Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)

View Similar Items

Andy Warhol - Rare Vintage Large Unicorn silkscreen on glass bowl, Rosenthal Inc.

Hunt Slonem - Untitled #11

Andres Serrano - Stracotto alla Fiorentina - Beppe - New York City

Guy Allen - Guy Allen, Horse Study Fuschia, Horse Art Prints, Limited Edition Print

Hunt Slonem - Untitled #03

Jeff Koons - Jeff Koons Monkey Train beach towel (Jeff Koons Monkey Train blue)

Peter Phillips - Tiger-Tiger, 3-D Relief of impact-resistant polystyrene, deep-drawn, silkscreen

KAWS - Yellow Snake skateboard, hand numbered 46/500 Street Art Pop Art skate deck LtEd

Cryptik - Cryptik - The Guardian - Urban Graffiti Street Art Print

Rebecca Warren - 1990

Dennis McNett - Spider Grandmother

Zoa Ace - Not in Kansas

Want more images or videos?

Request additional images or videos from the seller

1 of 7

Tracey Emin
Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)
2003

About the Item

Tracey Emin Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel), 2003 Silkscreen on Linen Tea Towel Bears Tracey Emin printed name and copyright logo in red, far right. (see photo) 19 7/10 × 27 inches Unframed This is a scarce vintage silkscreen on linen Tea Towel by Tracey Emin entitled "NOT A HAPPY KITTEN." Underneath the text "NOT A HAPPY KITTEN" is an image of a kitten, and under that text that reads "IN FACT, I'D SAY IT WAS A DOG." This terrific work was made exclusively for the Oxford Museum of Modern Art in 2003 in a very limited edition, which sold out almost immediately. Although the edition is not known, these are rarely seen and are very desirable Tracey Emin works. In addition to being delightful - it is also highly collectible. In fine condition, with the original creases and folds exactly as it was offered by the Oxford Museum. This is unframed, but would look terrific framed. Also makes a whimsical and memorable gift. Very good condition with national folds as issued and sold (folded) Provenance: Oxford Museum of Art More about Tracy 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 White Cube

Creator:
Tracey Emin (1963, British)
Creation Year:
2003
Dimensions:
Height: 19.7 in (50.04 cm)Width: 27 in (68.58 cm)
Medium:
Linen,Screen
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
very good condition with national folds as issued and sold (folded).
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU1745214005782

More Ways To Browse

Woman Shoes White

French Connection Floor Cube

Embroidered Tea Towel

View All Popular Mixed Media Searches

Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)

View Similar Items

Tracey Emin
Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)
2003

About the Item

Early 2000s Contemporary Mixed Media

Andres Serrano
Stracotto alla Fiorentina - Beppe - New York City, 2000

1980s Contemporary Animal Prints

Hunt Slonem
Anaconda II, 1980

2010s Contemporary Animal Prints

Katherine Bernhardt
Save the Amazon, 13 color silkscreen signed/n by renowned American artist Birds, 2019

2010s Contemporary Animal Prints

Ann Craven
Sunset Moon Bird, 2023

1970s Contemporary Figurative Prints

Ed Ruscha
Documenta 5 (Engberg 66) early 1970s screenprint signed/N for Kassel art show, 1972

2010s Contemporary Animal Prints

Ai Weiwei
Cats (Red), original silkscreen, hand signed 87/150 with official & gallery COAs, 2022

21st Century and Contemporary Contemporary Animal Prints

Guy Allen
Guy Allen, Horse Study Fuschia, Horse Art Prints, Limited Edition Print, 2020

Early 2000s Contemporary Mixed Media

Hunt Slonem
Untitled #11, 2009

Early 2000s Contemporary Mixed Media

Hunt Slonem
Untitled #03, 2009

Early 2000s Pop Art Animal Prints

Jeff Koons
Jeff Koons Monkey Train beach towel (Jeff Koons Monkey Train blue), 2008

2010s Street Art Mixed Media

Cryptik
Cryptik - The Guardian - Urban Graffiti Street Art Print, 2020

Early 2000s Contemporary Animal Prints

Rebecca Warren
1990, 2007

Recently Viewed

More Ways To Browse

Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)

View Similar Items

Tracey EminNot a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)2003

About the Item

Early 2000s Contemporary Mixed Media

Andres SerranoStracotto alla Fiorentina - Beppe - New York City, 2000

1980s Contemporary Animal Prints

Hunt SlonemAnaconda II, 1980

2010s Contemporary Animal Prints

Katherine BernhardtSave the Amazon, 13 color silkscreen signed/n by renowned American artist Birds, 2019

2010s Contemporary Animal Prints

Ann Craven Sunset Moon Bird, 2023

1970s Contemporary Figurative Prints

Ed RuschaDocumenta 5 (Engberg 66) early 1970s screenprint signed/N for Kassel art show, 1972

2010s Contemporary Animal Prints

Ai WeiweiCats (Red), original silkscreen, hand signed 87/150 with official & gallery COAs, 2022

21st Century and Contemporary Contemporary Animal Prints

Guy AllenGuy Allen, Horse Study Fuschia, Horse Art Prints, Limited Edition Print, 2020

Early 2000s Contemporary Mixed Media

Hunt SlonemUntitled #11, 2009

Early 2000s Contemporary Mixed Media

Hunt SlonemUntitled #03, 2009

Early 2000s Pop Art Animal Prints

Jeff KoonsJeff Koons Monkey Train beach towel (Jeff Koons Monkey Train blue), 2008

2010s Street Art Mixed Media

CryptikCryptik - The Guardian - Urban Graffiti Street Art Print, 2020

Early 2000s Contemporary Animal Prints

Rebecca Warren1990, 2007

Recently Viewed

More Ways To Browse

Tracey Emin
Not a Happy Kitten (Rare Vintage Limited Edition Silkscreen on Linen Tea Towel)
2003

Andres Serrano
Stracotto alla Fiorentina - Beppe - New York City, 2000

Hunt Slonem
Anaconda II, 1980

Katherine Bernhardt
Save the Amazon, 13 color silkscreen signed/n by renowned American artist Birds, 2019

Ann Craven
Sunset Moon Bird, 2023

Ed Ruscha
Documenta 5 (Engberg 66) early 1970s screenprint signed/N for Kassel art show, 1972

Ai Weiwei
Cats (Red), original silkscreen, hand signed 87/150 with official & gallery COAs, 2022

Guy Allen
Guy Allen, Horse Study Fuschia, Horse Art Prints, Limited Edition Print, 2020

Hunt Slonem
Untitled #11, 2009

Hunt Slonem
Untitled #03, 2009

Jeff Koons
Jeff Koons Monkey Train beach towel (Jeff Koons Monkey Train blue), 2008

Cryptik
Cryptik - The Guardian - Urban Graffiti Street Art Print, 2020

Rebecca Warren
1990, 2007