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Sometimes The Dress Is Worth More Than The Money - Signed Print by Tracey Emin 2001 - MyArtBroker

Sometimes The Dress Is Worth More Than The Money
Signed Print

Tracey Emin

Price data unavailable

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Lithograph

Edition size: 2000

Year: 2001

Size: H 60cm x W 60cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Tracey Emin's Sometimes The Dress Is Worth More Than The Money (signed) is estimated to be worth between £1,350 and £2,000. This lithograph print, created in 2001, has shown consistent value growth since its first sale on 7th October 2020. This work has an impressive auction history, with an average annual growth rate of 34%. This artwork has an auction history of 1 total sale and has an edition size of 2,000.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2020Bonhams Knightsbridge United Kingdom

Meaning & Analysis

In recent years, Tracey Emin’s video artworks have captured much critical attention, reviving both scholarly and public interest for the enfant terrible of British contemporary art. Sometimes The Dress Is Worth More Than The Money is perhaps Emin’s most well-known and acclaimed piece of video art. The work was initially made in 2001, and has since been exhibited in notorious contemporary art galleries like White Cube, that dedicated an entire night to screening 14 of Emin’s films, and was presented recently at Xavier Hufkens, as part of Tracey Emin, Video Works, 1995-2017, the most comprehensive retrospective exhibition on Emin’s video works and films.

In the video, Emin runs throughout a bare and barren deserted landscape dressed in a vaporous white wedding gown. As she runs, a Spaghetti-Western soundtrack plays in the background, situating the video in a dialogue with early Hollywood cinema. Emin seems to be running away from her wedding, rebelling against the institution of marriage, a notion that is reinforced by the ironic choice of the title. As art critic David Rimanelli remarked, Emin’s work confronts societal conventions and commits numerous infractions of what is considered feminine and polite, unapologetically asserting herself regardless of the expectations placed on her body.