From the sublime depiction of filth to (worse than) the thing itself: How could the Count count this as fair trade? Talk about stumbling sideways. Tracey Emins My Bed set for long Tate loan: Count Christian Duerckheim the pieces new owner, has agreed to loan the work for a period of at least 10 years, said Tate director Sir Nicholas Serota. sothebys/minisite/pdf/L11022/Duerckheim/flash.html#/6/ bbc/news/entertainment-arts-28541568 Gerhard Richter Schwestern (Sisters) 1967 oil on canvas Height 25.7 in.; Width 29.5 in. / Height 65.3 cm.; Width 75 cm. Sothebys London: Wednesday, June 29, 2011 [Lot 00005] Contemporary Art Evening Auction Estimate 1,200,000 - 1,800,000 GBP (1,928,330 - 2,892,495 USD) Sold For 2,505,250 GBP (4,025,791 USD) Premium Currency Converter Provenance Galerie Heiner Friedrich, Munich Galleria del Leone, Venice Galerie Rudolf Zwirner, Cologne Galerie Fred Jahn, Munich Acquired directly from the above by the present owner circa 1980 Literature Exhibition Catalogue, Aachen, Gegenverkehr e.V. Zentrum für aktuelle Kunst, Gerhard Richter, 1969, no. 74, illustrated Rolf-Gunter Dienst, Noch Kunst: Neustes aus deutschen Ateliers, Dusseldorf 1970, p. 195, illustrated Exhibition Catalogue, Venice, XXXVI Biennale Internazionale dellArte, Deutscher Pavillon, Gerhard Richter, 1972, p. 54, no. 153, illustrated Magazin Kunst, No. 1, 1974, p. 67, illustrated Jürgen Harten, Gerhard Richter, Bilder 1962-1985, Cologne 1986, p. 64, no. 153, illustrated Angelika Thill, et al., Gerhard Richter Catalogue Raisonné 1962-1993, Ostfildern-Ruit 1993, Vol. III, no. 153, illustrated Dietmar Elger, Gerhard Richter: A Life in Painting, Chicago and London 2009, p. 115, fig. 4.13, illustrated with the artist in his studio in 1967 Tracey Emin My Bed mattress, linens, pillows and objects 31 x 83 x 92 1/8in. (79 x 211 x 234cm.) 1998 As an artwork which evokes an emotional state of mind, My Bed, executed in 1998, is one of the most iconic images of the young British art movement, arguably Tracey Emin’s most celebrated and seminal work, it lies at the heart of her deeply personal critical attention when it was exhibited at the 1999 Turner Prize exhibition, an event which considerably contributed to the notoriety of the yBa movement. My Bed was first shown in 1998 at the Toyko’s Sagacho Exhibition Space, which toured to Lehmann Maupin gallery, New York, in 1999 radically updating Contemporary British art with an aesthetic of immediacy which propelled it onto the international stage. Over the past two decades, My Bed has been included in several major solo exhibitions including her retrospective at the Scottish National Gallery of Modern Art, Edinburgh, CAC Málaga and Kunstmuseum Bern. Emin played a lead role in a group of young British artists who transformed the relationship between art and the public by creating direct visual statements, which strike the heart of important philosophies about our existence. Medium mattress, linens, pillows and objects Year of Work 1998 Size Height 31.1 in.; Width 83.1 in.; Depth 92.1 in. / Height 79 cm.; Width 211 cm.; Depth 234 cm. Sale of Christies London: Tuesday, July 1, 2014 [Lot 00019] Post-War & Contemporary Art Evening Auction Estimate 800,000 - 1,200,000 GBP (1,371,506 - 2,057,260 USD) Sold For 2,546,500 GBP (4,365,678 USD) Premium Currency Converter Provenance Lehmann Maupin, New York. Acquired from the above by the present owner in 2000 Exhibition Tokyo, Sagacho Exhibit Space, 1998. New York, Lehmann Maupin, Every Part of Me’s Bleeding, 1999. London, Tate Britain, The Turner Prize, 1999. London, Saatchi Gallery, Ant Noises 2, 2000 (detail illustrated in colour, on the cover and illustrated in colour, unpaged). Edinburgh, Scottish National Gallery of Modern Art, Tracey Emin: 20 Years, 2008-2009, pp. 29-30 and 147, no. 28 (illustrated in colour, pp. 79-80). This exhibition later travelled to Málaga, CAC Málaga, Centro de Arte Contemporáneo de Málaga, and Bern, Kunstmuseum Bern. Frankfurt, Schirn Kunsthalle, The Making of Art, 2009. Adelaide, The Art Gallery of South Australia, Saatchi Gallery in Adelaide: British Art Now, 2011, pp. 14-15 (illustrated in colour, pp. 16-17). Frankfurt, Schirn Kunsthalle, Privacy, 2012-2013, p. 112 (illustrated in colour, pp. 114-115) Literature G. Burn, ‘Clever Tracey!’, in The Guardian, 26 October 1999. M. Merck and C. Townsend (eds.), The Art of Tracey Emin, London 2002, pp. 6-7, 16, 59, 114, 119-123, 127-128, 129, 131, 133, 134-154, 170, 190 and 209 (installation views illustrated, pp. 31, 35 and 36). Saatchi Gallery (ed.), 100 the Work that Changed British Art, London 2003, p. 209, no. 42 (illustrated in colour, pp. 96-97). T. Emin, Tracey Emin: Strangeland, London 2005, pp. 14 and 162-166. N. Brown (ed.), Tracey Emin, London 2006, pp. 96-101 (installation view illustrated in colour, p. 18-19 and 100, and illustrated in colour, pp. 98-99). H. Luard and P. Miles (eds.), Tracey Emin: Works 1963-2006, New York 2006, pp. 6, 7 and 413 (illustrated in colour, pp. 58-59). E. Booth-Clibborn (ed.), The History of the Saatchi Gallery, London 2011 (installation views illustrated in colour, pp. 280-283). R. Rugoff and C. Lauson (eds.), Tracey Emin: Love is What You Want, exh. cat., London 2011, Hayward Gallery, fig. 4 (illustrated in colour, p. 13). E. Allen, ‘Tracey Emin Loves Art’, in The New Yorker, 20 February 2013. A. Golman, ‘Tracey Emin on Getting Older with Her Art’, in The New York Times, 24 May 2013. K. Grovier, 100 Works of Art That Will Defne Our Age, London 2013, pp. 104 and 314, no. 30 (illustrated in colour, p. 105)
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