Samson’s Nostalgia Trap
Samson’s Nostalgia Trap
Signed Print
Conor Harrington
£800-£1,150Value
Indicator
$1,550-$2,200 Value Indicator
$1,350-$1,950 Value Indicator
¥7,000-¥10,000 Value Indicator
€900-€1,300 Value Indicator
$7,500-$11,000 Value Indicator
¥150,000-¥210,000 Value Indicator
$950-$1,400 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
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Screenprint, 2014
Signed Print Edition of 200
H 74cm x W 100cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Chiswick Auctions - United Kingdom | Samson’s Nostalgia Trap - Signed Print | ||||
| Chiswick Auctions - United Kingdom | Samson’s Nostalgia Trap - Signed Print | ||||
| Chiswick Auctions - United Kingdom | Samson’s Nostalgia Trap - Signed Print | ||||
| March 2023 | Tate Ward Auctions - United Kingdom | Samson’s Nostalgia Trap - Signed Print | |||
| December 2020 | Artcurial - France | Samson’s Nostalgia Trap - Signed Print | |||
| June 2020 | Chiswick Auctions - United Kingdom | Samson’s Nostalgia Trap - Signed Print | |||
| May 2020 | Tate Ward Auctions - United Kingdom | Samson’s Nostalgia Trap - Signed Print |
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Replete with historical references and allegorical elements, Samson’s Nostalgia Trap (2014) was created shortly after The Unveiling (2014), and as such, represents the artist’s further foray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".
