHY BUMBLE BEE

Carol Shinn - "Overhang", Contemporary, Embroidery, Photographic, Realism, Framed Textile

Want more images or videos?

Request additional images or videos from the seller

1 of 4

Tracey Emin
My Heart is With You Always
2015

About the Item

Tracey Emin My Heart is With You Always, 2015 Embroidered Linen Handkerchief, Hand Signed, dated and Inscribed in Ink on attached tag Hand Signed, inscribed (With you in mind) and dated 2015 in ink on tag by Tracey Emin 16 × 16 inches Another edition of this exact same work sold at Christie's London back in 2018 for US $33,697. See details below: LOT 43 Tracey Emin Description TRACEY EMIN (BRITISH, B. 1963)My heart is with you always, signed, Medium embroidery on cotton napkin Year of Work 2015 Size Height 18.5 in.; Width 18.5 in. / Height 47 cm.; Width 47 cm. Misc. Signed, Inscribed Sale of Christie's London: Wednesday, January 31, 2018 [Lot 00035] Interiors: Sold For 23,750 GBP Premium (33,697 USD) And it sold for $23,750 in 2018 at Christie's. "My Heart is With You Always" is one of the most desirable Tracey Emin works -- a fantastic limited edition embroidered handkerchief with an attached tag bearing a hand written inscription in ink reading, "With you in mind", and hand signed and dated by Tracey Emin, acquired from the artist before she completely sold out. Although the work is unnumbered, it is thought to have been created in a limited edition of about 50 - though the exact number is unknown. These works are so desirable, they now sell privately and at auction for many thousands of dollars, and they are becoming more scarce and difficult to find as time goes on. This particular piece is in excellent condition - and would look terrific when framed and exhibited. It's message also makes it a beautiful gift. "My Heart is with You Always" is a highly collectible embroidered handkerchief created by Tracey Emin. It is inspired by her popular neon light installations that spell out her intimate thoughts, desires, fears, and passions, in her recognizable script. As demonstrated in this piece, Emin’s work is frequently self-referential, and she consistently illustrates her own experiences and emotions in intense, intimate engagements with the viewer. Again, this fabric work is accompanied by a signed and dated tag, with the lovely inscribed message, "With You in Mind." More about Tracey Emin: Self-portraiture and the nude run throughout her practice, which Emin has described as being about ‘rites of passage, of time and age, and the simple realisation that we are always alone’. Her earliest works refer to her family, childhood and chaotic teenage years, growing up in the seaside town of Margate and leaving home at the age of fifteen. What happened next is explored, in a manner that is neither tragic nor sentimental, in drawing, painting, film, photography, sewn appliqué, sculpture, neon and writing, as the vicissitudes of relationships, pregnancies and abortions intersect with her commitment to the formal disciplines of art. Most recently, the artist has experienced her body as a battleground, through illness and ageing, on which she reports with characteristic fearlessness. The playful title of Emin’s first solo exhibition, My Major Retrospective 1963–1993, suggests the artist felt, despite being at the beginning of her career, significant things had already happened. Her obsessive assemblage of personal memorabilia included tiny photographs of her art school paintings that she’d destroyed, a ‘photographic graveyard’ that revealed an admiration for paintings by Egon Schiele and Edvard Munch. She details this ‘emotional suiside’ in Tracey Emin’s CV Cunt Vernacular (1997), among several early video works that give further insight into her formation as an artist, highlighting moments of epiphany through the use of first-person narrative. ‘I realised there was the essence of creativity, that moment of conception,’ she says in How It Feels (1996), a pivotal film in which she tells the story of her abortion. ‘The whole being of everything… it had to be about where it was really coming from’. Speaking to camera while walking through the streets of London, she concludes that conceptual art, as an act of reproduction, is inseparable from the artist’s inner life. Developing this connection, the haunting film Homage to Edvard Munch and All My Dead Children (1998) shows the artist on the pier near Munch’s house, naked and prostrate in the foetal position, the dawn rising over the water as she lifts her head and screams – a guttural response to great painter’s iconic image. In 1998, Emin created My Bed, an uncensored presentation of her most personal habitat. The double bed has become abstracted from function as it sits on the gallery floor, in conversation with art history and a stage for life events: birth, sleep, sex, depression, illness, death. The accumulation of real objects (slippers, condoms, cigarettes, empty bottles, underwear) on and around the unmade bed builds a portrait of the artist with bracing matter-of-factness, defying convention to exhibit what most people would keep private. The work gained international attention as part of the Turner Prize, entering Emin into public consciousness. Another work that became a byword for her art of disclosure was the sculpture Everyone I Have Ever Slept With 1963−1995 (1995, destroyed 2004), where the names of all those she had ever shared a bed with – friends, lovers and family – were sewn on the inside of a tent, a crawl-space that invites the viewer to reflect on their own inventory. Explicitly feminist, and acknowledging the influence of her friend and collaborator Louise Bourgeois, Emin’s choice of medium is integral to the story she tells. In hand-embroidered blankets and quilts, traditionally associated with women’s