More Margate, More Past
More Margate, More Past
Signed Print
Tracey Emin
£1,200-£1,800
$2,400-$3,600 Value Indicator
$2,150-$3,250 Value Indicator
¥11,000-¥16,000 Value Indicator
€1,450-€2,150 Value Indicator
$11,500-$17,000 Value Indicator
¥230,000-¥350,000 Value Indicator
$1,500-$2,250 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 50
Year: 2017
Size: H 30cm x W 42cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2020 | Forum Auctions London | United Kingdom | |||
| March 2018 | Forum Auctions London | United Kingdom | |||
| November 2017 | Sworders | United Kingdom |
Meaning & Analysis
More Margate, More Past is a signed lithograph by Tracey Emin, created in 2017 and released in an edition of 50. The print forms part of the Nude Self-Portraits collection. Set against a white background, Emin draws her viewer into this simple and strange composition through its scarcity. To the left of the work is what appears to be a decorative lamppost, and to the right is Emin’s nude figure lying on the pavement. Beneath this illustration is the title of the work, the edition number, and Emin’s signature.
More Margate, More Past plays homage to the seaside town in which Emin grew up - an ode which is also seen in The Golden Mile. The past is cruicial to Emin's work, and this print exhibits her unrelenting connection to the town wher she grew up. In this sparse yet evocative scene, Emin’s naked body languidly reclines on the pavement next to a lamppost, reflecting the honest and forthwright nature that we see repeatedly throughout her work.
