Mirror, Mirror On The Wall
Mirror, Mirror On The Wall
Signed Print
David Hockney
58 x 98cm, Edition of 50, Etching, 1961
£4,450-£6,500
$8,500-$12,500 Market Value Indicator
$8,500-$12,500 Market Value Indicator
¥40,000-¥60,000 Market Value Indicator
€5,000-€7,500 Market Value Indicator
$45,000-$70,000 Market Value Indicator
¥950,000-¥1,390,000 Market Value Indicator
$6,000-$8,500 Market Value Indicator
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Meaning & Analysis
Mirror, Mirror On The Wall is an etching and aquatint by David Hockney, created in 1961. This red and black print on wove paper explores themes of reflection and identity, depicting a ghostly figure reflected in a mirror with a wash of red ink around the focal point of the composition. Hockney produced it the print at the Royal College of Art, London, in an edition of 50 impressions, marking an early phase in his printmaking career.
Mirror, Mirror On The Wall showcases Hockney's early mastery of printmaking techniques. The etching process creates precise linear elements, while aquatint adds tonal depth. The composition features a figure before a mirror, with another partially visible, exploring self-perception and temporality. Hockney's use of red and black ink emphasises structure and emotion. The print features small inscriptions, delineated in the artist's handwriting, which read: “mirror mirror on the wall / who is the fairest of us all / ... proud to have received upon itself / That entire beauty for a few minutes.” This inscription, coupled with the image of the figure observing its reflection in the mirror, with a classical bust in the bottom right of the composition, builds an image which confronts classical notions of beauty.
Ron Fuller and Peter Mathews printed the work at the Royal College of Art. Each impression bears Hockney's pencil signature and date, enhancing its provenance. The artwork's exploration of identity aligns with the cultural shifts of the early 1960s. This piece represents a pivotal moment in Hockney's career, preceding his famous pool paintings but already demonstrating his interest in reality versus representation.
