Mirror #6
Mirror #6
Signed Print
Roy Lichtenstein
£9,500-£14,000
$19,000-$28,000 Value Indicator
$17,000-$25,000 Value Indicator
¥90,000-¥130,000 Value Indicator
€11,500-€17,000 Value Indicator
$90,000-$140,000 Value Indicator
¥1,850,000-¥2,720,000 Value Indicator
$12,000-$17,000 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: 80
Year: 1972
Size: H 81cm x W 55cm
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 | Sotheby's Paris | France | |||
| May 2024 | Los Angeles Modern Auctions | United States | |||
| August 2023 | Sotheby's London | United Kingdom | |||
| November 2022 | Bonhams New York | United States | |||
| November 2021 | Bonhams New York | United States | |||
| July 2021 | Wright | United States | |||
| June 2021 | Wright | United States |
Meaning & Analysis
Roy Lichtenstein’s Mirrors revise the historic iconography of mirrors. The series was initially launched in the late 1960s and concluded in the early 1990s. In art and mythology, mirrors have been used to reveal the hidden and the unconscious. Lichtenstein’s Mirrors follow the traditions of object painting, keeping the formal characteristics of the motif intact. At the same time, the artist removes the object’s symbolism and functionality, liberating it from its intended purposes.
Mirror #6, executed in 1972, captures an oval shape rendered in dark red, black and yellow. Jagged lines and dense areas of dots are strewn across its surface, evoking the reflective attributes of glass. These regularised patterns are also used to indicate the edges of the oval’s framework. Lichtenstein’s visual language both forms and obscures the central image of his canvas. The artist presents his mirror frontally, displaying the complete absence of reflections. Mirror #6 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.
