Mirror #2
Mirror #2
Signed Print
Roy Lichtenstein
£6,000-£8,500
$12,500-$18,000 Value Indicator
$11,000-$16,000 Value Indicator
¥60,000-¥80,000 Value Indicator
€7,000-€10,000 Value Indicator
$60,000-$90,000 Value Indicator
¥1,130,000-¥1,600,000 Value Indicator
$8,000-$11,000 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: 80
Year: 1972
Size: H 71cm x W 71cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Bukowskis, Stockholm | Sweden | |||
| September 2024 | Nagel Auction | Germany | |||
| March 2024 | John Moran Auctioneers | United States | |||
| June 2023 | Rago | United States | |||
| March 2023 | Sotheby's New York | United States | |||
| September 2020 | Galerie Kornfeld | Germany | |||
| May 2020 | Freeman's | United States |
Meaning & Analysis
Roy Lichtensteinlaunched his Mirror series in the late 1960s, concluding it in the early 1990s. His Mirrors study the symbolic implications of the mirror motif in art and mythology. Historically, mirrors have been used to reveal complex perspectives and invisible truths. Honouring the traditions of object painting, Lichtenstein’s Mirrors maintain the physical appearance of the item. However, the artist dismisses its symbolism and functionality, liberating the object from its intended purposes.
Mirror #2, executed in 1972, captures an enlarged circle rendered in vivid primary colours. The print exhibits a fragmented and fading version of Mirrorof the same series. Minimalistic screens of dots span the circular shape, alluding to the smooth and reflective attributes of glass. Meanwhile, faint jagged lines constitute the circle’s framework. Lichtenstein’s pop style undoubtedly forms, yet also obscures the central image at the same time. Mirror #2 is depicted head-on and devoid of any reflections. The print is as much a misrepresentation, as it is an illustration of a mirror.
Over the course of his career, Lichtenstein embarked on several other series dealing with vision and representation. His Water Liliesand Reflections, for instance, explore various perceptions of light and reflection. Meanwhile, Lichtenstein’s Entablatures delve further into object painting, reproducing enlarged architectural fragments as their main composition.
