Roy Lichtenstein
(1923-1997)
"Mirror #8" from the "Mirror Series," 1972
Lithograph and screenprint in colors on Arjomari paper
Edition: 24/72 (the edition was 50; there were also 9 artist's proofs)
Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-439
Image: 30.125" H x 42.5" W; Sheet: 40.875" H x 53" W
Provenance: Gemini G.E.L., Los Angeles, CA
The Marmor Family Collection, acquired from the above, October 11, 1972

Literature: Corlett 113; Gemini 389; NGA Gemini CR 31.42; RLCR 2040

Other Notes: The pencil numbering out of 72 on this impression was likely an inadvertent substitution of the date in place of the edition number [50] by Lichtenstein as he signed, dated, and numbered multiple examples of this print. According to the literature references, this work was printed in an edition of 50, plus 9 AP (as well as 1RTP, 1 PPII, 3 GEL, and 1C). A label for a Claus Oldenberg piece is affixed to the backing of the frame with a slash through it. An inventory label is tied to the framing loop. This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

Roy Lichtenstein's exploration of artistic form oscillates between intricacy and austerity, with his "Mirror" print series, created between 1969 and 1972, epitomizing the latter. Preceding these works, Lichtenstein had already reached geometric complexity with his modern works, rooted in Art Deco ornamentation. However, the "Mirror" series departs from this compartmentalized aesthetic, offering a unified imagery with a basic architectural reference shared with Lichtenstein's earlier works.

The holistic approach evident in the "Mirror" series is foreshadowed by Lichtenstein's earlier studies of isolated artifacts, such as an Electric Cord (1961) or a Durlidum (1964), characterized by their centralized placement and defined by unwavering black outlines. These works deviate from traditional still life painting, focusing more on the individual object itself rather than on relationships between multiple objects, aligning with George Maciunas' concept of "monomorphic" art.

Mirrors hold a rich iconographical history in art, symbolizing vanity or serving as aids in representing unseen aspects of the human form. Lichtenstein, however, dismisses these conventional interpretations, choosing instead to explore the unpaintable aspect of mirrors-the play of reflections. Employing the conventions of comic strips and advertisements, Lichtenstein meticulously captures the artificiality of mirrors, utilizing dots to indicate smoothness, parallel hatching to imply reflections, and little jumps to denote beveled edges. These studies of highlights, tonal gradients, and blips of color create a captivating game of references, freezing fleeting moments as decisively as his earlier explosive paintings.

In the "Mirror" prints, created between 1969 and 1972, Lichtenstein presents mirrors frontally, head-on, highlighting the absence of reflections and prompting viewers to contemplate the conceptual presence of the depicted objects. By transcending traditional iconography and embracing the artificiality of representation, Lichtenstein's "Mirror" series invites viewers to explore the boundaries of perception and visual phenomena, offering a unique perspective on the interplay between art and reality.

Overall good condition. Full margins and the colors fresh. Occasional short handling creases in the upper and lower margins, not affecting the inked areas, visible primarily in raking light. One slightly more distinct handling crease, approximately one inch long, near the upper left margin corner. The sheet is framed floating and tipped to the back mat from the verso of the upper margin corners.

Framed under Plexiglas: 45" H x 59.75" W x 2" D Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.