Tardis Of Delight
Tardis Of Delight
Signed Print
Conor Harrington
£4,300-£6,500 VALUE (EST.)
$8,000-$12,000 VALUE (EST.)
$7,000-$11,000 VALUE (EST.)
¥35,000-¥60,000 VALUE (EST.)
€4,900-€7,500 VALUE (EST.)
$40,000-$60,000 VALUE (EST.)
¥700,000-¥1,050,000 VALUE (EST.)
$5,500-$8,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Giclée print, 2012
Signed Print Edition of 60
H 92cm x W 72cm
TradingFloor
Your collection tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
Track value
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| February 2022 | Tate Ward Auctions - United Kingdom | Tardis Of Delight - Signed Print |
Meaning & Analysis
Tardis Of Delight (2012) is a signed giclée print representing one of Conor Harrington’s many bold dialogues with the past and legacies of the bygone eras. Released in an edition of 60, the print depicts a man dressed in an elegant period costume, holding a bird in his hands while his eyes directly meet the viewer’s gaze.
Harrington’s interest here lies in engaging with the notions of excess and welfare, in particular, its experience by members of the upper class across epochs. While the man wears a typically seventeenth-century garment, Harrington’s vibrant colours and bold brushstrokes add a contemporary twist to the scene, creating a point of contact for the past and the present.
Although in this print, the human subject is not surrounded by objects, the abundant presence of which characterises When We Were Kings (2012) and The Unveiling (2014), the chaos of colours and irregular shapes mediates a sense of excess defining the contemporary culture of consumerism and commodification. The artist commented in the context of his creative practice: "The subject of my work has always been the present day but I choose to portray it through a historical lens. [...] I set up a photo shoot in my studio with two photographers, six models, period costume, furniture and taxidermy. It has given me greater control over what I want to say with more scope for storytelling."