work, she pierces the visual field with words, combining scraps of different material with uneven stitching to spell out statements whose syntax and spelling remain uncorrected. With titles such as  Mad Tracey from Margate. Everyone’s been there, (1997) or Helter Fucking Skelter (2001), they register the artist’s acute sensitivity to the views of those around her and give a riposte, just as the medium is a riposte to the classification of fine art, for centuries dominated by male artists. As she herself became newsworthy, both nationally and internationally, Emin used the publicity to prick other forms of decorum in the professional art world – such as never over-explaining. In longer form, her memoir, Strangeland (2005) offers an account of her journey to becoming ‘a fucked, crazy, anorexic-alcoholic-childless, beautiful woman. I never dreamt it would be like this.’ The text is riddled with spelling mistakes that challenge the form and carry through a sense of unfiltered process, as was also the case with her long-running newspaper column for The Independent (2005–09), in which she narrated her weekly goings-on under the title ‘My Life in a Column’. Emin’s ongoing series of neons features snatches of text in her recognisable slanted handwriting, elevating fleeting thoughts and feelings as aphorisms: You touch my Soul (2020), I Longed For you (2019) or I don’t Believe in Love but I believe in you (2012). Her formulation of statements in the second person has the effect of placing the viewer squarely in the situation, and can encapsulate an entire romance in a pithy phrase, as in I want my time with You (2018), a twenty-metre-wide neon that greets passengers at London’s St Pancras Station. A critical part of her practice since the 1990s, the neons evoke the seafront lights of Margate, latent with the sense of dusk and faded glamour. Her birthplace is an abiding subject; it resurfaces in large-scale sculptures, where reclaimed wood and found materials are assembled in jagged structures that allude to the beach, pier, huts and tide markers. Margate’s famous theme park ‘Dreamland’ is referred to in several works, among them Self-Portrait (2001), which recreates the pleasure ground’s helter-skelter, and It’s Not the Way I want to Die (2005), which recalls the undulating roller-coaster in rickety, worn wood, fragile to the point of collapse. Margate is ‘part of me’, Emin says, and while looking back she is now looking to the future with the establishment of TKE Studios, a new art school and artists’ studios. Questions of mortality and the centrality of the female reproductive body drive The Mother (2021), one of Emin’s most significant public sculptures. Permanently sited next to the new Munch Museum, Oslo, it marks the death of her own mother, and brings her lifelong admiration for Munch full circle. Fifteen tonnes of bronze standing nine metres high, this woman with ‘her legs open to the Fjord’ is visible from afar over land and water, a monument to the female figure as protector without compromising on her vulnerability or eroticism. By contrast, Baby Things, Emin’s accurate rendering of children’s tiny lost shoes and clothes in bronze, was installed as if by chance outside the British Pavilion at the Venice Biennale (2007) and around Folkestone Triennial (2008), intimate tokens that might inadvertently provoke a range of reactions, from fear for those we love most, to the indifference with which we treat a discarded object. Most recently, Emin’s work has been charged by the seriousness of her medical situation, since in 2020 she was diagnosed with bladder cancer. Self-portraits taken on her camera phone in bed find the artist facing her ‘crippling’ insomnia in the small hours, and in recovery from extensive surgery. Her paintings of the nude figure have a tempestuous energy. Emin’s graphic line, by turn delicate or vigorous, imparts a sense of urgency; with each abandoned and assertive gesture, she is flaying herself open. Drips and obliterations point to the fluidity of the body, as it fluctuates between joy and suffering on its journey between birth and death. Explosions of colour allude to a self that is overcome by feeling and triumphing in sheer sensuality.  Tracey Emin was born in 1963 in London. She currently lives and works between London, the South of France, and Margate, UK. Emin has exhibited extensively including major exhibitions at Royal Academy of Arts, London (2020); Musée d’Orsay, Paris (2019); Château La Coste, Aix-en-Provence, France (2017); Leopold Museum, Vienna (2015); Museum of Contemporary Art, Miami (2013); Museo de Arte Latinoamericano de Buenos Aires (2012); Turner Contemporary, Margate, UK (2012); Hayward Gallery, London (2011); Kunstmuseum Bern (2009); Scottish National Gallery of Modern Art, Edinburgh (2008); Centro de Arte Contemporáneo, Malaga, Spain (2008); Art Gallery of New South Wales, Sydney (2003); and Stedelijk Museum, Amsterdam (2002). In 2007 Emin represented Great Britain at the 52nd Venice Biennale and her installation  My Bed has been included in ‘In Focus’ displays at Tate Britain with Francis Bacon (2015), Tate Liverpool with William Blake and also at Turner Contemporary, Margate alongside JMW Turner (2017). In 2011, Emin was appointed Professor of Drawing at the Royal Academy of Arts, London, and in 2012 was made Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts. - Courtesy of White Cube

Creator:
Tracey Emin (1963, British)
Creation Year:
2015
Dimensions:
Height: 16 in (40.64 cm)Width: 16 in (40.64 cm)
Medium:
Linen,Mixed Media,Thread,Paper,Ink
Movement & Style:
Contemporary
Period:
2010-
Condition:
Excellent condition with original folds as presented and sold by the artist's studio; unframed.
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU1745213378342

