Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 3

Tracey Emin
"My Bed", Uniquely signed by Tracey Emin, Framed

2017

$10,000
£7,627.31
€8,685.66
CA$14,053.05
A$15,326.83
CHF 8,119.12
MX$183,746.88
NOK 103,401.48
SEK 94,552.98
DKK 64,890.36

About the Item

Tracey Emin My Bed (Hand signed by Tracey Emin), 2017 Photographic print (hand signed and dated in black marker) Boldly signed in black marker on the front This work is elegantly framed under UV plexiglass A very scarce collectible when hand signed My Bed is of the artist's personal favorites which she never ceases to publicly praise including at a talk at the Yale Center for British Art and at Cooper Union. In January 2026, The actual bed that this card depicts is back at the Tate Gallery with much fanfare. Measurements: Framed 12 inches vertical by 14.25 inches horizontal by 1.25 inches Photograph 5 inches vertical x 7 inches horizontal Original, unique hand signed photograph of the most important and iconic work created by beloved British artist Tracey Emin - who catapulted to international superstardom in 1999 with the installation at the Turner Prize exhibition at Tate Britain, of her 1998 "My Bed" - which had been on loan to the Tate for a decade by Charles Saatchi. Consisting of Emin’s bed, dirty underwear, cigarette butts, empty vodka bottles, and boxes of contraceptive pills, crumpled tissues, period-stained clothing, a pregnancy test, lubricant, and condoms surrounded her bed. The artwork was created after the artist spent four days in her bed on a bender recovering from a breakup. If there's one iconic piece that most represents Tracey Emin's oeuvre - this is it. “Back in the 90s, it was all about cool Britannia and the shock factor and now I hope, years later, people will finally see it as a portrait of a younger woman and how time affects all of us. I am still very proud of it and I am grateful that the right person bought it.” – Tracey Emin My Bed was first displayed at the Tate in 1999 when it was nominated for the Turner prize. The polarizing work caused such a media frenzy that it pushed the gallery’s visitor numbers up to a record high. It was bought the following year for £150,000 by Charles Saatchi, an avid collector of YBA art. The piece then went on display at the Saatchi Gallery, then at County Hall London, and Saatchi is also said to have displayed the bed in his own dining room. My Bed has now been installed as part of the newly rehung displays of the Tate’s permanent collection. Emin herself was very involved in how the work was to be presented, and it sits in a gallery alongside two Francis Bacon paintings, his 1951 Study of a Dog and his 1961 Reclining Woman, as well as six of her drawings from 2014 that Emin gifted to the Tate to mark the occasion. It is to be the highlight of Tracey Emin’s much anticipated 2026 career retrospective at the Tate. 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.
  • Creator:
    Tracey Emin (1963, British)
  • Creation Year:
    2017
  • Dimensions:
    Height: 5 in (12.7 cm)Width: 7 in (17.78 cm)
  • Medium:
  • Movement Style:
  • Period:
  • Condition:
    corners of the print are lifting from the mount and the colors may have shifted.
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1745217317512

More From This Seller

View All
Tracey Emin: I Lay Here For You (Hand signed and dated fine art monograph)
By Tracey Emin
Located in New York, NY
Tracey Emin: I Lay Here For You (Hand signed and dated book), 2022 Hardback monograph (hand signed and dated by Tracey Emin) on Munken Lynx Smooth Natural White 170 gsm with endpapers of Colorplan Candy Pink 135 gsm; matt laminate printed cover with black head and tail bands Hand signed and dated by Tracey Emin on the title page. 9 × 6 3/4 × 2/5 inches Unframed Hardback monograph with illustrated boards and no dust jacket as issued, hand signed by Tracey Emin. A beautifully designed publication I Lay Here For You, sumptuously illustrated and with a fascinating essay by Katy Hessell, author of The History of Art without Men. About the project: Tracey Emin’s first Scottish show since 2008, I Lay Here For You (28 May – 2 October) will offer an intimate encounter with love and hope set against the domestic architecture and informal woodland of Jupiter Artland. Imbued with connotations of both warmth and vulnerability, resonating with Tracey Emin’s belief of the ‘personal as political’ the exhibition will feature brand new work by the artist reflecting on the possibility of love after hardship. Tracey Emin’s participation in Jupiter Artland’s 2022 season begins with the unveiling I Lay Here For You, a six metre bronze sited personally by the artist in an old-growth beech grove. Larger than life, powerful and at ease, the sculpture presents a radically different view of woman’s place...
Category

