Mirror #7
Mirror #7
Signed Print
Roy Lichtenstein
£5,500-£8,000
$10,500-$15,000 Value Indicator
$9,500-$13,500 Value Indicator
¥50,000-¥70,000 Value Indicator
€6,500-€9,000 Value Indicator
$50,000-$80,000 Value Indicator
¥930,000-¥1,350,000 Value Indicator
$7,000-$10,000 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 99cm x W 64cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2023 | Wright - United States | Mirror #7 - Signed Print | |||
| May 2023 | Bonhams New York - United States | Mirror #7 - Signed Print | |||
| April 2022 | Wright - United States | Mirror #7 - Signed Print | |||
| November 2021 | Bonhams New York - United States | Mirror #7 - Signed Print | |||
| September 2019 | Phillips London - United Kingdom | Mirror #7 - Signed Print | |||
| November 2018 | Clars Auction Gallery - United States | Mirror #7 - Signed Print | |||
| July 2013 | Bonhams New Bond Street - United Kingdom | Mirror #7 - Signed Print |
Meaning & Analysis
Roy Lichtenstein launched his abstracted Mirror series in the late 1960s, concluding it in the early 1990s. His Mirrors examine the symbolic implications of mirrors in art and mythology. Historically, the object has been used to reveal complex perspectives and invisible truths. Lichtenstein’s Mirrors honour the traditions of object painting by keeping the physical appearance of the motif intact. However, the artist liberates the item from its symbolic and functional purposes.
Mirror #7, executed in 1972, mimics the stylistic attributes of an arched window. The surface of the triple domes is dominated by dense streaks of grey dots, evoking the luminosity of glass. Jagged blue and yellow lines demarcate the mirror’s framework, adding a subtle elevation to the flattened form. The curving shape and the colourful details constitute, yet also obscure the subject matter. Lichtenstein presents the item head-on, displaying the complete absence of reflections. Thus, Mirror #7 is as much a parody, 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.
