Insane Reflection
Insane Reflection
Signed Print
Tracey Emin
£1,700-£2,600
$3,550-$5,500 Value Indicator
$3,150-$4,800 Value Indicator
¥16,000-¥25,000 Value Indicator
€2,000-€3,050 Value Indicator
$18,000-$27,000 Value Indicator
¥320,000-¥490,000 Value Indicator
$2,250-$3,450 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: 2006
Size: H 28cm x W 38cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2024 | Forum Auctions London | United Kingdom | |||
| October 2024 | Forum Auctions London | United Kingdom | |||
| March 2023 | Bonhams New Bond Street | United Kingdom | |||
| November 2022 | Tate Ward Auctions | United Kingdom | |||
| September 2022 | Bonhams Knightsbridge | United Kingdom | |||
| March 2022 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
| April 2019 | Tate Ward Auctions | United Kingdom |
Meaning & Analysis
Insane Reflection is a 2006 screen print by Tracey Emin, released in a signed print edition of 200. The screen print is punctured with an embroidered fabric flower in red at the top right of the composition. To the left of this embroidered flower is a figure who appears to be pregnant, with a strange form on the ground before it. The rest of the composition is left blank, and the title of the work, Emin’s signature and the edition number of the work appear beneath the print.
Described by Emin as “My endless imagining of new life, faced with the question of how that might ever be”, Insane Reflection is a print about her musings on children and new life. Emin decided to not have children because she wanted to prioritise her artistic career above all else. She has commented on the hypocrisy of her situation, saying that “There are good artists that have children. Of course there are. They are called men”. The pregnant or birthing figure in this composition is faceless, and perhaps signals Emin’s curiosity in the ordeal of childbirth. The embroidered flower to the right of the composition draws the viewer’s eye with its texture and colour, and maybe signifies Emin’s greatest conception: her art.
