Roy Lichtenstein Mirror Series 1972 For Sale

Roy Lichtenstein began exploring the theme of mirrors in the early 1970s when he started including them in his paintings and prints. Over the course of four years between 1969-1972, he painted over forty canvases depicting this subject. In an interview with Lawrence Alloway, he revealed: “You know, I am always impressed by how artificial things look—like descriptions of office furniture in newspapers. It is the most dry kind of drawing, as in the Mirrors. They really only look like mirrors if someone tells you they do. Only once you know that, they may be moved as far as possible from realism, but you want it to be taken for realism. It becomes as stylized as you can get away with, in an ordinary sense, not stylish.”

Twin Mirrors, made in 1972 for the Guggenheim Museum, was his first print, which was followed by Mirror at Styria Studio, created in 1972 in addition to a series of nine prints. His curiosity for the subject was expressed through sculpture in the mid-1970s, before he returned to their depiction in prints with Mirror in 1990. Lichtenstein’s long-lasting curiosity with reflections is incorporated into various paintings and several print series such as Reflections (1990), Interiors (1990, published 1991) and Water Lilies (1992).

The Mirror series was created in 1972. Encompassing nine prints, each belongs to an edition of 80 that are individually signed, dated and numbered. The multi-media works incorporated lithography, screenprint, line-cut and embossing. The subtle reflective surface of silver-foil collage curls around the edge in Mirror #1, which is divided in two halves: the left in jet black, and the right in white with cascading Benday dots. In the centre, three horizontal ribboned sections feature a blue slice, with Benday dots in the centre strip and a horizontal slither of stripes on the right-hand portion. 

A simple circular form is depicted in Mirror #2, with faint stripes of Benday dots used to show shading. On the edge of the mirror, flecks of primary colour - yellow, blue, green and red, line-cut from plastic - add a pop of colour. Line-cut, a process of relief printing, and embossing are used in the first four prints of the series to sharpen the edges of the mirror shapes.

Mirror #3 plays with a blend of tonal features. The left half of the image is swathed in a rich cobalt blue, partially revealing a slither of Benday dots which continue on the right hand side. The size and spacing of the Benday dots vary, giving a playful, slightly more haphazard, energy to the artwork.

Mirror #4 almost looks like a crescent moon. A hint of vibrant yellow features at the top, whilst a curved burgundy-red shape anchors the bottom. Speckled Benday dots on the top left add a more delicate texture, whilst claw-like stripes define the inner curve of the crescent. 

Mirror #5, a lithograph and screenprint on Special Arjomari paper, deviates from the previous circular forms in its presentation of a rectangular shaped mirror. Divided in two, with black and yellow colour bleeds, the central divide creates a partition-like effect, as though the mirror could fold with reflections visible from multiple angles.  

Mirror #6 has an oval shape with black Benday dots used to create shading or shadow on the right hand side. In the centre is a vertical burgundy slice, and on the left a jet-black portion. On the top left, a yellow shape is partially cut out, perhaps indicating the reflection of sunlight. 

Mirror #7 presents a new form, with an arched top edge. Black Benday dots cover the majority of the glass-area in rectangular and square shapes with a small pop of red is visible on the edge on the bottom left hand side. On the edge of the frame, a variation of yellow and blue in concentrated areas, as well as blue Benday dots, give tonal variation and depth to the print. The Benday dots on the outer edge of the frame also give the impression of the mirror dissolving.

Two oval mirrors are seen in Mirror #8, which are made from lithograph and screenprint on Special Arjomari paper. The left mirror looks like it’s reflecting a darkly lit room, whilst the right mirror is lighter in tone, with graduating Benday dots freckled across its frame. 

Mirror #9 is similar in style to Mirror #5, with two parallel rectangular-shaped mirror faces. The right hand mirror is marginally wider which indicates that it might have a folding capacity so that it can be viewed from multiple angles. Whilst Mirror #5 depicts yellow and black block colours to outline the frame, Mirror #9 presents blue Benday dots to flank the glass frames. 

Jack Cowart, executive director of the Roy Lichtenstein Foundation, comments: “One would not actually stand in front of a Lichtenstein Mirror to straighten one’s hat, but one does think about it.” 

Buy Roy Lichtenstein Mirror series

Andipa Editions, as part of Andipa, have been at the forefront of the Lichtenstein market for over 20 years. To enquire about buying Mirror series by Roy Lichtenstein, contact us via sales@andipa.com or on +44 (0) 20 7589 2371.

Sell Mirror series by Roy Lichtenstein

With a global network of active buyers, Andipa Editions are the place to sell your Mirror series. Straight-forward and stress-free, we manage the process on your behalf and help to maximise your return. For a complimentary valuation of your Roy Lichtenstein Mirror series, contact us via sales@andipa.com or on +44 (0) 20 7589 2371. Explore our collection of Roy Lichtenstein prints for sale.