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But Yea - Signed Print by Tracey Emin 2015 - MyArtBroker

But Yea
Signed Print

Tracey Emin

£650-£1,000Value Indicator

$1,300-$2,000 Value Indicator

$1,150-$1,800 Value Indicator

¥6,000-¥9,000 Value Indicator

800-1,200 Value Indicator

$6,500-$10,000 Value Indicator

¥120,000-¥190,000 Value Indicator

$800-$1,250 Value Indicator

4% AAGR

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: 500

Year: 2015

Size: H 70cm x W 50cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Tracey Emin's But Yea (signed) is estimated to be worth between £650 and £1,000. This lithograph print, created in 2015, has shown consistent value growth, with an average annual growth rate of 4%. Over the past 12 months, the average selling price was £800, across 1 units sold. This work has a steady auction history, having been sold 21 times since its initial sale in June 2016. The edition size of this artwork is limited to 500.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
May 2024Tate Ward Auctions United Kingdom
November 2023Bonhams Online United Kingdom
October 2023Tate Ward Auctions United Kingdom
October 2023Chiswick Auctions United Kingdom
June 2023Bonhams Knightsbridge United Kingdom
May 2023Tate Ward Auctions United Kingdom
April 2023Bonhams New Bond Street United Kingdom

Meaning & Analysis

Emin is one of the leading contemporary women artists to have emerged on the art scene in the 1990s. One of the most prominent members of Charles Saatchi’s now-famous Young British Artists group, Emin achieved international success and recognition for her installation My Bed (1999) presented at the Tate Gallery, for which she was nominated for the Turner Prize. My Bed captured the attention of critics and the broader public for its provocative allusion to sexual promiscuity. Since then, Emin’s practice has evolved to include a range of other media, through which the artist gives form to her visual, and oftentimes also written, confessions.

But Yea, produced in 2005, reiterates one of Emin’s preferred motifs - the naked female body. Usually present in her vast production of drawings, as seen in her Nude Drawings and Nude Self-Portraits, But Yea presents for the first time the nude in its neon form. In the artwork, Emin uses the medium to weave together her instantly recognisable, misspelt hand-writing, with the tentative and sketched outline of a female torso. While the misspelt text and its handwritten quality suggest a form of confessional urgency, the simple torso connects this artwork to a long lineage of female nudes, like those of Egon Schiele or Louise Bourgeois, placing this artwork within the trajectory of a long art historical tradition. All the elements in the work point to Emin’s signature hand. If text and image oftentimes converge in Emin’s oeuvre, But Yea brings together all of Emin’s favourite themes in a unique and highly sought-after work, able to fascinate and move the viewer at the same time.

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