More Ways To Browse

Cigarette Case France

French Token

View All Popular More Art Searches

My Heart is With You Always

View Similar Items

Tracey Emin
My Heart is With You Always
2015

About the Item

2010s Contemporary Mixed Media

Tracey Emin
My Heart is With You Always, framed textile with hand signed and inscribed tag, 2016

Early 2000s Contemporary Mixed Media

Louise Bourgeois
I Have Been to Hell and Back, Limited Edition Handkerchief (Red) Tate Gallery , 2009

1990s Contemporary Mixed Media

Tracey Emin
Be Faithful To Your Dreams (Limited Edition Embroidered Cotton Handkerchief), 1999

2010s Contemporary Abstract Prints

Tracey Emin
Rothko Comfort Blanket (limited edition textile with hand signed tag with label), 2010

1970s Abstract Mixed Media

Alan Shields
Untitled double sided mixed media work on bespoke 3-D standalone frame, 1974

1990s Contemporary Abstract Prints

Tracey Emin
Exploration of the Soul with Monoprint, from the Estate of Andy Warhol's agent, 1994

2010s Contemporary Mixed Media

Cara De Angelis
"It Gives and It Takes" Mixed Media Fiber Art, Embroidery Thread, Acrylic Paint, 2021

2010s Contemporary Mixed Media

Natalie Ciccoricco
Sprinkled Star - Framed Film Noir Collage of German Movie Star (Yellow+Blue), 2015

2010s Contemporary More Art

Peg Grady
Shelter In Space, 2020

2010s Contemporary Figurative Sculptures

Sara Brennan
Journey Trees IV, Sara Brennan, hand-woven textile wall sculpture, 2021

2010s Contemporary More Art

Richard Saja
IDYLL, 2024

2010s Contemporary More Art

Richard Saja
HONOR AN OFFER, 2023-2024

Recently Viewed

More Ways To Browse

My Heart is With You Always

View Similar Items

Tracey EminMy Heart is With You Always2015

About the Item

2010s Contemporary Mixed Media

Tracey EminMy Heart is With You Always, framed textile with hand signed and inscribed tag, 2016

Early 2000s Contemporary Mixed Media

Louise BourgeoisI Have Been to Hell and Back, Limited Edition Handkerchief (Red) Tate Gallery , 2009

1990s Contemporary Mixed Media

Tracey EminBe Faithful To Your Dreams (Limited Edition Embroidered Cotton Handkerchief), 1999

2010s Contemporary Abstract Prints

Tracey EminRothko Comfort Blanket (limited edition textile with hand signed tag with label), 2010

1970s Abstract Mixed Media

Alan ShieldsUntitled double sided mixed media work on bespoke 3-D standalone frame, 1974

1990s Contemporary Abstract Prints

Tracey EminExploration of the Soul with Monoprint, from the Estate of Andy Warhol's agent, 1994

2010s Contemporary Mixed Media

Cara De Angelis"It Gives and It Takes" Mixed Media Fiber Art, Embroidery Thread, Acrylic Paint, 2021

2010s Contemporary Mixed Media

Natalie CiccoriccoSprinkled Star - Framed Film Noir Collage of German Movie Star (Yellow+Blue), 2015

2010s Contemporary More Art

Peg GradyShelter In Space, 2020

2010s Contemporary Figurative Sculptures

Sara BrennanJourney Trees IV, Sara Brennan, hand-woven textile wall sculpture, 2021

2010s Contemporary More Art

Richard SajaIDYLL, 2024

2010s Contemporary More Art

Richard SajaHONOR AN OFFER, 2023-2024

Recently Viewed

More Ways To Browse

Tracey Emin
My Heart is With You Always
2015

Tracey Emin
My Heart is With You Always, framed textile with hand signed and inscribed tag, 2016

Louise Bourgeois
I Have Been to Hell and Back, Limited Edition Handkerchief (Red) Tate Gallery , 2009

Tracey Emin
Be Faithful To Your Dreams (Limited Edition Embroidered Cotton Handkerchief), 1999

Tracey Emin
Rothko Comfort Blanket (limited edition textile with hand signed tag with label), 2010

Alan Shields
Untitled double sided mixed media work on bespoke 3-D standalone frame, 1974

Tracey Emin
Exploration of the Soul with Monoprint, from the Estate of Andy Warhol's agent, 1994

Cara De Angelis
"It Gives and It Takes" Mixed Media Fiber Art, Embroidery Thread, Acrylic Paint, 2021

Natalie Ciccoricco
Sprinkled Star - Framed Film Noir Collage of German Movie Star (Yellow+Blue), 2015

Peg Grady
Shelter In Space, 2020

Sara Brennan
Journey Trees IV, Sara Brennan, hand-woven textile wall sculpture, 2021

Richard Saja
IDYLL, 2024

Richard Saja
HONOR AN OFFER, 2023-2024