Girl In Mirror
Girl In Mirror
Signed Ceramic
Roy Lichtenstein
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: Enamel
Edition size: 8
Year: 1964
Size: H 107cm x W 107cm
Signed: Yes
Format: Signed Ceramic
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 |
|---|---|---|---|---|---|
| March 2019 | Phillips London - United Kingdom | Girl In Mirror - Signed Ceramic | |||
| November 2014 | Christie's New York - United States | Girl In Mirror - Signed Ceramic | |||
| June 2012 | Sotheby's London - United Kingdom | Girl In Mirror - Signed Ceramic | |||
| November 2010 | Christie's New York - United States | Girl In Mirror - Signed Ceramic | |||
| May 2007 | Sotheby's New York - United States | Girl In Mirror - Signed Ceramic |
Meaning & Analysis
Girl In Mirror is a transgressive work from Roy Lichtenstein’s early artistic oeuvre. Completed in 1964, the print is part of a collection of critical artworks depicting cartoon heroines. Lichtenstein based his female portraits on stills from advertisements, movies, and romance comics. With his leading ladies, the artist sought to revise skewed representations of female identity.
Girl In Mirror was manufactured using advanced printing methods and is firmly rooted in the seminal foundations of Pop Art. This glossy work serves as a strategic commentary on the divide between high and low culture.
Girl In Mirror introduces a graceful blonde woman framed within the constraints of a handheld mirror. Similar to the protagonist of Crying Girl created one year prior, the depersonalised and isolated female figure presented here examines society's codification of femininity. The work raises questions about voyeurism in consumer culture by ridiculing fabricated visual tropes.
Additionally, this work is also one of Lichtenstein’s first explorations into the optically and intellectually intriguing subject of mirrors. Using the object as a metaphor for hidden truths, Lichtenstein initiates a discourse about complexities that cannot be perceived through reflections. The artist pursued themes of projection and perception continuously throughout his career, most notably in his Mirrors and Reflections series.