Reflections On The Scream
Reflections On The Scream
Signed Print
Roy Lichtenstein
£90,000-£130,000
$170,000-$250,000 Value Indicator
$160,000-$230,000 Value Indicator
¥830,000-¥1,200,000 Value Indicator
€110,000-€160,000 Value Indicator
$910,000-$1,320,000 Value Indicator
¥17,600,000-¥25,430,000 Value Indicator
$120,000-$170,000 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: 68
Year: 1990
Size: H 124cm x W 166cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Sotheby's Online | United Kingdom | ||||
| April 2023 | Sotheby's New York | United States | |||
| October 2022 | Christie's New York | United States | |||
| April 2022 | Phillips New York | United States | |||
| September 2017 | Sotheby's London | United Kingdom | |||
| April 2016 | Phillips New York | United States | |||
| January 2016 | Phillips London | United Kingdom |
Meaning & Analysis
Roy Lichtenstein’s 1990 Reflections On The Scream of his Reflections series was inspired by a comic titled “Blondie at Home Sweet Home”. It was one of the many cartoon cuttings that Lichtenstein collected and appropriated over the course of his career. The title of the work refers to the cry of the baby that dominates the composition. Additionally, it is also an ironic nod to Edvard Munch’s notorious 1895 painting “The Scream”.
In Reflections On The Scream, the print-style use of mechanised colour gradation is contrasted with a bold pattern, expanses of block colour, and isolated patches of figurative design. Harsh lines cut across the composition and result in the layered effect of pictorial planes, creating a deceptive sense of depth.
Similar to the artist’s Mirrors and Water Lilies, his Reflections series also plays with ideas of light and reflection. The partly hidden images in this sequence are altered and obscured by fractions of stylised glass, pushing them to the point of abstraction. The subjects are glimpsed between sharp mirrored shapes that break and refract the surface of the image. In doing so, the works reinvent their source material into a graphic composition of reflective light that resembles a fragmented and disjointed collage.
