Mirror #8
Mirror #8
Signed Print
Roy Lichtenstein
£9,000-£13,500
$18,000-$27,000 Value Indicator
$16,000-$24,000 Value Indicator
¥80,000-¥120,000 Value Indicator
€10,500-€16,000 Value Indicator
$90,000-$130,000 Value Indicator
¥1,730,000-¥2,600,000 Value Indicator
$11,000-$16,000 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: Planographic print
Edition size: 50
Year: 1972
Size: H 104cm x W 135cm
Signed: Yes
Format: Signed Print
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 | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2024 | Los Angeles Modern Auctions | United States | |||
| March 2024 | John Moran Auctioneers | United States | |||
| April 2023 | Bukowskis, Stockholm | Sweden | |||
| April 2023 | Lama | United States | |||
| December 2022 | Christie's Paris | France | |||
| December 2019 | Ketterer Kunst Hamburg | Germany | |||
| November 2018 | Bonhams New York | United States |
Meaning & Analysis
Roy Lichtenstein launched his Mirror series in the late 1960s, concluding the sequence in the early 1990s. His abstracted 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 conventions of object painting, Lichtenstein’s Mirrors maintain the physical appearance of the item. At the same time, the artist liberates the object from its symbolism and functionality.
Mirror #8, executed in 1972, captures two ovals situated side by side and rendered vibrant green, black and yellow. The layered colours are coupled with dense streaks of blue dots, alluding to the uneven and reflective attributes of glass. Meanwhile, jagged contours denote the framework of the two oval shapes. The regularised patterns and intricate details both constitute and obscure the imagery. Lichtenstein presents the mirrors frontally, displaying the complete absence of reflections. Therefore, Mirror #8 is as much a contradiction, as an illustration of two mirrors.
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.
