Samson’s Nostalgia Trap
Samson’s Nostalgia Trap
Signed Print
Conor Harrington
£800-£1,250
$1,600-$2,500 Value Indicator
$1,450-$2,250 Value Indicator
¥7,000-¥11,500 Value Indicator
€950-€1,500 Value Indicator
$8,000-$12,000 Value Indicator
¥150,000-¥240,000 Value Indicator
$1,000-$1,550 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: Screenprint
Edition size: 200
Year: 2014
Size: H 74cm x W 100cm
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 |
|---|---|---|---|---|---|
| June 2023 | Tate Ward Auctions | United Kingdom | |||
| June 2023 | Tate Ward Auctions | United Kingdom | |||
| March 2023 | Tate Ward Auctions | United Kingdom | |||
| March 2023 | Tate Ward Auctions | United Kingdom | |||
| December 2020 | Artcurial | France | |||
| June 2020 | Chiswick Auctions | United Kingdom | |||
| May 2020 | Tate Ward Auctions | United Kingdom |
Meaning & Analysis
Samson’s Nostalgia Trap (2014) is a signed screen print that encapsulates Conor Harrington’s ongoing practice of introducing a historical perspective into the modern day issues of sexuality and power that come to the fore in many of his works. Released in an edition of 200, this print belongs to the Eat And Delete series that was featured in Harrington’s first New York solo exhibition in 2014.
Replete with historical references and allegorical elements, Samson’s Nostalgia Trap (2014) was created shortly after The Unveiling (2014), and as such, represents the artist’s further foray into the questions of cultural stereotypes, sexuality, and body image. In comparison with The Unveiling that was also exhibited during Harrington’s New York exhibition, the gender roles here appear reversed. The main agent in the scene appears to be the naked woman who, sitting boldly upwards, caresses the head of a man as he rests on her thighs. A crumpled United Nations flag dangles from the wooden table, around which the human figures in the print are centred. An ambiguous lustre surface occupies a large space of the floor and appears to dissolve objects that came into contact with it, including the recognizable blue flag. Linking contemporary themes to a broad historical perspective, the print represents Harrington’s ongoing scrutiny of what he described as the "empire and cycles of power".