2010s Pop Art Figurative Prints

Materials

Ink, Mixed Media, Offset

I Could Feel You, Tracey Emin, rare 2015 giclee print plate signed 300 gsm paper
By Tracey Emin
Located in New York, NY
Tracey Emin I Could Feel You, 2015 Archival quality giclée print on Purcell Ultrasmooth Fine Art Paper 300 GSM 9 1/2 × 12 inches Plate signed Unframed Rare archival quality, giclée reproduction of Tracey Emin's original gouache I Could Feel You, which is in the permanent modern art collection of the Tate. This was printed back in 2015 in an undisclosed limited edition, and is now long sold out. More details about the original 2014 work are on the Tate Gallery's website as follows: Emin, whose work is often candidly autobiographical, scrutinises her relationship with her own body, using drawing...
Category

2010s Contemporary Abstract Prints

Materials

Giclée

Tracey Emin Museum of Contemporary Art Miami Poster (Hand Signed by Tracey)
By Tracey Emin
Located in New York, NY
Tracey Emin Museum of Contemporary Art Poster (Hand Signed) Offset Lithograph in Semi-Gloss Paper Signed boldly by Tracey Emin in white grease marker on the front 24 x 18 inches Unfr...
Category

2010s Pop Art Abstract Prints

Materials

Lithograph, Offset

Tracey Emin, It Didn t Stop I Didn t Stop print, SCARCE when Hand Signed, Framed
By Tracey Emin
Located in New York, NY
Tracey Emin It - didnt stop - I didnt stop, 2019, from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional card (han...
Category

2010s Contemporary Abstract Prints

Materials

Lithograph, Offset

TRACEY EMIN/EDVARD MUNCH, THE LONELINESS OF THE SOUL print, SCARCE, Hand Signed
By Tracey Emin
Located in New York, NY
Tracey Emin Svart katt / Black cat (2008), from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional print on card st...
Category

2010s Contemporary Abstract Prints

Materials

Permanent Marker, Lithograph, Offset

Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin)
By Tracey Emin
Located in New York, NY
Tracey Emin Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013 Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin) Warmly signed, inscribed and dated by Tracey Emin on the title page 9 × 7 1/4 × 1 inches Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct. Publisher's blurb: My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art...
Category

2010s Contemporary Figurative Prints

Materials

Ink, Mixed Media, Lithograph, Offset

You May Also Like

Tracey Emin, Out Cold
By Tracey Emin
Located in Hamburg, DE
Tracey Emin (British, born 1963) Out Cold, 2014 Medium: Polymer gravure etching on chine collé on wove paper Dimensions: 37.3 x 43 cm (14 3/4 x 17 in) Edition of 100: Hand-signed...
Category

21st Century and Contemporary Contemporary Figurative Prints

Materials

Etching

Curled Up
By Tracey Emin
Located in Calabasas, CA
Artist: Tracey Emin Title: Curled Up Year: 2022 Medium: Screenprint on Rives BFK paper, deckled edges Edition: 100; signed, titled, dated and numbered in pencil Sheet: 23 3/5 × 30 i...
Category

2010s Contemporary Figurative Prints

Materials

Lithograph

Tracey Emin - My Heart Is with You Always
By Tracey Emin
Located in London, GB
Tracey Emin My Heart is with you Always, 2015 Offset lithograph on silk-finished paper Signed by the artist, on recto 70 x 50 cm Edition of 500
Category

2010s Contemporary More Prints

Materials

Lithograph, Offset

Grand Hotel I (2016) (signed)
By Tracey Emin
Located in Woodbury, CT
Polymer gravure etching, 2016, signed in pencil, dated, titled, edition of 100, published by Emin International, London, on Somerset wove paper (unframed) sheet: 45 by 53cm.; 17¾ by ...
Category

2010s Prints and Multiples

Materials

Lithograph

I loved my Innocence
By Tracey Emin
Located in London, GB
I Loved My Innocence, 2019 Lithograph on Somerset Velvet Warm White 400gsm paper hand-signed, numbered, titled and dated by the artist 60 x 76 cm Edition 118 of 200 published by Coun...
Category

2010s Contemporary Nude Prints

Materials

Lithograph

Tracey Emin, Grand Hotel I, Lithograph Print, 2016
By Tracey Emin
Located in Dubai, Dubai
Tracey Emin, Grand Hotel I, Lithograph Print, 2016 A Polymer gravure lithograph printed on Somerset 300gsm paper From a limited edition of 100. 81/100 Hand signed, titled and numb...
Category

21st Century and Contemporary Feminist Prints and Multiples

Materials

Paper, Lithograph, Polymer