The Vanity Of Small Differences
The Vanity Of Small Differences
Signed Print
Grayson Perry
Price data unavailable
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: 1000
Year: 2012
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 | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2019 | Forum Auctions London - United Kingdom | The Vanity Of Small Differences - Signed Print | |||
| August 2019 | Forum Auctions London - United Kingdom | The Vanity Of Small Differences - Signed Print | |||
| July 2019 | Forum Auctions London - United Kingdom | The Vanity Of Small Differences - Signed Print | |||
| October 2018 | Forum Auctions London - United Kingdom | The Vanity Of Small Differences - Signed Print | |||
| April 2015 | Rosebery's Fine Art Auctioneers - United Kingdom | The Vanity Of Small Differences - Signed Print |
Meaning & Analysis
This signed set of six offset lithographs printed in colours from 2012 is a limited edition of 1000 from Grayson Perry’s The Vanity of Small Differences series. The set is composed of six different lithographs, which come together to compose a visual narrative on the life and death of Tim Rakewell.
Produced in 2012 on the occasion of Perry’s solo show for Victoria Miro, London, and in conjunction with Perry’s All In The Best Possible Taste, a series of tv programmes hosted by the artist on Channel 4, this series of lithographs attests to Perry’s monumental and iconic tapestry work. The works are inspired by William Hogarth’s A Rake’s Progress and offer a satirical, dark-humoured commentary on consumer culture and materialism, an interest Perry shares with the likes of Warhol, Koons and Duchamp.
The pieces follow the life of young Tim as he is still a baby born in a lower-class family and progresses until Tim becomes a member of the well-to-do upper-class, having lucratively sold his software company. The series ends with Tim’s premature death following a car accident, Perry’s dark humoured final commentary on society’s materialism symbolised by the crashed Ferrari. In the series, as Tim grows richer, he surrounds himself with increasingly expensive consumer goods, which point towards his obsession with wealth and his materialism.
Like in most of his other works, Perry once again offers a critical and witty commentary on everyday life, and gestures towards the modern-day obsession with objects and to how materialistic goods are now the main vehicles through which people convey their economic status as well as their need for belonging and acceptance.
The highest value realised for a work by Grayson Perry was in October 2017, when I Want To Be An Artist fetched £632,750 at Christie's, London. The values achieved for Perry's work at auction regularly land in the hundreds of thousands of pounds.